#1
Basically, a whole tone scale is a scale which is made up completely out of whole tones. So for example a C whole tone scale would go C D E F# G# A# C. This is an interesting scale but i am a bit stuck with an appropriate place to apply it. Does any one know any chords or times where this scale would be usable? thanks.
#3
i find that adding a whole tone run into a riff works pretty well. it sounds so distinct. it will make that section of the riff stand out
Originally posted by primusfan
When you crank up the gain to 10 and switch to the lead channel, it actually sounds like you are unjustifiably bombing an innocent foreign land.


╠═══════╬═══════╣
τλε τρπ βπστλεπλσσδ
╠═══════╬═══════╣
#4
works great over an augmented 7 chord

so that would be (degrees) 1 3 #4 b7

correct me if im wrong

but its more of a passing chord - due to the tritone in it (1 and #4)
Quote by BlitzkriegAir
1. Get drunk
2. play pentatonic scales fast
3. throw in some divebombs and pinch harmonics
4. Get killed onstage
5. become legendary guitarist instantaneously


Quote by Holy Katana

How dare you attack the greatness of the augmented sixth?
#6
I sometimes use it over 7b5 chords / aug7 chords.

Quote by Tominator_1991
works great over an augmented 7 chord

so that would be (degrees) 1 3 #4 b7

correct me if im wrong

but its more of a passing chord - due to the tritone in it (1 and #4)


1 3 #5 b7
Last edited by griffRG7321 at Aug 24, 2010,
#7
bugger,
that would have just been a dim. chord hey! :/
Quote by BlitzkriegAir
1. Get drunk
2. play pentatonic scales fast
3. throw in some divebombs and pinch harmonics
4. Get killed onstage
5. become legendary guitarist instantaneously


Quote by Holy Katana

How dare you attack the greatness of the augmented sixth?
#8
um... i use it over connecting chords... u know, sometimes those tritone movements... and it works for me... dunno about the rest of you... i never played it over a specific set chord... so like i said, i use it to connect... hope that helps
#9
yeah one of my uni audition pieces coming up is red clay by freddie hubbard, the solo section has a G+7 in it, so it comes in handy there
Quote by BlitzkriegAir
1. Get drunk
2. play pentatonic scales fast
3. throw in some divebombs and pinch harmonics
4. Get killed onstage
5. become legendary guitarist instantaneously


Quote by Holy Katana

How dare you attack the greatness of the augmented sixth?
#10
Certain augmented chords as people have said. But it can be used over many chords as a section of one of the whole tone scales likely has many chord tones contained in it. Also works great to give distinctive sound to a psuedo-bullsh** run in a solo.
#11
It's very commonly used over Dominant 7ths with an altered 5th.

R 9 3 b5 #5 b7
shred is gaudy music
Last edited by GuitarMunky at Aug 24, 2010,
#13
Quote by stasz
Two words: dream sequence.

+1. So true.

I've always felt that the whole tone scale sounds really deranged. I'd probably use it whenever you'd want to go for a bit of a "WTF?" moment.
#14
Quote by nearlyarockstar
I use it over m7 and m7b5 chords...shameless plug but check out the third example here:

*Link removed* Sorry about my shameless plug. AlanHB edit


Sorry, but the plugging of your site is against UG rules. I'll allow the blog link and signature link for now, but be warned that another moderator may take harsher action.
And no, Guitar Hero will not help. Even on expert. Really.
Soundcloud
#15
I've always imagined it'd be something you'd only outline, like you wouldn't really use an obvious run of it it. Like, all the important (prominent) tones will follow the whole tone scale and everything else would be seemingly diatonic. Sort of hard to explain without sheet music and I'm a bit lazy to write anything. If you're really interested, Claude Debussy and Bela Bartok used whole tone scales, you could research their music.

This is how I use things like diminished scales without them sounding dreadfully out of key.
        ,
        |\
[U]        | |                     [/U]
[U]        |/     .-.              [/U]
[U]       /|_     `-’       |      [/U]
[U]      //| \      |       |      [/U]
[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.
#16
Quote by AlanHB
Sorry, but the plugging of your site is against UG rules. I'll allow the blog link and signature link for now, but be warned that another moderator may take harsher action.


I thought it might help if he heard the scale in action...was just trying to help but if those are the rules then fair enough I consider myself told off!
#17
I just use it over dom7 chords. This covers the +7, m7b5, and m7 chords in one shot.

Also remember, you don't need to play the cmplete scale either just playing the R 2 M3 b5 and b7 alone can give you some hip sounds.

Also, by stacking everyother note in the full scale on top of each you create a series of augmented chords a whole step apart. Then you can widen the steps between then to create great augment chord runs.
#18
It works well depending on which sound you want to achieve. If you are playing over a Dm11 chord you could use it if you want an extra tension, but you couldn´t do an entire solo, just a small tension in it. For me it sounds nice over Dominant 7 with an altered 5 and it really works well as I said depending on which sound youd like to achieve.
Fender Telecaster Thin Line

(For playing fusion as a solo project)
Ernie Ball VP Jr
Vox Wah
Korg DT-10 Tuner
Ibanez TS9 Tube Screamer
Mxr Phase 90
Electro Harmonix Small Clone
Boss DD6 Digital Delay