#1
I recently came across this part of an adrian smith(iron maiden) solo

---------------------------------    ----11--|
-------------------------------   ----   10-----|
----------------11--9-11-12-11---------|
------11----10------------------------|
---10-----9---------------------------|
-9------------------------------------|



I beleive this is an acsending diminished run in the key of c# minor. The rhytym i believe is just a palm muted c#5 chord. Im not too familiar with the diminished scale so i dont nkow if im correct

also

What chords work well behind diminished scales? Powerchords seem to work well assuming that im correct about the above matter but what other chords really work well with diminisihed sclaes?

I have no recording equipment or band to jam with atm so i cant really experiment with this.
#2
Usually when someone talks about a diminished run, they talk about the minor 3rd and major 6th interval included as well. This stems from the fact that the scale is derrived from the diminished chord.


C Diminished chord: R, b3, b5, bb7
Notes are C, Eb, Gb, *Bbb

C Half-Diminished chord: R, b3, b5, b7
Notes are C, Eb, G, Bb

Diminished scale in C:
C, Eb, Gb, *Bbb


For if you are confused by the Bbb note

*Bbb is the same note in sound as A, but you have to write Bbb in this particular case. Accept this as it is if you ever want to go further into music theory. (search up enharmonic if you're curious)

Anyway; The diminished scale naturally spells out the diminished chord, and it's used quite a lot in jazz.

The half-diminished chord is the more favourable one in a more contemporary/pop(ier) style of music.

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Last edited by xxdarrenxx at Sep 5, 2011,
#3
I can play that run just using the C# melodic minor and C# blues scale. I know it mayn't be "metal" because it doesn't have the word "dimished" or "superlocrian" in it, but it's good to know how all these scales relate to each other.
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#4
Quote by xxdarrenxx
Usually when someone talks about a diminished run, they talk about the minor 3rd and major 6th interval included as well. This stems from the fact that the scale is derrived from the diminished chord.


C Diminished chord: R, b3, b5, bb7
Notes are C, Eb, Gb, *Bbb

C Half-Diminished chord: R, b3, b5, b7
Notes are C, Eb, G, Bb

Diminished scale in C:
C, Eb, Gb, *Bbb


For if you are confused by the Bbb note

*Bbb is the same note in sound as A, but you have to write Bbb in this particular case. Accept this as it is if you ever want to go further into music theory. (search up enharmonic if you're curious)

Anyway; The diminished scale naturally spells out the diminished chord, and it's used quite a lot in jazz.

The half-diminished chord is the more favourable one in a more contemporary/pop(ier) style of music.

I'm not certainly sure if I've got my theory straight, but I think I need to make some corrections:

Having a C diminished chord doesn't necessarily mean you have the diminished seventh interval in there, so I think it would be more approriate to refer 1 b3 b5 bb7 as the diminished 7th chord.

The diminished scale most often refers to the scale which consists of alternating half steps and whole steps: WHWHWHWH or HWHWHWHW. What you probably meant is the diminished 7th arpeggio which is very common.

Sorry if this seems pedantic, and if I'm incorrect I apologize twice as much. I'm just curious if I've got it right. Your post is great otherwise.
E:-6
B:-0
G:-5
D:-6
A:-0
E:-3
#5
Ah you're completely right.

It's just i'm often around jazz people jamming, and we shorten stuff when talking to each other.

Street music language lol..

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#6
Also worth knowing that diminished scales are also called octatonic scales in classical theory. Check out Modes of limited transposition on wikipedia, it's pretty interesting stuff