Okay, Brian says, diminished scale usage. It's the same scale if you use it over a dominant seventh versus a diminished court, right? I hear you refer to it as whole half versus half half. Does it matter? It does matter a little bit, but it is all the same notes, Brian. So Peter, can I use you as my guinea pig here? Because I don't have to working. I still don't. I tried to, can you hear that? Come on it.

You got to get that right,

you gotta get it going

to that right channel,

Broski.

Oh my gosh. How do I do this? No, just tell me what to play. I got you, man. We're partners. Okay, so play in your left hand, play F, A, A, F, A, and E.

My left hand?

In your left hand,

F, below, middle C, F, A, F, A, B, and E. F. My left hand?

In your left hand,

F, below, middle C, F, A, A, flat, B, and E.

F, A, A, flat, B, and E.

There you go.

I can hear that.

Okay.

Now play an F whole half to minute's scale over that.

Right, so Brian... an F whole half-diminish scale over that. Right.

So Brian, here's the whole half.

It's F, G, A, B, flat, B, C, sharp, D, E, right?

And as you notice, if you plays that voicing in the left hand of F, A, flat, B, and E,

that's an F diminished voicing, and you would use the F whole half. So the whole half, diminished scale, from the root, can be used over a diminished chord. Right? So the whole half diminished scale, so again, if you have, oh, look, he's got the cordy. Oh, my gosh, the cat. I didn't want to show off, but, you know.

Okay, so play, yeah, so there you go.

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