The diminished arpeggios: exercises
We have seen how to obtain a diminished arpeggio from a diminished scale, whether it's t-st or st-t. Keeping the same intervals we can evaluate only one type of diminished arpeggio. Subsequently we will see how this adapts to different harmonic situations, defined according to the particular cases from a melodic point of view.
The diminished arpeggios follow the same rule as the diminished scales which has our twelve notes divided into three main groups. We therefore have three diminished arpeggios with four notes, each of which can be considered a root. Here are the three groups:
Lets look at a series of exercises on diminished arpeggios.
A classical fingering of an arpeggio, in this case in C (or Eb, F#, A), where the fingering can start from the 2nd fret, or the 5th, 8th, 11th, 14th, etc. Look closely at the position of the fingers.
Ex. #2
Typical execution of a horizontal diminished arpeggio, in ascending sequence playing two notes per string and using alternate picking.
Ex. #3
Typical execution of a horizontal diminished arpeggio. in descending sequence playing two notes per string.
Ex. #4
Typical diminished fugue, often used in rock, metal, and classical music. In this case we are playing a sequence of three notes with a tempo of four sixteenths, to scale on the diminished arpeggio. Closing the scale with the C note confirms the average scale for the entire sequence of notes.
Ex. #5
A diminished arpeggio based on the string skipping technique. It's possible to divide the composition structure of the arpeggio into two groups of strings, one made up of the 6th, 4th and 2nd strings and the other the 5th, 3rd and 1st strings. Obviously the fingering remains unchanged in the other scales that make up the diminished arpeggio.
This concludes the first part of this section dedicated to the diminished scales (and their relative arpeggios). In the second part, we will look more closely at the diminished scales from a harmonic point of view, analyzing the structure in one or more chords, and above all relating it to the various musical types.
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