Mr 335 TV

Larry Carlton's 335 Improv

	335 Improv Introduction
	Course Sampler Videos Free Lesson Samples
	1:1 Comping 2-Chord Pattern
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	1:2 Expanding Comp Choices
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	1:3 Approaches to Soloing
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	1:4 The Triad Approach
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	1:5 Breaking Down Triads
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	1:6 Chromatics
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	1:7 Concepts in Play
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	2:1 Comp & Solo: 1 Chord
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	2:2 Shifting the Raised 9
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	2:3 Comping on a Raised 9
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	2:4 The Diminished Scale
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	2:5 Shifting Diminished
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	2:6 Concepts in Play
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	3:1 Chords & Melody
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	3:2 Complementing Melody
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	3:3 Comping Performance
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	3:4 Improvising Over Changes
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	3:5 Connecting Chord Tones
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	3:6 Concepts in Play
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	4:1 Pedal Tones
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	4:2 Blues Rhythm Voicings
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	4:3 Melodic Minor
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	4:4 Concepts in Play
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	5:1 Melody & Rhythm
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	5:2 Thinking Through Changes
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	5:3 Soloing Concepts in Play
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	6:1 I-VI-II-V Progression
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	6:2 Available Scales
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	6:3 Soloing Over I-VI-II-V
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	6:4 Making Music with Scales
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	6:5 Concepts in Play
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	Conclusion www.larrycarlton.com

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Channel: Larry Carlton's 335 Improv Video: 2:5 Shifting Diminished	P-TAB \| CHART \| JAM
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Diminished scales can be moved around in minor 3rds the very same way that raised-9 chords can. I've already shown you how many doors can open up once you start moving around the raised-9 chord and arpeggios. So, now explore the possibilities of improvising with the diminished scale and all of the partner scales that are available every time you move up or down the next by minor 3rds. Lots of possibilities to work with!

You may find it easiest to identify which diminished scales to work with by tracking to the raised-9 chords. For example, if you're starting on a Db7#9, you can begin with the Db diminished. A minor 3rd below the Db7#9, you can play Bb7#9 -likewise, you can play Bb diminished scale. Step down another minor 3rd and you have G7#9 and the G diminished scale. Then comes E7#9 and E diminished, and then you're back to Db.

Bear in mind, you don't need a Bb7#9 in the rhythm part to use Bb diminished in your solo. You can play any of the diminished scales (Db, Bb, G, E) over any of the raised-9 chords.