I'm a big fan of Randy Rhoads, my phrasing in a Metal/Hard Rock context is really similar to his. I was learning the Mr. Crowley solo & couldn't help noticing the diminished stuff in it & evaluated my playing & I would like to add some of that. The only thing I usually do is thrill with the diminished scale(like in Revelation & some parts in Mr Crowley). In riffs I am able to use it effortlessly(I grew up listening to Thrash & the diminished is used often, specially b5) How could I go about applying the diminished scale in solos/licks?
I know Randy used to make his solo backgrounds pretty basic, possibly to have the flexibility to experiment.

I also have the Becker/Yngwie diminished sweep thing going but I don't use it much.

I'm not trying to be Randy Rhoads, it's impossible, I'm just learning from a player I really like(like with Satriani, Petrucci & Becker).
Last edited by satchfan9 at Jun 24, 2013,
Obviously, the diminished scale, in an improvisational context, is used to lead into another chord. It's not something you'd just use "willy- nilly". The best way, and perhaps simplest, is to use it to imply a dominant 7th chord.

For instance, if you are improvising over G major and the harmony moves to C major, you could use a B diminished scale going from G major to C major in order for the improvised melody to pull towards the next chord.
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the diminished scale is quite amazing..and it does far more than just sound unique..

C diminished scale: C D Eb F Gb Ab A B (this is the whole step/half step scale..start this C dim scale on the B note and it is the Half step/Whole step scale...(note: both are C diminished..starting on the B note in this case is NOT the B diminished scale!)

a close study of this scale will reveal it contains the notes of the following dominate 7 chords: F7 Ab7 B7 D7

Note: the tritone chords F7-B7 D7-Ab7

this additional information gives you the possibility of using 7b5 chords and ALL the altered chords for the above 7th chords that the diminished scale can play over..

take your time..there is ALOT of information to process...welcome to symmetric harmony..

play well

Rather than focusing on the scale, I would take a look at what harmonies are achieved by using diminished triad and 7th arpeggios. There are specific places harmonically (and rhythmically) where a diminished run will sound just great, and others where it just sounds kinda "out there".

If there are identifiable dominant harmonies, diminish away. Hard to go wrong. If it's a static harmony, save the diminished stuff for when you need a really dramatic lead in to a specific note.