Hey guys, I've taken some time off of here but have been checking some stuff out the past few days. Lots of good stuff! I forgot what a great resource this page can be! Anyhow, on to the thread - I've been using diminished ideas for a long time but I feel like mostly I just grab diminished arpeggios and slide up or down a half step here and there. It gets monotonous and boring in my opinion. I've always had a hard time playing these scales (H/W and W/H) without them sounding like patterns AND (and this seems ridiculous) have a hard time keeping track of where I am in the pattern. I think it's because without the root as an anchor I'm just thinking in terms of shapes and not notes. This becomes very "unmusical" in my opinion. So, I recently started to make a more conscious effort to be aware of what I'm actually playing when it comes to these lines. For the W/H scale, I know my root and then I have these scale/chord degrees: 1 2 b3 4 b5 b6 6 7 For some, this might seem more complicated, but it has me playing more interesting lines out of this scale and overall just seems more musical. For the H/W scale, you get more of an altered thing. You get 1 b9 #9 3 #11 5 6 b7 There is a m7 and Dom7 chord in there if you want them. Obviously a dim7 as well. So this scale works super well over dominant chords. I think using that m3 rather than a #9 is less desirable than looking at this as some form of dominant 7 chord, but it's there either way. So basically, for my money, I get a more dominant sound out of the H/W scale and more of a dark, kind of unresolved minor (obviously diminished) feel that you can kind of lean on with the W/H scale. Bottom line is that I'm playing much more musical lines out of diminished scales since this change in perspective. I'm not sure why this type of approach isn't talked about more (maybe it is?). Any thoughts? I feel like diminished lines elude some so maybe a decent conversation starter?