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  Scoredog

  Hey Bill, I just happened to look over here, I did not know I even had wall, I have no idea why I have a wall, I mean we have messaging...but there is a wall too!....:)...who knew?...I didn't...you did.

  The major structures in tritones are covered in the course but mostly out of a diminished scale as there are 4 major and 4 minor structures in a diminished scale (just in case you didn't know, most players don't). The structures you have sent do not work with the symmetrical patterns i presented earlier as there are generally more fingers needed (most of my simple patterns get away with only using three fingers and rarely a pinky). I will cover some of what you sent but these major tritone patterns are covered quite a bit in other methods and obviously you are already aware of them so I am trying to bring new concepts to the table and not rehash "too much" what others have done (of course classical music is littered with this particular movement). I'll probably gloss over the basics on this, like what you have here and then go into a deeper dive with the combinations of the 4 major triads within a diminished scale.

  Hope that helps!

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  Bill Da Costa Williams → Scoredog

  Craig,

  I'm messaging here rather than in the public forum in case my suggestion is not relevant and complicates your presentation

  Your idea about simple shapes moving across the strings from the 6th string reminds me of an example I hear used by Mark Johnson and Kurt Rosenwinkel for V dominant (especially altered) resolving to I. It uses alternating triads of the V and its tritone. I'm womdering if you include this one.

  Much easier to visualise than explain.

  Example:

   

  

  
  

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