Diminished Arpeggios and Sweep Picking Sequences

One of the more interesting flavors to add to your musical spice rack is the diminished arpeggio. Long used in jazz music, it was not used much in rock or metal until European guitarists such as Uli Roth and Yngwie Malmsteen, well-versed in classical music and theory, popularized it in the late ’70s and early ’80s. Check out the Scorpions’ classic Yellow Raven, or Yngwie’s Far Beyond the Sun, and the sound and tonality just leap out at you. These players and compositions paved the way for countless shredders.

As a rank beginner, the first time I heard the diminished scale, I thought the guitar was out of tune, but very quickly came to appreciate its unique tonality. Aside from its sound, a large part of the diminished arpeggio’s beauty and versatility lies in its simplicity.

We already know how triads are constructed, by stacking two third intervals. The diminished triad is made by stacking two minor thirds. You’ve probably heard the old line that an arpeggio is simply a “broken chord,” basically playing each note of a chord one at a time, rather than strumming all at once. Another way to look at it is as an extended triad — you get a triad by stacking two thirds, what if you stack an additional third interval on top of the first two? Now you have a 7th arpeggio; again, which type (major 7th, minor 7th, dominant 7th, diminished 7th)will depend on whether each of your three stacked thirds are major or minor in quality.

When the triads and extended arpeggios are harmonized through the major scale (similar to the way modes are derived), there is only one diminished 7th arpeggio, and it is the seventh (and final) one of the major scale. As always, concentrate on learning the sounds and shapes before the theoretical concepts.

Here’s where the diminished seventh arpeggio gets really simple, yet effective — all three of your stacked third intervals are minor thirds. So each note is three frets away from the previous one, and the next one. This equal distance between all notes in the arpeggio makes it symmetrical.

Let’s take a look at all of the notes (from the 2nd to 20th frets) in the 4-note diminished seventh arpeggio, with the root note of A:


Again, notice that there are just four notes:  root, minor (flat) 3rd, flat 5th, and diminished (double flat) 7th. (In terms of interval spelling, a diminished seventh interval is equal to a major 6th interval.) In the key of A, these four notes are A, C, Eb(D#), F#(Gb).

Another simple, effective thing about symmetrical forms is that, for practical purposes, each note in the arpeggio is a root. So any melodic sequence developed from this arpeggio will sound just as good in any of those four keys. This free-floating root characteristic is true of other symmetrical scales, such as the whole tone scale.

Here is a way to play the arpeggio in single-position fashion, but with some navigation up the neck:


Note that it’s just a single two-string, two-finger (1st and 4th) shape, repeated with each successive string pair. The slight position shifts might seem unusual at first, but try it on a single string pair at first, work it up to speed, and then run the entire shape across all six strings.

Now let’s take our 4-note shape and run it up the neck along a single string pair:


Just work the shape up one position (three frets) at a time, up and back down the neck, as shown in the tab below, using the 1st and 4th fingers only. This is a great way to warm up your hands for position shifting as well.


Referring back to the earlier “neoclassical” players mentioned, Roth and Malmsteen, let’s take a look at how easily this symmetrical shape falls across three strings for them, especially the first two trios of strings (E’-B-G and B-G-D). Here’s how the arpeggio sits on the E’-B-G strings:


Play the sequences shown in the tabs below, using the suggested picking and fingering. This is a good one for working on 1-3-4 fingerings, which can be problematic for some players.



Both shapes are useful for working on sweep picking upstrokes. Definitely try both; you may find that the second shape, with the pull-off, allows for smoother phrasing.

The next few tabs will show how to create melodic sequences with this shape that sound good and are not too difficult to play.



The second tab of the above two shows how to effectively sequence rhythmic variations, building each phrase with a triplet 16th and a 4/4 8th note, repeating up the neck. Played over a straight 4/4 rhythmic progression, this is a nice change-up from having the exact same note rhythm all the way through.

For the last sequence for this shape and string group, we’ll complete the sweep-picking sequence by coming back through the shape with a sweep downstroke. This is a fairly common shape in the rock/metal “neoclassical” style that uses diminished arpeggios frequently.

Try to achieve a “rolling” effect, back and forth, between upstrokes and downstrokes. This is a good rule of thumb for sweep picking just about anything, and will give your arpeggio sequences a nice, smooth, even sound.


It’s fine to accent the first note of each beat slightly, but when sweep picking, make sure that each note can be heard cleanly and clearly, independent from the note before it and the note after it. You don’t want the notes to all bleed together into a chord.

A great technique to try, especially when first learning sweep picking, is to palm-mute the note slightly as you pick it. Apply light pressure with the side of the palm of your picking hand as you pick the note, and gradually lift the pressure as the shape and the picking sequence become familiar.

We’ll wrap this up with a look at the B-G-D string group. (If you look at the neck diagram introducing this post, and observe how the arpeggio lays out on the G-D-A and D-A-E trios, you’ll see how the tuning of the B string helps in creating easy-to-play shapes that can quickly be moved along the progression of the arpeggio, up and back down the neck. The shapes on the lower strings are worth learning, but the E’-B-G and B-G-D groups will probably be more useful to you in an actual playing situation.

Here’s the B-G-D group. Where the E’-B-G group employed the 1-3-4 fingering, this one will use 1-2-4, and thus will probably be easier for most people to play.


Let’s apply this shape to a couple more back-and-forth “rolling” sequences. Again, get a smooth, even tempo and dynamic control over the notes, so that none of them are getting drowned out.



Again, since each of these is just a single shape repeated, it’s a great opportunity to work on sweep- and economy-picking, as well as fretboard navigation, all at the same time. Check out how hammer-ons and pull-offs are used to help set up the picking hand for greater maneuverability, so you’re not having to jump back into position too quickly.

Pay attention to the various picking suggestions in the tabs, and try them all, see which one(s) play more comfortably and smoothly. If you refer to the Roth video (esp. at about 2:23 for the main solo) and Malmsteen video (esp. in the secondary intro phrase, starting about 8 seconds in), you can see these exact shapes at work, and how useful they are for leading musically and navigating up the fretboard.

Definitely check out the entire bodies of work from each of these players (and others, of course), as Roth and Malmsteen pioneered this style and many of these techniques, and were playing this arpeggio when most players were still working with pentatonic boxes and not much else.

Notice also in the videos how little picking motion Roth and especially Malmsteen require when they play. There is basically zero wasted motion, and not only are they extremely efficient in their picking motion, but they make it seem almost effortless. This is the sort of top-level technique that enables you to play just about anything you can imagine, and is achievable with rigorous practice.

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