Hi I'm posting this because I had a personal breakthrough with the diminished scale today and wanted to share with others. I was working through the first few pages of a book called 'dominant seventh workout'. Anyway it recommended to use the diminished scale over a 7th chord - I've heard of this before. But what I've done in the past is practiced the scale AS A SCALE - as in, I've started at the bottom and worked up to the top. But today, I noticed, - and this might be very obvious to others but it wasn't to me - that each pair of notes in the diminished scale (the ones which are a semitone apart) is either a chord tone of a dominant seventh chord or is a semitone away from one. So - the formula of a diminished scale is HWHWHWHW If you were playing C7, this would give you the notes C, Db, Eb, E, Gb, G, A, Bb So basically you have the chord tones C, E, G, Bb and the notes to lead on to these chord tones chromatically Db, Eb, Gb, A - Db goes down to C Eb goes up to E Gb goes up to G and A goes up to Bb. If you make phrases using this kind of emphasis, rather than just going up and down, then the scale makes a lot more sense. I've actually found that I already use this scale loads, I just didn't realise that's what I was doing because for me I was using chromatically adjacent notes to the C7 scale. But I think the theory will definitely help me because I'll be able to extend this technique and explore that harmonic idea more deliberately.