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> Diminished Arpeggios, Best places to use them
Shredly
post 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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Staffy
post 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.... smile.gif

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Pedja Simovic
post May 31 2010, 11:44 AM
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Excellent explanation by Staffay.
You could also use diminished chords as passing diminished chords. That is basically another way of approaching diatonic chord and creating smooth bass line that could go chromatically.
Something like this :

// G maj7 / G#dim7 / A min7 / A# or Bb dim7 / B min7 // etc
2nd and 4th bar use passing dim7 chords which are there to set up smooth resolution into diatonic chords of G major scale (A min7 and B min7). Notice how bass line in that progression would go , G, G#, A , A# , B... Chromatic approach all the way.

Hope that helps.


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Shredly
post 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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Staffy
post 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


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Vasilije Vukmiro...
post Jun 3 2010, 11:55 AM
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Over all dominant chords. Dominant 7, Diminished, augmented...
Even regular major chords sometimes, it's best to check with your ear, if it sounds good, it is good!


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Daniel Realpe
post 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


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djohnneay
post Jun 16 2010, 09:46 PM
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Just a guess, but they might work over add11 chords also.

For example using Cdim over a Cadd11, this kinda thing could help you transpose from lydian to locrian scale.
Again, it could work in theory, but I didn't try it.

Rule is, if you use chord notes, you're sure to have a strong sounding melody.
When using notes outside of the chord, make sure they belong to a scale which has all of the chord notes in it.

Dim chord could work great in every progression, depending on the chords.
For example, in Am key, if you have Am, Dm, Am, Bdim you could play a Bdim arpeggio over the Bdim chord, but it could work anywhere depending on the sound you are going for, because all of the notes are part of the Amin key.

Hope I didn't confuse it too much now for you...


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