# Steve Allsworth

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Website of guitarist Steve Allsworth

## Sitemaps

- [XML Sitemap](https://steveallsworth.com/sitemap.xml): Contains all public & indexable URLs for this website.

## Posts

- [News](https://steveallsworth.com/news/): Magazine articles, guitar videos, books, interviews, gigs: find out what Steve is up to behind the scenes.
- [Improvising with the Whole/Half Diminished Scale](https://steveallsworth.com/improvising-with-the-whole-half-diminished-scale-2/): This tutorial shows how Scott Henderson uses the Whole/Half Diminished scale to improvise and create outside sounds over minor chords.
- [How to Play Britpop-style Guitar](https://steveallsworth.com/how-to-play-britpop-style-guitar/): 2025 will mark an incredible three decades since Blur and Oasis released their landmark albums, The Great Escape and (What’s The Story) Morning Glory? It wasn’t just these two bands that defined the biggest movement in UK guitar music since Beatlemania however. In this tutorial I’ll be taking a brief look at the playing, technique and songwriting
- [5 Ways to sound like the Edge](https://steveallsworth.com/5-ways-to-sound-like-the-edge/): With a frightening array of effects pedals in his arsenal, The Edge has helped redefine the sonic limits of what an electric guitar can do with his work in U2. His signature dotted eighth note delay arpeggios can be heard in classic tracks such as I Still Haven’t Found What I’m Looking For and Where The Streets Have No
- [6 ways to play guitar like Eric Clapton](https://steveallsworth.com/6-ways-to-play-guitar-like-eric-clapton/): Clapton’s style – like so many of the great blues guitarists – incorporates the playing of the heroes he grew up listening to, such as the ‘three Kings’ (Freddie, BB and Albert), Buddy Guy and Robert Johnson. His fieriest playing came during the late-60s Cream/Gibson era, when he delivered blues progressions and rock lead with his
- [100 Essential Funk Grooves for Guitar](https://steveallsworth.com/essential-funk-grooves-for-guitar/): Well after much blood, sweat and tears, my first book is finally ready! I’ve teamed up with the good folks at Fundamental Changes to bring you ‘100 Essential Funk Grooves for Guitar’. It’s a deep dive into the world of Funk, with an in-depth study of the great Funk guitarists, all the way from Jimmy

## Pages

- [Home](https://steveallsworth.com/): Unlock your guitar potential with Steve Allsworth. Expert education that empowers players of every level to grow, create, and perform with confidence
- [Mastering the Diminished](https://steveallsworth.com/mastering-the-diminished/): Start playing the solos you hear in your head. Join Now Leon B It’s easily the best diminished style course I’ve tried (and I’ve tried a few!) The highlights for me is that I’m starting to see the notes of the diminished scale as options over a normal dom7 chord as opposed to just playing the
- [Guitar Books](https://steveallsworth.com/guitar-books/): 100 Essential Funk Grooves for Guitar: Master the styles of the Funk legends - from Jimmy Nolen to Cory Wong. Buy on Amazon now.
- [Blog](https://steveallsworth.com/blog/): The Vault Guitar & Theory Lessons from the Archive If You Learn One Thing From Buddy Guy It’s This Get that Buddy Guy-like phrasing by mastering his signature style: rhythmic on-grid and off-grid phrasing Read More » August 11, 2026 5 Guitar Skills You Can Learn From Jeff Beck No pick, no genre, no limits
- [About](https://steveallsworth.com/about/): The Story So Far Early Years I first fell in love with the guitar when I was 11 and spent the first two years studying classical guitar. A couple of years in and I did what most sensible people do and discovered the “dark side” (my first electric was a Squier Bullet). My formative electric
- [Privacy Policy](https://steveallsworth.com/privacy-policy/): 1. Introduction 2. What Information Do We Collect? 3. Ho We Use Information 4. Disclosure of Information 5. Tracking Technologies 6. How You Can Access & Change Your Information 7. How Long Do We Keep Your Information? 8. General Provisions 9. EU/UK Subjects 10. US California Residents 11. Contact Us Privacy Policy Last updated: August
- [Cookie Policy](https://steveallsworth.com/cookies-policy/): 1. What are cookies? 2. How do we use cookies? 3. How can I control cookies 4. Which cookies do we use? 5. How can I reject or remove cookies? 6. Analytics & customisation cookies 7. Useful links Cookie Policy Last updated: August 2026 This Cookie Policy explains how Tiny Monkey Studios (Company, we, us,
- [Terms & Conditions](https://steveallsworth.com/terms-and-conditions/): 1. Acceptable Use 2. Disclaimers 3. Accounts, Eligibility & Billing 4. Copyright, Trademarks & IP 5. Content You Submit & Testimonials 6. Security 7. Liability 8. Free Content & Paid Courses 9. Money-back Guarantee 10. Law, Jurisdiction & Language 11. Indemnification 12. Termination 13. Entire Agreement Terms & Conditions Last updated: August 2026 In plain
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- [Contact](https://steveallsworth.com/contact/): Contact Questions about a product, private teaching, coaching, or general enquiries? Connect with me directly and I’ll be happy to answer all of your questions! Enjoying my YouTube channel? I’d love to hear about it. First Name Email Questions About... Private LessonsCoaching & TrainingProductsJust General Questions Message Submit Form By entering your information, you agree to
- [Free PDFs](https://steveallsworth.com/free-pdfs/): FREE PDFs Click here Click here Click here Click here
- [Shop](https://steveallsworth.com/shop/)
- [Videos](https://steveallsworth.com/videos/): videos videos YouTube Videos Here are all the tuition videos over on my YouTube channel, focussing on guitar and player-based tutorials from Funk and Blues to Jazz and Rock Fusion. I try and combine the most important aspects of music theory with real-world musical examples that you can hopefully use straight away. If you haven’t
- [Gear](https://steveallsworth.com/gear/): Here's a geeky (not totally exhaustive) list of all the gear that I regularly use both in the studio and live. Maybe I'll post all my pedals one day...

## Products

- [Mastering the Diminished (Payment Plan)](https://steveallsworth.com/register/mastering-the-diminished-in-3/)
- [Mastering the Diminished](https://steveallsworth.com/register/mastering-the-diminished/)

## Groups

- [Mastering the Diminished](https://steveallsworth.com/plans/mastering-the-diminished/)

## Circles

- [MTD Inner Circle](https://steveallsworth.com/inner-circle/mastering-the-diminished/)

## Courses

- [Mastering the Diminished](https://steveallsworth.com/courses/mastering-the-diminished/): Beautifully Twisted Sounds for Blues, Fusion & Beyond

## Lessons

- [Post Performance Notes](https://steveallsworth.com/courses/mastering-the-diminished/lessons/post-performance-notes-2/): Lesson Material Post Performance Notes What You'll Explore: A rootless C#13(#9) chord built from two tritones, and moving it in wide (tritone) jumps Going more in-depth with the 5-note rhythmic cycle that displaces itself against the underlying beat Before You Move On: I can play the 5-note cycle idea for at least four full repetitions
- [Pre Performance Notes](https://steveallsworth.com/courses/mastering-the-diminished/lessons/pre-performance-notes-3/): Lesson Material Pre Performance Notes What You'll Explore: A riff-based étude in E (and its three related key centres (G, B♭, C#) that draws together this whole section More advanced ideas: Rhythmic Displacement Before You Move On: I can play the main riff at tempo I've had a go at soloing using the E H/W
- [Connecting It Up](https://steveallsworth.com/courses/mastering-the-diminished/lessons/connecting-it-up/): Lesson TAB Lesson Material Connecting It Up What You'll Explore: Three different ways to join 3-note-per-string and 4-note-per-string shapes across all six strings Related to: Extending the Scale: Diagonal Approach and Seeing the Cells (Mod 1 Part 1) (combining the 4NPS and 3NPS ideas into one pathway) Before You Move On: I can play through
- [Orientation](https://steveallsworth.com/courses/mastering-the-diminished/lessons/orientation/): Lesson TAB Lesson Material Orientation What You'll Explore: Usinng the 12th fret equator line to craft ideas Hearing, seeing (and singing!) the dominant 7th arpeggio inside the shape Combining arpeggio and scale for more interesting lines Before You Move On: I've explored either side of the 'equator', so I'm not always stuck inside the 'scale
- [The Equator](https://steveallsworth.com/courses/mastering-the-diminished/lessons/the-equator/): Lesson TAB Lesson Material The Equator What You'll Explore: A visual ‘equator line’ across the top four strings to help navigate the neck quickly Seeing dominant 7 chord tones on either side of the equator line Related to: Cheat Mode: Easy Moveable Pattern (the same walled scale-island block, viewed as a navigation tool) Before You
- [Extending the Scale: "The Snake"](https://steveallsworth.com/courses/mastering-the-diminished/lessons/extending-the-scale-the-snake/): Lesson TAB Lesson Material Extending the Scale: "The Snake" What You'll Explore: A slide-and-pull-off ‘escalator’ pattern built from the 4NPS shape Using a small cell from the pattern as a launchpad for a more musical idea Before You Move On: I can play the ‘snake’ pattern with clean slides and pull-offs, in time I can
- [Extending the Scale: Diagonal Approach](https://steveallsworth.com/courses/mastering-the-diminished/lessons/extending-the-scale-diagonal-approach/): Lesson TAB Lesson Material Extending the Scale: Diagonal Approach What You'll Explore: A 4-note-per-string diagonal shape that covers a lot of the fretboard in one pattern Viewing the same shape as either one long scale or four separate key centres Before You Move On: I can play the 4NPS diagonal shape cleanly over at least
- [Performance: Putting it all Together](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-putting-it-all-together/): Lesson Material Performance: Putting it all Together What You'll Explore: A full solo over the C#7(#9) backing that combines everything covered in this section Being intentional using intervals of the H/W diminished scale Crafting lines around blues-based vocabulary, adding tension notes from C# H/W dim Before You Move On: I can identify and use at
- [Seeing the ♭9: Concept & Breakdown](https://steveallsworth.com/courses/mastering-the-diminished/lessons/seeing-the-b9/): Lesson TAB Lesson Material Seeing the ♭9: Concept & Breakdown What You'll Explore: Viewing dominant 7th chords in their different inversions across the neck Raising the root of each shape by one fret to reveal a diminished chord / B♭7(♭9) sound Related to: Cheat Mode: Minor 3rds (same moveable diminished 7th shape, now framed as
- [Combining Minor & Major: The Essence of Diminished](https://steveallsworth.com/courses/mastering-the-diminished/lessons/combining-minor-major/): Lesson TAB Lesson Material Combining Minor & Major: The Essence of Diminished What You'll Explore: Locating B♭ minor and B♭7 chord shapes inside the wider diminished scale Using these chord shapes as a launchpad for more melodic lines Related to: Cheat Mode: Easy Moveable Pattern (same scale islands, now with chord shapes mapped inside them)
- [Seeing the Key Centre: Using Octaves](https://steveallsworth.com/courses/mastering-the-diminished/lessons/seeing-the-key-centre-using-octaves/): Lesson TAB Lesson Material Seeing the Key Centre: Using Octaves What You'll Explore: Shifting the whole approach up a minor 3rd into a new key centre (C#) Using forward and backward-facing octave shapes to quickly find the new root anywhere on the neck Related to: Cheat Mode: Easy Moveable Pattern (the same scale island pattern,
- [Cheat Mode: Minor 3rds](https://steveallsworth.com/courses/mastering-the-diminished/lessons/cheat-mode-minor-3rds/): Lesson TAB Lesson Material Cheat Mode: Minor 3rds What You'll Explore: Building a diminished triad and relating it to the blues Shifting the arpeggio around the neck in minor 3rds, listening to how it sounds over the backing Before You Move On: I can play a diminished triad from at least two different starting strings
- [Performance Notes: Diminished 7th Arpeggios](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-notes-diminished-7th-arpeggios/): Lesson TAB Lesson Material Performance Notes: Diminished 7th Arpeggios What You'll Explore: Building a diminished triad, then mirroring it to form a full diminished 7th arpeggio Shifting the arpeggio around the neck in minor 3rds (but being mindful of the key centre) Before You Move On: I can play a full diminished 7th arpeggio from
- [Performance: Diminished Triads](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-diminished-triads/): Solo TAB Lesson Material Performance: Diminished Triads What You'll Explore: A solo built entirely from moving diminished triads and arpeggios around the neck Creating different levels of tension by moving it around Before You Move On: I can play a short diminished triad-based phrase and resolve it back to B♭ Downloads Target the 3rd &
- [Performance Notes: Schrödinger's Scale?](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-notes-schrodingers-scale/): Lesson Tab Lesson Material Performance Notes: Shrödinger's Scale? What You'll Explore: Why the diminished scale contains both a minor and major 3rd at once How this ambiguity mirrors the built-in tension of a dominant 7(#9) chord Before You Move On: I can explain, in my own words, why the diminished scale sounds neither strictly major
- [Performance: Targeting the 3rd & 6th](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-targeting-the-3rd-6th/): Solo TAB Lesson Material Cheat Mode: Easy Movable Pattern What You'll Explore: A full solo built around deliberately targeting the major 3rd and 6th Hearing the "consonant" major intervals in the context of the backing track Before You Move On: I can play a phrase that clearly targets the 3rd or 6th rather than just
- [Bolting Onto the Blues (Part 2)](https://steveallsworth.com/courses/mastering-the-diminished/lessons/bolting-onto-the-blues-part-2/): Lesson Material Bolting Onto the Blues (Part 2) What You'll Explore: Adding the major 3rd and major 6th to the tweaked blues scale Hearing/seeing the major/dominant 7 chord shapes hiding underneath these new notes Before You Move On: I can add the 3rd and 6th into my blues-scale phrasing on demand The next two notes
- [Performance: Targeting the ♭5](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-targeting-the-b5/): Solo TAB Lesson Material Performance: Targeting the b5 What You'll Explore: Applying the tweaked blues scale in a full solo, deliberately targeting the ♭5 Before You Move On: I can improvise a phrase that consciously targets and resolves the ♭5 I can play the tweaked minor blues scale in two different positions Downloads Target the
- [Bolting Onto the Blues (Part 1)](https://steveallsworth.com/courses/mastering-the-diminished/lessons/bolting-onto-the-blues-part-1/): Lesson Material Bolting Onto the Blues (Part 1) What You'll Explore: Tweaking a familiar minor blues scale by removing the 4th to reveal the diminished sound Tuning your ear to the tension of the ♭5 interval Before You Move On: I can play the tweaked (no-4th) blues scale across the neck without slipping back into
- [Cheat Mode: Easy Moveable Pattern](https://steveallsworth.com/courses/mastering-the-diminished/lessons/cheat-mode-easy-moveable-pattern/): Lesson TAB Lesson Material Cheat Mode: Easy Movable Pattern What You'll Explore: An easy-to-remember alternating scale shape and its repeating ‘scale island’ pattern Shifting scale islands in minor 3rds while always tracking the current root Before You Move On: I can find and name the root note in any scale island I land on As
- [Performance: One String Solo](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-once-string-solo/): Solo TAB Lesson Material Performance: One String Solo What You'll Explore: Improvising over a funk/blues groove in B♭ using only the one-string scale Using B♭ blues/minor pentatonic phrasing to shape single-string lines Before You Move On: I can improvise a short phrase on one string that resolves back to the root I can improvise a
- [The Diminished: Basic Concepts](https://steveallsworth.com/courses/mastering-the-diminished/lessons/the-diminished-scale-basic-concepts/): Lesson TAB Lesson Material The Diminished: Basic Concepts What You'll Explore: The core sound of the Half/Whole (dominant) diminished scale, played on a single string How the scale's half-step/whole-step pattern repeats every minor 3rd (3 frets) Why four different dominant chords (E7, G7, B♭7, D♭7) all share the exact same scale Before You Move On:
- [Seeing the Cells](https://steveallsworth.com/courses/mastering-the-diminished/lessons/seeing-the-cells/): Lesson TAB Lesson Material Seeing the Cells What You'll Explore: Breaking the scale into four repeatable 3-note ‘cell’ fingerings (1-3-4, 1-2-4, 1-3, 1-2) Using these cells as a springboard for new licks, rather than running the full scale Before You Move On: I can play all four fingering cells cleanly, in isolation, anywhere on the
- [V to I Resolution (Part 1)](https://steveallsworth.com/courses/mastering-the-diminished/lessons/v-to-i-resolution-part-1/): Lesson TAB Lesson Material What You'll Learn: The core sound of the Half/Whole (dominant) diminished scale, played on a single string How the scale's half-step/whole-step pattern repeats every minor 3rd (3 frets) Why four different dominant chords (E7, G7, B♭7, D♭7) all share the exact same scale Before You Move On: You can play the
- [Triad Pairs: Major & Minor](https://steveallsworth.com/courses/mastering-the-diminished/lessons/triad-pairs-major-minor/): Solo TAB Lesson Material The lick we looked at in the Brecker lesson moved from D to B triads: These two triads share one common note, the F#, marked here in blue: Whilst you could think of these as a kind of “double triad,” they aren't triad pairs. A true triad pair simply means two triads with no overlapping notes – like our
- [Mixing Major & Minor: More Triad Ideas](https://steveallsworth.com/courses/mastering-the-diminished/lessons/mixing-major-minor/): Solo TAB Lesson Material Another great thing about the arpeggio idea we looked at in the beginning of the last lesson is that it has a natural counterpart that works just as well: Because of the symmetry within the scale, there’s always a half step above the 3rd and a whole step below it. If we take the 3rd
- [Brecker's Concept: Disguising the Triad](https://steveallsworth.com/courses/mastering-the-diminished/lessons/breckers-concept-disguising-the-triad/): Solo TAB Lesson Material Another way to move beyond the obvious sound of triads – aside from using different inversions – is to connect them more melodically. One sound I really like starts with a standard 2nd inversion triad and then add the tone above, creating a distinctive Lydian #4 colour: If we simply move that
- [Example Line #21: Triad Pairs](https://steveallsworth.com/courses/mastering-the-diminished/lessons/example-line-19-triad-pairs/): Solo TAB Here’s an example line that runs through a variety of D and Ab triads on different string sets, and really highlights the inside/outside nature of these two triad pairs: Downloads Ex #21 Triad Pairs (PDF) Ex #21 Triad Pairs (GP8)
- [Performance Notes: Two String Triads](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-notes-two-string-triads/): Solo TAB Lesson Material In the last performance, you may have noticed that I didn’t always play the triads across three strings—sometimes I reduced them to two-string shapes. I’ll demonstrate them here using D, but remember that each shape can also be moved up in minor thirds to F, Ab, and B. First, there’s a D shape in 14th position using the CAGED
- [Triad Pairs: Concept & Breakdown](https://steveallsworth.com/courses/mastering-the-diminished/lessons/triad-pairs-concept-breakdown/): Lesson Material At the end of the “putting it all together” solo from a couple of lessons ago, I played a line similar to this: This uses a classic "triad pair" of two major triads a tritone or b5th apart. In this case it’s D and Ab. Have a listen to these moving in root position: This can sound a little obvious,
- [Triads: Thinking Outside of Scales (Part 1)](https://steveallsworth.com/courses/mastering-the-diminished/lessons/triads-thinking-outside-of-scales/): Lesson TAB Downloads Ex #18 Triads (PDF) Ex #18 Triads (GP8)
- [Triads: Thinking Outside of Scales (Part 2)](https://steveallsworth.com/courses/mastering-the-diminished/lessons/triads-thinking-outside-of-scales-part-2/): Lesson TAB Downloads Ex #19 Triads (PDF) Ex #19 Triads (GP8) D Nola Funk 80 BPM
- [Example Line #17: Rhythmic Displacement](https://steveallsworth.com/courses/mastering-the-diminished/lessons/example-line-14-rhythmic-displacement/): Solo TAB Rhythmic displacement is a powerful tool because it allows you to extract far more mileage from a single lick or phrase, whether in practice or improvisation. I’d strongly encourage you to revisit the ideas covered so far and experiment with applying this concept to each of them. Here’s a musical example expanding upon the previous Coltrane phrase: Downloads Ex #17 Rhythmic
- [Rhythmic Displacement: More Bang for Your Buck](https://steveallsworth.com/courses/mastering-the-diminished/lessons/rhythmic-displacement-more-bang-for-your-buck/): Solo TAB A highly effective way to maximise the musical value of any of these sequences is to apply rhythmic displacement—specifically, by shifting the phrase forward by a single sixteenth note each time. Here’s how that concept works using the previous sequence as an example: By starting the phrase a sixteenth note earlier on each repetition, the natural accents fall
- [Coltrane Sequence](https://steveallsworth.com/courses/mastering-the-diminished/lessons/coltrane-sequence/): Solo TAB Lesson Material The next sequence I’d like to introduce is one of my personal favourites and arguably one of the most recognisable diminished patterns. It’s often referred to as the Coltrane sequence, as John Coltrane made frequent use of it—most notably on Miles Davis's recording of Straight No Chaser: Like the diminished ideas we explored earlier—particularly when outlining the scale in flattened fifths—it
- [Classic Sax Sequence](https://steveallsworth.com/courses/mastering-the-diminished/lessons/classic-sax-sequence/): Solo TAB Lesson Material Here’s another well-known line, popular with many saxophonists; you can hear it in the playing of Sonny Rollins, Cannonball Adderley, and others. It’s built from a straightforward sequence that descends by a tone and then repeats up a fourth: When adapted across the strings on guitar, the phrase requires rolling the fourth finger across
- [Less Predictable Sounds: Moving In 4ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/less-predictable-sounds-moving-in-4ths/): Solo TAB Lesson Material As I've mentioned, the aim with these sequences is to avoid sounding mechanical or like we are simply running an exercise. One effective way to break up the scale in a less predictable manner is to play intervals of fourths, moving them in minor thirds. If you practise this in a
- [Example Line #11: Breaking Up the Sequence](https://steveallsworth.com/courses/mastering-the-diminished/lessons/example-line-10-breaking-up-the-sequence/): Solo TAB Downloads Ex #11 Breaking Up the Sequence (PDF) Ex #11 Breaking Up the Sequence (GP8) D Nola Funk 80 BPM
- [Sequences: Moving Cells In Minor 3rds](https://steveallsworth.com/courses/mastering-the-diminished/lessons/sequences-moving-cells-in-minor-3rds/): Lesson TAB Downloads Ex #10 Miinor 3rd Sequence (PDF) Ex #10 Minor 3rd Sequence (GP8) D Nola Funk 80 BPM
- [Performance Notes: 3rds & 4ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-notes-3rds-4ths/): Lesson Material The initial legato run in bar 1 is good example of stitching together two of the ideas that we’ve looked at. Really, it’s just two up down sequences with a sliding 4 note shape in the middle used as a bridge between the two. This disguises what would be a fairly predictable sequence: The line in bars 2-4 is the same idea repeated in minor 3rds. It’s simply a
- [Section 2 Intro](https://steveallsworth.com/courses/mastering-the-diminished/lessons/section-2-intro/): Intro In the second section of Module 2, we’ll go even deeper into the amazing sound of the diminished scale, building on the concepts from the first part of the module. We’ll continue working with the D H/W diminished scale and apply it over two different backing tracks: an up-tempo jazz/fusion track inspired by John
- [Performance: Putting It All Together](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-putting-it-all-together-2/): Solo TAB Downloads Putting It All Together Triads SOLO (PDF) Putting It Together Triads SOLO (GP8) D Nola Funk 80 BPM
- [Module 2 Intro](https://steveallsworth.com/courses/mastering-the-diminished/lessons/module-2-intro/): Intro Welcome to Module 2! I don't want to overload you with contents, so I've split this module into two distinct but related sections. This module is BIG. If it takes longer than 30 days, I wouldn't be surprised. I'd far rather you're methodical and consistent with practice, as the concepts will stick much better.
- [Example Line #9: 7ths & 2nds](https://steveallsworth.com/courses/mastering-the-diminished/lessons/example-line-9-7ths-2nds/): Solo TAB Downloads Ex #9 7ths & 2nds (PDF) Ex #9 7th & 2nds (GP8)
- [Example Line #8: Wonky String Skipping](https://steveallsworth.com/courses/mastering-the-diminished/lessons/example-line-8-wonky-string-skipping/): Solo TAB Downloads Ex #8 Wonky String Skipping (PDF) Ex #8 Wonky String Skipping (GP8)
- [Example Line #7: Major 6ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/example-line-7-major-6ths/): Solo TAB Downloads Ex #7 Major 6ths (PDF) Ex #7 Major 6ths (GP8)
- [Example Line #6: 5ths & 6ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/example-line-6-5ths-6ths/): Solo TAB Downloads Ex #6 5ths & 6ths (PDF) Ex #6 5ths & 6ths (GP8)
- [Example Line #5: Minor 6ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/example-line-5-minor-6ths/): Solo TAB Here’s a line that expands upon the last blues idea we looked at in the last lesson. In bar 7 we have some extra chromaticism and a nice enclosure idea (the 12th fret G is “enclosed” within the 1, 2, 4 shape on the G string; similar to the idea you heard me use in Example line #2). Downloads Ex #5 Minor
- [Example Line #4: 5ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/example-line-4-5ths/): Solo TAB Lesson Material The "tritone" is exactly three tones, so represents the exact middle point of the octave. You can think of it either as a b5th or a #4th. As with the previous intervallic examples, I’m always trying to look for musical phrases rather than simply regurgitate the exercises. I think the interval of a b5 lends
- [Example Line #3: 3rds & 4ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/example-line-3-3rds-4ths/): Solo TAB Downloads Ex #3 3rds & 4ths (PDF) Ex #3 3rds & 4ths (GP8)
- [Example Line #2: Minor 3rds](https://steveallsworth.com/courses/mastering-the-diminished/lessons/example-line-2-minor-3rds/): Solo TAB Downloads Ex #2 Minor 3rds (PDF) Ex #2 Minor 3rds (GP8)
- [Building Vocab: Morphing Ideas](https://steveallsworth.com/courses/mastering-the-diminished/lessons/building-vocab-morphing-ideas-example-line-1/): Solo TAB Lesson Material As we discussed earlier, long note sequences can sound predictable. While varying rhythm and phrasing helps, it’s also useful to break lines into smaller “cells.” For instance, you might extract a short cell from the previous exercise and combine it with a simple blues idea from Module 1: As you can appreciate, this morphs a
- [Minor 3rds: Legato](https://steveallsworth.com/courses/mastering-the-diminished/lessons/minor-3rds-legato/): Lesson TAB Downloads Minor 3rds Legato (PDF) Minor 3rds Legato (GP8)
- [Performance: Improvising With Rhythm](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-improvising-with-rhythm/): Solo TAB Lesson Material With the exercise in the previous lesson, we need to be very mindful of the fact that’s it’s just that, an exercise and not real music. So, a relatively easy thing you can do to sound more musical, is keep the shape of the exercise, but improvise with rhythm and phrasing. This rhythmic improvisation idea can be applied in so many different situations – it’s a
- [Performance: Diminished Fusion Étude](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-fusion-etude/): Lesson TAB Downloads Diminished Fusion Étude (PDF) Diminished Fusion Étude (GP8) D Dim Harmony Étude 100 BPM
- [Putting It All Together: Making Music With Diminished Harmony](https://steveallsworth.com/courses/mastering-the-diminished/lessons/putting-it-all-together-making-music-with-diminished-harmony/): Lesson Material Now we're going to try and put all of these chordal concepts together in an étude, loosely based around the two tracks I mentioned by Jimmy Herring and Frank Gambale. So if you've ever wondered how on earth these players come up with stuff like this, now you have some of the answers!
- [Performance: Chords As A Tension Device](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-chords-as-a-tension-device/): Lesson TAB Downloads This short improvisation is to demonstrate how effective only two chords from diminished harmony - Dom 7(#9) and diminished Major 7 - can sound. For the backing track, the overall key centre/centre of gravity is D, so you'll find D7(#9) and GbdimM7 sound the most 'in'. The others will have various degrees
- [Performance: Bedding In Concepts](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-bedding-in-concepts/): Lesson TAB Bedding In Concepts SOLO (PDF) Bedding In Concepts SOLO (GP8) D Dim Harmony Groove (Short) 100 BPM
- [Module 1 Intro](https://steveallsworth.com/courses/mastering-the-diminished/lessons/intro/): Intro Welcome to Mastering the Diminished! This intensive 3-month course on the diminished scale will take you all the way from the basics, all the way through to advanced harmony and soloing with more freedom and intention. Each monthly module is divided into specific study topics that follow on from one another. You're welcome to
- [Performance: Rock Fusion Étude](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-rock-fusion-etude/): Solo TAB Downloads Rock Fusion Étude (PDF) Rock Fusion Étude (GP8) E Diminished Rock Étude 86 BPM E Diminished Rock Étude (Extended) 86 BPM
- [Performance Notes: Targeting the ♭5](https://steveallsworth.com/courses/mastering-the-diminished/lessons/post-performance-notes/): Lesson Material Aside from thinking about the 'avoid note' (the 4th) - within the wider adapted blues scale shape, I tend to think of the underlying minor chord shapes (seen here in blue). Not only will this give you context, but it’ll make it easier when changing key. Remember that the 4th is a perfectly 'legal' note to play over
- [W/H or H/W? What's The Difference?](https://steveallsworth.com/courses/mastering-the-diminished/lessons/w-h-or-h-w-whats-the-difference/): Lesson TAB Lesson Material Understanding the difference between W/H and H/W diminished is fairly straightforward, but it all comes down to having an understanding of the relationship between diminished 7 and dominant 7 chords. If we take a standard Diminished 7 chord: And then lower the root note one semitone, we end up with a
- [Chordal Connections: Viewing Chords from Different Angles](https://steveallsworth.com/courses/mastering-the-diminished/lessons/chordal-connections/): Before we go down the rabbit hole, bear in mind that the chords here are ones I think go together well. That's the bottom line. Does it sound good/musical? Anyway, let's strap in! With a slight change of perspective, we can view chords multiple different ways. If we take one of our previous chords, B7(#9):
- [Module 1 Recap: Next Steps](https://steveallsworth.com/courses/mastering-the-diminished/lessons/module-1-recap-next-steps/)
- [Pre-Performance Notes](https://steveallsworth.com/lessons/pre-performance-notes/)
- [Intervals: 7ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/intervals-7ths/): Lesson Material Our last interval is the 7th and is made up of minor and major 7ths. Here it is as double stops: To my ears, the combination of minor and major 7th intervals doesn't sound great, especially when playing our previous scale exercises (up/down etc.) Individually they can be quite useful, however. One idea that’s also worth exploring, is when you invert a Major 7th it becomes a minor 2nd: Notice that when we
- [Module 2 Recap](https://steveallsworth.com/courses/mastering-the-diminished/lessons/module-2-recap/): Lesson Material In this module we’ve worked through the main intervals found in the diminished scale. The goal was to move away from relying on the same symmetrical scale pattern and instead give you more options for creating interesting lines and melodies. While we started with exercises, the real aim is to turn these into music as
- [Up Down Pattern: Minor 3rds](https://steveallsworth.com/courses/mastering-the-diminished/lessons/up-down-pattern-minor-3rds/): Lesson TAB
- [Intervals: 3rds & 4ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/intervals-3rds-4ths/): Lesson TAB
- [Intervals: 5ths & 6ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/intervals-5ths-6ths/): Lesson TAB
- [Pre-Performance Notes: 5ths & 6ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/pre-performance-notes-5ths-6ths/): Lesson Material So now let’s try and combine the 5th and b6th into a line. For the next example, I’ve manipulated the rhythm for a bit more syncopation and interest; something we discussed back in the” improvising with rhythm” lesson. Also look out for our b6th being moved around in tritones rather than minor 3rds:
- [Intervals: Major 6ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/intervals-major-6ths/): Lesson TAB Lesson Material In all three examples, you should be able to see some cool symmetry, especially on the top four strings. We’ve got the same repeated pattern on the 2nd and 4th strings: And we have the same on the1st and 3rd strings, only one fret higher: Sliding around these string sets gives a great outside blues sound and always puts me in mind of the
- [Orientation: Major 6ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/orientating-major-6ths/): Lesson TAB Lesson Material As I mention in this video, orientating yourself quickly (especially when presented with a new key centre) can be something of a challenge. One method is to orientate yourself around the diminished arpeggio we looked at in Module 1: Alongside the diminished lick, you could also loosely fit the major 6ths in and around the
- [String Skipping: Major 6ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/string-skipping-major-6ths/): Lesson Material An interesting by-product of the major 6th shapes we’ve been looking at, is that we can come up with nice some string skipping licks. The first thing to notice is there are two diminished 7th arpeggios hiding in plain sight; one from the root D moving in minor 3rds: And one a semitone higher: D dim7 and Eb dim7 have a slightly different
- [The Diminished: Harmony Review](https://steveallsworth.com/courses/mastering-the-diminished/lessons/the-diminished-harmony-review/): Lesson TAB Lesson Material Let's do a quick recap of diminished chords and scales. When we play any diminished 7 chord a minor 3rd apart, we're effectively creating an inversion of itself. With C Dim7 we have the notes C, Eb, Gb and A. Note that we're calling the bb7 an A, simply because it's
- [Dominant Connections: Going Deeper](https://steveallsworth.com/courses/mastering-the-diminished/lessons/dominant-connections-going-deeper/): Lesson TAB Lesson Material In order to have better chord knowledge and improved facility on the fretboard, we ideally need to have command of inversions. As guitarists we're often 'shape based', learning shapes in isolation and not really seeing the bigger picture. Well let me try and bust through some of that with a simple
- [Diminished Harmony: Building Chords](https://steveallsworth.com/courses/mastering-the-diminished/lessons/diminished-harmony-building-chords/): Lesson TAB Lesson Material When we play two diminished 7 chords a tone apart, when we combine all of the notes, we end up with the diminished scale: Depending on how you look at it, this will be either the C W/H diminished or D H/W diminished scale. Remember, these are essentially the same thing,
- [Diminished Colours: Going Deeper](https://steveallsworth.com/courses/mastering-the-diminished/lessons/diminished-colours-going-deeper/): Lesson Material In the last lesson we went through two of my favourite shapes on the top four strings. We're thinking diminished colours now rather than explicit chord names to make things a little easier. Let's remind ourselves of the four string scale island shape (over our backing, this is D H/W Diminished): You should
- [Discovery: Adding Diminished Notes to Simple Chords](https://steveallsworth.com/courses/mastering-the-diminished/lessons/discovery-adding-diminished-notes-to-simple-chords/): Lesson TAB Lesson Material One thing I love to do is make little tweaks to simple chords and see where it takes me. This lesson is to show you how I'd go about discovering new ideas, so you can take the concept and apply it in your own practice. It's a simple enough start with
- [Intervals: Minor 3rds](https://steveallsworth.com/courses/mastering-the-diminished/lessons/intervals-minor-3rds/): Lesson TAB
- [Performance Notes](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-notes/): Lesson TAB Lesson Content One thing is being able to play all these new chords, but the other thing is being able to use them quickly in a musical situation. The way I do this is to orientate myself around the Dominant 7(#9) chord, especially when playing over a static vamp like we're doing in
- [Pre-Performance Notes](https://steveallsworth.com/courses/mastering-the-diminished/lessons/pre-performance-notes-2/): Lesson TAB Lesson Material It's very easy to get overwhelmed by all the chords and theory. One thing I like to do is simply take one or two shapes that I like the sound of and then try to apply them within a musical setting. These two shapes are two of those dimMaj7 inversions that
- [Performance Notes: Example Line #2](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-notes-minor-3rds/): There’s a lot going on in the previous line, but it’s a great example of turning an exercise into something more musical. Rather than running the idea straight up, we jump up a major 3rd and continue from there, then drop in part of the “snake” exercise from Module 1 to further break up the predictable motion: The next section returns to
- [Module 3 Intro](https://steveallsworth.com/courses/mastering-the-diminished/lessons/module-3-intro/): To begin, we'll
- [Intervals: 5ths](https://steveallsworth.com/courses/mastering-the-diminished/lessons/intervals-5ths/): Lesson TAB
- [The Gospel Lift (Part 2)](https://steveallsworth.com/courses/mastering-the-diminished/lessons/the-gospel-lift-part-2/): Solo TAB Lesson Material When we played an E♭ diminished 7 arpeggio in bar 6, we were implying a D7(♭9) sound, because harmonically we were playing over D9 — a key topic we studied in Module 2. For a slightly different context, we’ll look at this same harmonic move over a slower, Peter Green-style blues: The form is only 8 bars long and there
- [Diminished Blues: Spicing Up the Blues](https://steveallsworth.com/courses/mastering-the-diminished/lessons/diminished-blues-spicing-up-the-blues/): Lesson Material Using the diminished scale over the blues is something many players aspire to. Here, we'll apply the voice-leading approaches from earlier to a standard blues in A — who doesn't love a blues in A??? Players like Oz Noy, Robben Ford, Scott Henderson, and John Scofield use the diminished scale to add outside
- [The End... Or Is It? Final Thoughts & Next Steps](https://steveallsworth.com/courses/mastering-the-diminished/lessons/the-end-or-is-it-final-thoughts-next-steps/)
- [Chromatic Enclosures: Mike Stern Ideas #3 & #4](https://steveallsworth.com/courses/mastering-the-diminished/lessons/chromatic-enclosures-bebop-fusion-style-chromatics/): Mike Stern Idea #3 Since we're already talking about Mike Stern, it would be remiss not to mention his approach to bebop-style chromatic enclosures. I've mentioned enclosures already — this simply means surrounding a target note with notes approaching it from either side. Normally we use scale notes (we used one earlier around the root note A). We can also use purely chromatic enclosures — a simple example
- [Scott Henderson Idea #2](https://steveallsworth.com/courses/mastering-the-diminished/lessons/scott-henderson-idea-2/): Lesson TAB Lesson Material I'd recommend focusing on just one master string skipping position and thoroughly exploring all the permutations available across those two strings — for example, we've got the 4th, 5th, 7th and 8th frets mirrored across both the 1st and 3rd strings: As a result of viewing these permutations within this shape, you'll often hear Scott stretching out for unusual, wide-interval shapes like
- [Scott Henderson Idea #3](https://steveallsworth.com/courses/mastering-the-diminished/lessons/scott-henderson-idea-3-diads-for-triads/): Lesson Material Building further on the Scott Henderson-style wide-interval jumps and string skipping, you might also like to consider the four major triads we looked at earlier in the course. In the context of an A minor backing and A W/H diminished, these triads are: D, B, F, and — the most outside-sounding of the four — A♭: You can split up/arpeggiate these inversions and
- [Scott Henderson Idea #1](https://steveallsworth.com/courses/mastering-the-diminished/lessons/scott-henderson-idea-1-wonky-string-skipping-exercise/): Lesson Material We touched on string-skipping technique earlier in the course, when we built some shapes using 6ths: Scott Henderson is a master of using these types of patterns extensively too, especially in a minor-key context. Rather than using these 6ths shapes to string-skip in a predictable, sequential order like this (using the A W/H Diminished): Here's an exercise to help you
- [Mike Stern Idea #5: "The" Chromatic Lick](https://steveallsworth.com/courses/mastering-the-diminished/lessons/mike-stern-idea-5-the-chromatic-lick/): Lesson Material The final idea I want to share is based on one of Mike Stern's licks that first really turned my head, taken from an early track called Jigsaw. Mike Stern Idea #5: The opening is very much rooted in A minor, but it's the chromatic line that follows that really sounds amazing. He uses essentially all six chromatic notes running from
- [Mike Stern Idea #1](https://steveallsworth.com/courses/mastering-the-diminished/lessons/mike-stern-idea-1/): Lesson Material Next, I’ll demonstrate a few Mike Stern-style licks to show how he often scaffolds the diminished scale directly onto the end of a minor phrase. Mike Stern Idea #1: This line starts with a typical Dorian phrase that resolves into an enclosure shape we've seen several times already in the course. Although we usually encounter a shape like this built from
- [Mike Stern Idea #2](https://steveallsworth.com/courses/mastering-the-diminished/lessons/mike-stern-idea-2/): Lesson Material Next, we have a line that mostly uses the 3-note-per-string “scale island” framework. Mike Stern Idea #2: Downloads This one starts with a C major 7 arpeggio, which gives us a beautiful Am9 sound against the backing (you’ll hear Larry Carlton use this one a lot). We then run through the familiar scale-island shape, finishing with an enclosure idea that resolves into more blues
- [Performance Notes: The Phantom V Chord](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-notes-the-phantom-v-chord/): Lesson Material The previous example starts out firmly in A minor territory, moves into some bebop-style chromatic ideas (more on this shortly), and finishes with a line scaffolded specifically around the D H/W diminished scale. So harmonically we're implying a D7(♭9) chord throughout that final phrase, but structurally it's the same pitch content as A W/H diminished, since we're really still playing over an A minor backdrop: We also use
- [The Phantom V Chord: Implying Harmony](https://steveallsworth.com/courses/mastering-the-diminished/lessons/the-phantom-v-chord-implying-harmony/): Lesson TAB Lesson Material Another useful way to think about this whole concept is to imagine a V chord even when there technically isn't one present. We often see a minor 7 chord functioning as part of a ii–V–I progression. For example, that could be Am7 – D7(♭9) – Gmaj7. Whenever we see that D7(♭9) as part of a V-I move, that's our cue to potentially reach for D H/W diminished:
- [Going More "Outside": Diminished on Minor Chords](https://steveallsworth.com/courses/mastering-the-diminished/lessons/going-more-outside-diminished-on-minor-chords/): Lesson TAB Lesson Material In the third and final part of this module, we're going to dig into a lesser-known move used by jazz-orientated rock guitarists like Mike Stern and Scott Henderson: playing the Wole/Half diminished scale over minor chords. This can produce more gnarly, outside sounds than the more conventional harmony we looked at in the first two parts of
- [Diminished on the V](https://steveallsworth.com/courses/mastering-the-diminished/lessons/diminished-on-the-v/): Solo TAB Lesson Material As I mentioned earlier, another great spot for the diminished scale is right at the end of the turnaround, in bar 12. In the key of A, this is where we hit E7 in the final bar — the V chord, which pulls us back home to A7. For this, we'll use the E H/W diminished scale.
- [Scale Choices](https://steveallsworth.com/courses/mastering-the-diminished/lessons/scale-choices/): Lesson TAB Lesson Material In terms of note and scale choice over the A7 and D7 chords, it's easy to get lost in a bit of a minefield that's really beyond the scope of this module. As I mentioned, there’s no “one scale fits all”, but during that solo I was using a combination of several: Over A7 you could play A major blues: A Mixolydian: Or
- [Slinky Robben Style Move](https://steveallsworth.com/courses/mastering-the-diminished/lessons/slinky-robben-style-move/): Lesson TAB Lesson Material Next, we’re going to study a variation on a lick we looked at earlier in the course: This would work perfectly well over our blues backing from bar 4 into 5 — you can hear it resolves nicely into the 3rd of D7 — and just as before, we've got similar resolution points available in each minor 3rd block leading into D7: However, here's a
- [Diminished on the I Chord](https://steveallsworth.com/courses/mastering-the-diminished/lessons/diminished-on-the-i-chord/): Lesson TAB Lesson Material Here's a basic 12-bar chart: Based on the first part of this module, where we were resolving from V to I, the obvious place for the diminished scale to work is over the E7 in bar 12, since that's the V of A. We'll get to that in a later lesson, but first let’s focus on the move to the IV
- [Performance: Putting it all Together](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-putting-it-all-together-3/): Solo TAB Downloads
- [Guide Tones: The Secret to Seeing the Changes](https://steveallsworth.com/courses/mastering-the-diminished/lessons/guide-tones-the-secret-to-seeing-the-changes/): Lesson TAB Lesson Material A useful trick for visualising moving harmony — and then targeting the right scale in real time — is isolating the 3rd and 7th of each chord. These two notes are known as guide tones, because between them they define a chord's essential quality (major, minor, or dominant) and its resolution tendencies. If we isolate the 3rd and 7th of
- [Framework Idea #2](https://steveallsworth.com/courses/mastering-the-diminished/lessons/framework-idea-2/): Lesson TAB Lesson Material This next framework idea combines the sax-style lick from earlier in the course (go down a tone/repeat up a minor 3rd): with the 8-note descending phrase we introduced earlier in this module: Since we're playing over F#7, we're thinking of this as F# H/W diminished. In 12/8 we’ll play this with swung 16ths as
- [Framework Idea #1](https://steveallsworth.com/courses/mastering-the-diminished/lessons/framework-idea-1/): Solo TAB Lesson Material I’m going to give you a couple of basic framework ideas for the VI chord that you can start exploring in different musical scenarios. Try to consciously connect the chord you're playing over with the ideas from the start of this module — this is how you'll eventually learn to adapt these concepts on your own and generate original lines.
- [Jazz Blues Changes: Diminished on the VI](https://steveallsworth.com/courses/mastering-the-diminished/lessons/jazz-blues-changes-diminished-on-the-vi/): Lesson Material We've got some typical jazz-blues changes appearing towards the end of the progression, which give us several more opportunities to use the diminished scale: The first part is a classic I–VI–ii–V progression, followed by a 2-bar turnaround — shorter than you'd see in a standard 12-bar blues. This progression crops up in hundreds of classic jazz-blues tunes, so it's well worth
- [The Gospel Lift (Part 3)](https://steveallsworth.com/courses/mastering-the-diminished/lessons/the-gospel-lift-part-3/): Solo TAB Lesson Material What's interesting about the E♭ diminished 7th chord is that it's actually an exception to the V-I rule we established at the start of this module. It functions purely as a passing chord, since the D7 isn't the V of A7. E♭ W/H diminished is technically the "correct" scale here, but we can also reinterpret this E♭ diminished 7 as a D7(♭9), and therefore "think” D H/W diminished instead — which,
- [The Gospel Lift (Part 1)](https://steveallsworth.com/courses/mastering-the-diminished/lessons/the-gospel-lift-part-1/): Solo TAB Lesson Material Another excellent spot for the diminished scale is the move from the IV chord back to the I, where we often hear a common device known as the Gospel Lift. This harmonic move simply raises the root of D7 by a semitone to give us D# (or E♭) diminished 7 — a device that should
- [Performance: Minor Étude](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-minor-etude/): Lesson TAB
- [Resolving to Minor: V to i](https://steveallsworth.com/courses/mastering-the-diminished/lessons/resolving-to-minor-v-to-i/): Lesson Material Up to this point of Module 3, we’ve focused on resolving from a dominant 7th chord to a major chord. However, the same principle works just as effectively when resolving to a minor chord, provided the harmonic motion still moves down a fifth. This type of resolution is extremely common across blues, jazz, and rock, making
- [Performance Notes: Blending Arpeggio & Scale](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-notes-blending-arpeggio-scale/): Lesson TAB Lesson Material
- [Performance Notes: Minor Étude](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-notes-2/): Lesson Material The étude should help consolidate the key ideas we’ve explored so far regarding resolution from a V chord to a form of I chord – in this case, resolving to a minor tonic. As mentioned previously, the goal is not simply to memorise and recycle licks. These examples are far more valuable when treated as starting points for developing
- [Diminished 7th Arpeggios: Building from the Root](https://steveallsworth.com/courses/mastering-the-diminished/lessons/diminished-7th-arpeggios-building-from-the-root/): Lesson Material Another strategy I like to use to find the right diminished 7th arpeggio over and dominant 7th chord is by building from the root. We can use a similar method as our diminished 7th arpeggio idea from the previous chapter but this time travelling from the root: These naturally resolve to a chord tone of the D major 7, whether you're playing standard or pivot arpeggios:
- [Pivot Arpeggios: Sounding More Melodic](https://steveallsworth.com/courses/mastering-the-diminished/lessons/pivot-arpeggios-sounding-more-melodic/): Example Solo Lesson Material Another effective way to create a more melodic sound in your playing is through the use of pivot arpeggios. The basic idea is to take a familiar structure – such as a Cmaj7 arpeggio: We then alter its order by displacing the root up an octave: This simple adjustment produces a more flowing,
- [Adapting Arpeggios: Dim Maj 7th](https://steveallsworth.com/courses/mastering-the-diminished/lessons/adapting-arpeggios-dim-maj-7th/): Example Solo Lesson Material The next phrase builds upon the previous idea, but this time doesn’t use the full diminished 7th arpeggio but instead jumps to the b3 or #9 in the context of A7: You can maybe see this coming out one of the shapes we used in module 2: But in reality, this is technically a C# diminished Major 7 arpeggio:
- [Diminished 7th Arpeggios: Crafting Lines](https://steveallsworth.com/courses/mastering-the-diminished/lessons/diminished-7th-arpeggios-crafting-lines/): Lesson TAB Lesson Material To show you how you might start crafting your own lines, here’s an idea that combines and adapts two of our previous licks: The first part of the phrase is a very typical bebop phrase that uses the diminished 7th lick idea from the previous chapter but played with a pickup into a triplet rhythm. I’ve put in some suggested picking, but feel free to use whatever
- [Performance Notes: Building on the Basics](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-notes-building-on-the-basics/): Lesson Material Once you’ve got these basic 2 and 4-note phrases under your fingers, you might like to look at a wider 8-note phrase – and for this you’ll hopefully recognise our “scale island” shape from Module 1. Notice that this offers us a few different pathways in terms of resolving to the D major 7 chord: Something to
- [V to I Resolution (Part 2)](https://steveallsworth.com/courses/mastering-the-diminished/lessons/v-to-i-resolution-part-2/): Lesson Material Let’s take our voice leading concept a step further and look at a simple 2 note phrase that we can shift around in minor 3rds: As before, we’re looking for the natural voice leading as we resolve to the I chord: A resolves down to the 3rd of D C resolves down to the 5th of D E could either resolve to the
- [How to Resolve: Seeing the Chords](https://steveallsworth.com/courses/mastering-the-diminished/lessons/how-to-resolve-seeing-the-chords/): Lesson TAB Lesson Material This voice leading approach is simple, yet remarkably effective. One of its most valuable aspects is that the sense of resolution can often be heard internally before it’s even played. This encourages a more musical, ear-led understanding of harmony, rather than one confined to memorised scale shapes or finger patterns. A natural extension of this
- [test](https://steveallsworth.com/lessons/test/): text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text text
- [Diminished 7th Arpeggios: Thinking Beyond Scales](https://steveallsworth.com/courses/mastering-the-diminished/lessons/diminished-7th-arpeggios-thinking-beyond-scales/): Example Solo Lesson Material So far we’ve used phrases that follow the natural movement of the A H/W diminished scale. This is great to get you started with seeing and hearing V to I resolution, but we can take this beyond scales and start integrating diminished 7th arpeggios. As you might recall from Module 1 and 2, a dominant 7(♭9) chord is a
- [Performance Notes: Voiceleading](https://steveallsworth.com/courses/mastering-the-diminished/lessons/performance-notes-voiceleading/): Lesson Material Within the previous solo, there's more explicit resolution to the D chord by using simple root, 3rd and 5th arpeggios (and in bar 8, I’m landing on C#, which gives a D major 7 sound). These arpeggios give a strong, almost Cuban sound, which is again, simple yet very effective for spelling out the chord changes. Here's a simple example that resolves from the b9 (Bb) into

## Files

- [Putting It All Together Triads SOLO (PDF)](https://steveallsworth.com/mp-files/putting-it-all-together-triads-solo-pdf.pdf/)
- [Putting It Together Triads SOLO (GP8)](https://steveallsworth.com/mp-files/putting-it-together-triads-solo-gp8.gp/)
- [Ex #24 Major & Minor Triad Pairs (PDF)](https://steveallsworth.com/mp-files/ex-24-major-minor-triad-pairs-pdf.pdf/)
- [Ex #24 Major Minor Triad Pairs (GP8)](https://steveallsworth.com/mp-files/ex-24-major-minor-triad-pairs-gp8.gp/)
- [Ex #23 Mixing Major & Minor (PDF)](https://steveallsworth.com/mp-files/ex-23-mixing-major-minor-pdf.pdf/)
- [Ex #23 Mixing Major & Minor (GP8)](https://steveallsworth.com/mp-files/ex-23-mixing-major-minor-gp8.gp/)
- [Ex #22 Brecker (PDF)](https://steveallsworth.com/mp-files/ex-22-brecker-pdf.pdf/)
- [Ex #22 Brecker (GP8)](https://steveallsworth.com/mp-files/ex-22-brecker-gp8.gp/)
- [Ex #21 Triad Pairs (PDF)](https://steveallsworth.com/mp-files/ex-21-triad-pairs-pdf.pdf/)
- [Ex #21 Triad Pairs (GP8)](https://steveallsworth.com/mp-files/ex-21-triad-pairs-gp8.gp/)
- [Ex #20 Two & Three String Triads (PDF)](https://steveallsworth.com/mp-files/ex-20-two-three-string-triads-pdf.pdf/)
- [Ex #20 Two & Three String Triads (GP8)](https://steveallsworth.com/mp-files/ex-20-two-three-string-triads-gp8.gp/)
- [Ex #13 Mike Stern Sequence (PDF)](https://steveallsworth.com/mp-files/ex-13-mike-stern-sequence-pdf.pdf/)
- [Ex #10 Miinor 3rd Sequence (PDF)](https://steveallsworth.com/mp-files/ex-10-miinor-3rd-sequence-pdf.pdf/)
- [Ex #10 Minor 3rd Sequence (GP8)](https://steveallsworth.com/mp-files/ex-10-minor-3rd-sequence-gp8.gp/)
- [Ex #11 Breaking Up the Sequence (GP8)](https://steveallsworth.com/mp-files/ex-11-breaking-up-the-sequence-gp8.gp/)
- [Ex #11 Breaking Up the Sequence (PDF)](https://steveallsworth.com/mp-files/ex-11-breaking-up-the-sequence-pdf.pdf/)
- [Ex #12 Moving in 4ths (GP8)](https://steveallsworth.com/mp-files/ex-12-moving-in-4ths-gp8.gp/)
- [Ex #12 Moving in 4ths (PDF)](https://steveallsworth.com/mp-files/ex-12-moving-in-4ths-pdf.pdf/)
- [Ex #13 Mike Stern Sequence (GP8)](https://steveallsworth.com/mp-files/ex-13-mike-stern-sequence-gp8.gp/)
- [Ex #14 Classic Sax Sequence (GP8)](https://steveallsworth.com/mp-files/ex-14-classic-sax-sequence-gp8.gp/)
- [Ex #14 Classic Sax Sequence (PDF)](https://steveallsworth.com/mp-files/ex-14-classic-sax-sequence-pdf.pdf/)
- [Ex #15 Coltrane Sequence (GP8)](https://steveallsworth.com/mp-files/ex-15-coltrane-sequence-gp8.gp/)
- [Ex #15 Coltrane Sequence (PDF)](https://steveallsworth.com/mp-files/ex-15-coltrane-sequence-pdf.pdf/)
- [Ex #16 Rhythmic Disp (GP8)](https://steveallsworth.com/mp-files/ex-16-rhythmic-disp-gp8.gp/)
- [Ex #16 Rhythmic Disp (PDF)](https://steveallsworth.com/mp-files/ex-16-rhythmic-disp-pdf.pdf/)
- [Ex #17 Rhythmic Disp (GP8)](https://steveallsworth.com/mp-files/ex-15-rhythmic-disp-gp8.gp/)
- [Ex #17 Rhythmic Disp (PDF)](https://steveallsworth.com/mp-files/ex-17-rhythmic-disp-pdf.pdf/)
- [Ex #18 Triads (GP8)](https://steveallsworth.com/mp-files/ex-18-triads-gp8.gp/)
- [Ex #18 Triads (PDF)](https://steveallsworth.com/mp-files/ex-18-triads-pdf.pdf/)
- [Ex #19 Triads (GP8)](https://steveallsworth.com/mp-files/ex-19-triads-gp8.gp/)
- [Ex #19 Triads (PDF)](https://steveallsworth.com/mp-files/ex-19-triads-pdf.pdf/)
- [Intervals, Sequences & Triads PDF Book](https://steveallsworth.com/mp-files/intervals-sequences-triads-pdf-book.pdf/)
- [Diminished Harmony PDF Book](https://steveallsworth.com/mp-files/diminished-harmony-pdf-book.pdf/)
- [D Nola Funk 80 BPM](https://steveallsworth.com/mp-files/d-nola-funk-80-bpm.mp3/)
- [Ex #9 7ths & 2nds (PDF)](https://steveallsworth.com/mp-files/ex-9-7ths-2nds-pdf.pdf/)
- [Ex #9 7th & 2nds (GP8)](https://steveallsworth.com/mp-files/ex-9-7th-2nds-gp8.gp/)
- [Ex #8 Wonky String Skipping (PDF)](https://steveallsworth.com/mp-files/ex-8-wonky-string-skipping-pdf.pdf/)
- [Ex #8 Wonky String Skipping (GP8)](https://steveallsworth.com/mp-files/ex-8-wonky-string-skipping-gp8.gp/)
- [Ex #7 Major 6ths (PDF)](https://steveallsworth.com/mp-files/ex-7-major-6ths-pdf.pdf/)
- [Ex #7 Major 6ths (GP8)](https://steveallsworth.com/mp-files/ex-7-major-6ths-gp8.gp/)
- [Ex #6 5ths & 6ths (PDF)](https://steveallsworth.com/mp-files/ex-6-5ths-6ths-pdf.pdf/)
- [Ex #6 5ths & 6ths (GP8)](https://steveallsworth.com/mp-files/ex-6-5ths-6ths-gp8.gp/)
- [Ex #5 Minor 6ths (PDF)](https://steveallsworth.com/mp-files/ex-5-minor-6ths-pdf.pdf/)
- [Ex #5 Minor 6ths (GP8)](https://steveallsworth.com/mp-files/ex-5-minor-6ths-gp8.gp/)
- [Ex #4 5ths (PDF)](https://steveallsworth.com/mp-files/ex-4-5ths-pdf.pdf/)
- [Ex #4 5ths (GP8)](https://steveallsworth.com/mp-files/ex-4-5ths-gp8.gp/)
- [Ex #3 3rds & 4ths (PDF)](https://steveallsworth.com/mp-files/ex-3-3rds-4ths-pdf.pdf/)
- [Ex #3 3rds & 4ths (GP8)](https://steveallsworth.com/mp-files/ex-3-3rds-4ths-gp8.gp/)
- [Ex #2 Minor 3rds (GP8)](https://steveallsworth.com/mp-files/ex-2-minor-3rds-gp8.gp/)
- [Ex #2 Minor 3rds (PDF)](https://steveallsworth.com/mp-files/ex-2-minor-3rds-pdf.pdf/)
- [Ex #1 Morphing Ideas (PDF)](https://steveallsworth.com/mp-files/ex-1-morphing-ideas-pdf.pdf/)
- [Ex #1 Morphing Ideas (GP8)](https://steveallsworth.com/mp-files/ex-1-morphing-ideas-gp8.gp/)
- [Minor 3rds Legato (PDF)](https://steveallsworth.com/mp-files/minor-3rds-legato-pdf.pdf/)
- [Minor 3rds Legato (GP8)](https://steveallsworth.com/mp-files/minor-3rds-legato-gp8.gp/)
- [D Jazz Fusion 108 BPM](https://steveallsworth.com/mp-files/d-jazz-fusion-108-bpm.mp3/)
- [Improvising With Rhythm SOLO (PDF)](https://steveallsworth.com/mp-files/improvising-with-rhythm-solo-pdf.pdf/)
- [Improvising With Rhythm SOLO (GP8)](https://steveallsworth.com/mp-files/improvising-with-rhythm-solo-gp8.gp/)
- [D Dim Harmony Étude 100 BPM](https://steveallsworth.com/mp-files/d-dim-harmony-etude-100-bpm.mp3/)
- [D Dim Harmony Groove 100 BPM](https://steveallsworth.com/mp-files/d-dim-harmony-groove-100-bpm.mp3/)
- [D Dim Harmony Groove (Short) 100 BPM](https://steveallsworth.com/mp-files/d-dim-harmony-groove-short-100-bpm.mp3/)
- [Bedding In Concepts SOLO (PDF)](https://steveallsworth.com/mp-files/bedding-in-concepts-solo-pdf.pdf/)
- [Bedding In Concepts SOLO (GP8)](https://steveallsworth.com/mp-files/bedding-in-concepts-solo-gp8.gp/)
- [Chords As A Tension Device SOLO (PDF)](https://steveallsworth.com/mp-files/chords-as-a-tension-device-solo-pdf.pdf/)
- [Diminished Fusion Étude (PDF)](https://steveallsworth.com/mp-files/diminished-fusion-etude-pdf.pdf/)
- [Diminished Fusion Étude (GP8)](https://steveallsworth.com/mp-files/diminished-fusion-etude-gp8.gp/)
- [Chords As A Tension Device SOLO (GP8)](https://steveallsworth.com/mp-files/chords-as-a-tension-device-solo-gp8.gp/)
- [D Jazz Fusion (Slower) 91 BPM](https://steveallsworth.com/mp-files/d-jazz-fusion-slower-91-bpm.mp3/)
- [Rock Fusion Étude (PDF)](https://steveallsworth.com/mp-files/rock-fusion-etude-pdf-2.pdf/)
- [Rock Fusion Étude (GP8)](https://steveallsworth.com/mp-files/rock-fusion-etude-gp8-2.gp/)
- [E Diminished Rock Étude (Extended) 86 BPM](https://steveallsworth.com/mp-files/e-diminished-rock-etude-extended-86-bpm.mp3/)
- [E Diminished Rock Étude 86 BPM](https://steveallsworth.com/mp-files/e-diminished-rock-etude-86-bpm.mp3/)
- [Digging Into Rock Fusion PDF Book](https://steveallsworth.com/mp-files/digging-into-rock-fusion-pdf-book.pdf/)
- [Putting It All Together SOLO (GP8)](https://steveallsworth.com/mp-files/putting-it-all-together-solo-gp8.gp/)
- [Putting It All Together SOLO (PDF)](https://steveallsworth.com/mp-files/putting-it-all-together-solo-pdf.pdf/)
- [C# Cool 89 BPM](https://steveallsworth.com/mp-files/c-cool-89-bpm.mp3/)
- [Rock Fusion Étude (PDF)](https://steveallsworth.com/mp-files/rock-fusion-etude-pdf.pdf/)
- [Rock Fusion Étude (GP8)](https://steveallsworth.com/mp-files/rock-fusion-etude-gp8.gp/)
- [Diminished Triads Solo (GP8)](https://steveallsworth.com/mp-files/diminished-triads-solo-gp8.gp/)
- [Diminished Triads SOLO (PDF)](https://steveallsworth.com/mp-files/diminished-triads-solo-pdf.pdf/)
- [Target the 3rd & 6th SOLO (GP8)](https://steveallsworth.com/mp-files/target-the-3rd-6th-solo-gp8.gp/)
- [Target the 3rd & 6th SOLO (PDF)](https://steveallsworth.com/mp-files/target-the-3rd-6th-solo-pdf.pdf/)
- [Target the b5 SOLO (GP8)](https://steveallsworth.com/mp-files/target-the-b5-solo-gp8.gp/)
- [Target the b5 SOLO (PDF)](https://steveallsworth.com/mp-files/target-the-b5-solo-pdf.pdf/)
- [One String Solo (PDF)](https://steveallsworth.com/mp-files/one-string-solo-pdf.pdf/)
- [One String Solo (GP8)](https://steveallsworth.com/mp-files/one-string-solo-gp8.gp/)
- [Bb Funk 86 BPM](https://steveallsworth.com/mp-files/bb-funk-86-bpm.mp3/)
- [Digging Intro Rock Fusion PDF Book](https://steveallsworth.com/mp-files/digging-intro-rock-fusion-pdf-book.pdf/)
- [Bolting Onto the Blues PDF Book](https://steveallsworth.com/mp-files/bolting-onto-the-blues-pdf-book.pdf/)

## Quizzes

- [Digging Into Rock Fusion & Module 1 (Self Check)](https://steveallsworth.com/courses/mastering-the-diminished/quizzes/digging-into-rock-fusion-module-1-self-check/): Here's a quick skills/learning check before moving on to Module 2. I'd recommend you get comfortable with at least 5 of these, as the technique, theory and exercises ramp up a level! Remember to revisit the previous section as often as you need. All of the ideas are perfectly interchangeable over the three backing tracks
- [Bolting Onto the Blues (Self Check)](https://steveallsworth.com/courses/mastering-the-diminished/quizzes/bolting-onto-the-blues-self-check-2/): Here's a quick informal check of where you're at with all the concepts studied so far. Since there are two backing tracks for this section (one in B♭, the other in C#) it's worthwhile trying to slot in ideas over both, adjusting the root/centre of gravity as necessary. The golden rule is always visualise the

## Lessons

- [Larry Carlton's Money Notes](https://steveallsworth.com/lesson/larry-carltons-money-notes/): Break out of the box with Larry Carlton's Super Arpeggio technique — stacking triads to find fresh, head-turning 'money notes' in your solos.
- [5 Guitar Skills You Can Learn From Jeff Beck](https://steveallsworth.com/lesson/5-guitar-skills-you-can-learn-from-jeff-beck/): No pick, no genre, no limits — 5 lessons from Jeff Beck's restless reinvention and his uniquely dynamic touch.
- [How Pop-Funk Can Supercharge Your Rhythm Playing](https://steveallsworth.com/lesson/how-pop-funk-can-supercharge-your-rhythm-playing/): Unlock the secret to sounding 'in the pocket' — the key Pop-Funk techniques that'll take your rhythm chops from good to groove-master.
- [If You Learn One Thing From Buddy Guy It's This](https://steveallsworth.com/lesson/if-you-learn-one-thing-from-buddy-guy-its-this/): Get that Buddy Guy-like phrasing by mastering his signature style: rhythmic on-grid and off-grid phrasing
- [Unlocking the Changes – What You Can Learn From Luke's Genius Approach](https://steveallsworth.com/lesson/unlocking-lukes-genius/): How Steve Lukather turns tricky jazz changes into taste, not theory-overload — a short solo packed with lessons on simplifying complex chords without losing musicality (yes, there's some theory too).

## Testimonials

- [Leon B](https://steveallsworth.com/testimonial/leon-b/): It's easily the best diminished style course I've tried (and I've tried a few!) The highlights for me is that I'm starting to see the notes of the diminished scale as options over a normal dom7 chord as opposed to just playing the scale. The examples are also deceptively deep for such small nuggets. A 3 minute video and it got me playing sounds like I had heard Scott Henderson and Jimmy Herring playing!
- [Thomas O](https://steveallsworth.com/testimonial/thomas-o/): Your way of teaching works for me - enough theory with not only the concepts, but the theory and concepts put into action so they are visually seen and heard. I liked the idea of one string work. The practice set up of using 1,2-4, 1,3-4 and thennulmately breaking down just two notes, kind of opens your eyes and then it all clicks in.
- [Stewart K](https://steveallsworth.com/testimonial/stewart-k/): I really appreciate how much how much thought and work you have put into this course. As a guitar player and teacher I have experience of quite a few previous courses and the quality has been variable. With this course I would go as far as to say that you have set the Gold standard. I've never seen anything this good. Congratulations!
- [Eric F](https://steveallsworth.com/testimonial/eric-f/): I really enjoy this course. It’s unlocking things I already knew without using them in a musical way. I love the short videos on specific points. It is very progressive. I haven’t been very far right now but your teaching is very clear and I take time to assimilate every point.
- [Carlos M](https://steveallsworth.com/testimonial/carlos-m/): I've been playing for years, but self-taught with no real structure - so I really appreciate how organised this course is. I've played the backing track in Bb more times than I can count!
- [Frank A](https://steveallsworth.com/testimonial/frank-a/): Really liking the course so far. I already have a greater understanding of the scale and how to use it musically.
- [Bernhard H](https://steveallsworth.com/testimonial/bernhard-h/): Your production, playing and teaching is absolutely first class! I consider myself a quite advanced player, but have struggled to really weave in outside sounds freely, instead of just copying the obvious Robben Ford licks. I find your teaching ideas very good and feel taken by the hand so far.

## Products

- [Isn't She Lovely Blues Style Backing Track](https://steveallsworth.com/product/isnt-she-lovely-blues-style-backing-track/): This backing track was used in the 'Stop Noodling' YouTube lesson. It's great for practising playing over 'changes' and being a bit more explicit with your note choices. https://steveallsworth.com/wp-content/uploads/2025/06/ISL-EXCERPT.mp3
- [Larry Carlton Style Backing](https://steveallsworth.com/product/larry-carlton-style-backing/): This is the backing track from my YouTube video on Larry Carlton's Super Arpeggio approach to soloing. https://steveallsworth.com/wp-content/uploads/2025/06/LARRY-EXCERPT.mp3
- [100 Essential Funk Grooves for Guitar](https://steveallsworth.com/product/100-essential-funk-grooves-for-guitar/)
- [Lydian Dominant PDF TAB](https://steveallsworth.com/product/lydian-dominant-pdf-tab/): This is a fully transcribed PDF from my YouTube lesson including the solo and all incidental played concepts.
- [Am Blues: Lydian Dominant Backing Track](https://steveallsworth.com/product/am-blues-backing-track/): This backing track was used in the Robben Ford Lydian Dominant YouTube lesson. https://steveallsworth.com/wp-content/uploads/2025/06/Am-BLUES-EXCERPT.mp3
- [Robben Ford Diminished PDF TAB](https://steveallsworth.com/product/robben-ford-diminished-pdf-tab/): This is a fully transcribed PDF from my YouTube lesson on how Robben Ford uses the half/whole diminished scale in a standard 12 bar blues.
- [Altered Scale Rock Fusion Backing Track](https://steveallsworth.com/product/rock-fusion-backing-track/): This backing track was used in the Unlocking the Altered Scale YouTube lesson. https://steveallsworth.com/wp-content/uploads/2025/06/Dm-FUSION-EXCERPT.mp3
- [Scott Henderson Style Backing](https://steveallsworth.com/product/scott-henderson-style-backing/): This backing track was used in the Scott Henderson W/H Diminished scale YouTube lesson. https://steveallsworth.com/wp-content/uploads/2025/06/SCOTT-EXCERPT.mp3
- [12 Bar Blues Backing Track (In A)](https://steveallsworth.com/product/12-bar-blues-backing-track-in-a/): This backing track was used in the Robben Ford Diminished YouTube lesson. https://steveallsworth.com/wp-content/uploads/2025/07/A-BLUES-EXCERPT.mp3
- [Am-F9 Blues Backing Track](https://steveallsworth.com/product/am-f9-blues-backing-track/): This backing track cycles between Am and F9 (used in the Robben Ford Lydian Dominant YouTube lesson).

## Directories

- [All Users](https://steveallsworth.com/directories/all-users/): Search Users Grid View List View Filter directory by category All Filters Product Role Location Photo All Products Mastering the Diminished (Payment Plan) Mastering the Diminished All Roles Editor Author Contributor Subscriber Customer Shop manager All Countries Afghanistan Åland Islands Albania Algeria Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Australia Austria Azerbaijan

## Categories

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- [Outside Playing](https://steveallsworth.com/tag/outside-playing/)
- [Scott Henderson](https://steveallsworth.com/tag/scott-henderson/)
- [blues](https://steveallsworth.com/tag/blues/)
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## File Categories

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## Categories

- [Improvising](https://steveallsworth.com/lesson-category/improvising/)
- [Guitar Solo](https://steveallsworth.com/lesson-category/guitar-solo/)
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## Tags

- [improvising](https://steveallsworth.com/lesson-tags/improvising/)
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## Product categories

- [Backing Tracks](https://steveallsworth.com/product-category/backing-tracks/)
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