Whole-tone Scale Ex 2 This 3/4 time example shows how you can use the whole-tone scale to negotiate a V- I(m) progression, using it as dominant chord tension, which resolves on the Im9 (Dm9). It is a descending sequence of pull- offs, with a logical fingering of fourth, second and first respectively. We end by landing on the final A note which, in the context of our Dm9 chord, is the 5th. Whole-tone Scale Ex 3 In our final example, the harmonic context is a G augmented triad with A in the bass going to an F augmented triad with A in the bass. The chords are written like this as it makes it easier to translate to the guitar since 7 the nature of the whole-tone scale means chord names can be ambiguous. We start by travelling up the fretboard by way of a three-notes-per-string shape, adding some sequence based scale ideas. We then land on an augmented A triad at the 10th fret, which gets moved back down the neck in whole tone steps. I recommend using first, second and third fingers, the third finger on the fifth string and first finger on the 3rd. This idea is then repeated and further developed higher up the neck, starting from 17th fret. Logical fingering is: first finger on the first string, third finger for the 2nd and second finger for notes on the third string. For the final phrases, your first finger can be used effectively to barre the second and third strings (4th, 6th and 8th frets).