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Making Diminished Chords Easy, Pt. 4 (How to solo over the diminished 1 chord)

Hey everyone,

Here's the last part in my series on diminished chords and thinking of them as dominant chords instead. This isn't meant to be the singular approach when soloing over them, but to be used in tandem with blues sounds, the diminished scale, the diminished 7 arpeggio, etc.

Making Diminished Chords Easy, Pt. 3 (How to solo over the diminished 4 chord)

Hey everyone,

Part 3 in the series on how to solo over diminished chords melodically. The diminished IV chord (Bbo7 in the key of F) comes up a decent bit in standards -- like "The Nearness of You" and "I Remember You," among others -- and it's important to be able to meaningfully solo over! Full disclosure, I'll often treat it as an A7b9 chord, or a C7b9 chord! But watch the video if you'd like to know why.

Also, make sure to watch parts 1 and 2 if you haven't already, as there might be some some things in this video that won't make sense if not.

Pedal Point: Advanced Application (G. Perin) -V

Today we talk about further application of the pedal point using non-functional harmony based on trias superimposed to a bass note.
We can build pedal point on the root or the fifth of the tonal area in which the tune is composed and on top of that build triads that moves:
1. chromatically
2. by whole tones
3. by major/minor thirds

www.giovanniperin.com