Diminished Arpeggios, Best places to use them |
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May 31 2010, 09:20 AM
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What kind of progressions can they and where in a progression can they be used? I know they work over the V chord pretty good.
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May 31 2010, 10:47 AM
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I guess You mean arpeggios based on 1-b3-b5, since they are the most common associated with dimished scale, however there are both minor & major arpeggios derived from that scale as well. Of course the dimished arpeggio suits best on a dimished chord, eg. C-Eb-Gb-A, but they can be used on practically any chord, depending on how much "in style" You wanna be. I will suits perfectly on a Dominant 7th as You say, bulit from the b9 of the chord. eg. on E7b9 a dimished triad built from F is correct. That goes also for #9 chords. Built from the root it suits minor b5 chords. However, they can be played chromatically up & down, moving them in the intervals of the scale or in minor thirds on practically any chord. This will create tension, but as long as it goes down on a proper note, it will sound OK if Youre after that "out-of-tune" sound....
 //Staffay --------------------  Guitars: Ibanez AM-200, Ibanez GB-10, Fender Stratocaster Classic Player, Warmouth Custom Built, Suhr Classic Strat, Gibson Les Paul Standard 2003, Ibanez steel-string Amps: Fender Hot Rod Deluxe, Marshall JMP 2103, AER 60 Effects: BOSS DD-20, Danelectro Trans. Overdrive, TC-Electronics G-Major, Dunlop Wah-wah, Original SansAmp, BOSS DD-2 Music by Staffy can be found at: Staffay at MySpace |
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Jun 1 2010, 07:28 AM
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Hmmm.... im mainly talking about 1-b3-b5 triads that I can sweep and move around yngwie style. Ill just keep jamming them over progressions till i can feel them.
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Jun 1 2010, 07:41 AM
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QUOTE (Shredly @ Jun 1 2010, 08:28 AM)  Hmmm.... im mainly talking about 1-b3-b5 triads that I can sweep and move around yngwie style. Ill just keep jamming them over progressions till i can feel them. In that case/style I suggest to use them over the V chord or minor b5 if existing, they can also be used on a I - minor chord superimposing that the V is played. Eg. on an A-minor chord, the triads should be based on an E7b9 giving it an A- harmonic minor touch. It can sound cool played fast with resolving at a chord note. I guess that You already know that these triads can be moved in minor thirds.... //Staffay -------------------- Guitars: Ibanez AM-200, Ibanez GB-10, Fender Stratocaster Classic Player, Warmouth Custom Built, Suhr Classic Strat, Gibson Les Paul Standard 2003, Ibanez steel-string Amps: Fender Hot Rod Deluxe, Marshall JMP 2103, AER 60 Effects: BOSS DD-20, Danelectro Trans. Overdrive, TC-Electronics G-Major, Dunlop Wah-wah, Original SansAmp, BOSS DD-2 Music by Staffy can be found at: Staffay at MySpace |
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Jun 13 2010, 02:21 AM
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If you notice, when Yngwie uses them, most of the times he uses them over:
- V dominant - vii of a harmonic minor scale, I guess over a (ii) it would be used too -------------------- Visit my:
INSTRUCTOR PROFILE "If a composer could say what he had to say in words he would not bother trying to say it in music." Gustav Mahler Subscribe to my Youtube Channel here |
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