[Harp-L] dim. half whole -> another perspective

[Wim Dijkgraaf <info@xxxxxxxxxxxxxxxx>]

It helped me a lot to look at dominant seventh scales (and scales in
general)
from another perspective. Just construct scales by looking at the 
possibilities to fill the intervals between chord tones.

The regular scale to use is the mixolydian scale.
For example G7: G A B C D E F G

Substitution 1
One way to fill up the notes between the root and the 3rd is by using
The half/whole pattern which substitutes the major 9th with
The b9 and #9 -> G Ab Bb B

For example: G7: G Ab Bb B C D E F G

Substitution 2
One way to fill up the notes between the 3rd and the 5th is by raising
the eleventh (#11) -> B C# D

For example: G7: G A B C# D E F G

Substitution 3
One way to fill up the fifth and the seventh chord tone is by
substitution of the 13th with a raised fifth (#5).

For example: G7: G A B C D# F G

With these 3 substitutions you are able to construct most of the
dominant 7th scales as mentioned in the previous postings.

With these subsitutions you are able to construct the following scales:
G Ab Bb B C# D E F G (substitution 1 & 2)= Dim. Half tone
G Ab Bb B C# D# F G (substitution 1,2 & 3)= Dim. Whole tone 
G A B C# D E F G (substitution 2)=  Lydian Dominant
G A B C# D# F G (substitution 2 & 3) = Wholetone
G Ab Bb B C D E F G (substitution 1) = Don't know the name
G Ab Bb B C D# F G (substitution 1 & 3) = Don't know the name
G A B C D# F G (substituion 3) = Don't know the name: 

Hope this is worth a penny.

Wim Dijkgraaf
http://www.wimdijkgraaf.com