Interesting scales/chords

my new favorite toy is the diminished scale.It's wierd and I have to think of in in intervals to keep it in my aged mind.From wherever you start go whole step then half step and keep going the same way.In a recent jam a guitarist started playing diminished chords but used a basic blues framework for the chord progression.It's the only time I have had a chance to use it other than just sitting sround noodling but it's fun.the japanese 5 tone scale is similar.It is root,flat 2nd,3rd,4th,and fifth.A little easier to work with though

Originally posted by u10ajf
The first reply to this forum suggested playing a major scale and flattening the 6th - this is a harmonic Major scale not a harmonic minor (for which you sharpen the 5th and start on the 6th

I believe I did call it harmonic major...
Harmonic minor is a natural minor scale with a raised seventh, I'm not sure what you meant by "sharpening the 5th and starting on the 6th"

Next time I try at being a smart arse I'll make sure I get it right. Sorry!
As for starting on a 6th and sharpening the 5th I mean start on the 6th note of a major and sharpening the 5th note of the origninal scale - which when I think about it is a silly order to
discuss it - better to start with what notes change and then talk about which note to start on.

ohh, ok. All straightened out now

I'll attempt to revive this dying thread with the lydian mode -




|----------------------------|
|----------------------------|
|-------------------8--------|
|-----------4-6-7/9---9-7----|
|-----4-6-7------------------|
|-5-7------------------------|



Now maybe someone can suggest some chords to go along . . .

this chord is also prominent in "Every Breath you Take" by Andy S...er...I mean....The Police! Sting sucks and Andy rules!

Try moving your chord shapes around by barring. This chord is really pretty but it can be overused...be aware of that!

0 - - 0 - - 0
0 - - 0 - - 0
2 - - 4 - - 6
3 - - 5 - - 7
3 - - 5 - - 7
1 - - 3 - - 5

Three chords that fit the same vibe!

Using these all of these chords in a song would result in an odd key signature due to three consecutive major triads.

Originally posted by Christoph

I'll attempt to revive this dying thread with the lydian mode -




|----------------------------|
|----------------------------|
|-------------------8--------|
|-----------4-6-7/9---9-7----|
|-----4-6-7------------------|
|-5-7------------------------|



Now maybe someone can suggest some chords to go along . . .

a "Maj7(#11)" lends itself really well with lydian, because the #11 is the same as the #4th of the lydian mode. Try playing a Cmaj7(#11)-

|-----------2--------------|
|---------0----------------|
|-------0------------------|
|----2---------------------|
|--3-----------------------|
|x-------------------------|

And play C lydian over that. C Lydian is, of course, the same as E minor. Try tossing this chord into your next Eminor vamp and focusing on C as your root tonality in your solo and it might just turn some heads!

Although I should mention that this is really more of a change in your focal tonality and not a true example of lydian mode, since you're remaining in the key of E the entire time. A truer example of this would be if you're chord progression went like Cmaj7(#11), and then, say, Dmajor. That would be a true lydian progression.