you’re always right in the nitty-gritty of how to make the piano stand up and shout all of its expression and possibilities. I would love it if you talked about your formation, your background, did you grow up in St. Louis?
Woah happy to see your lessons again peter you are brilliant teacher - i Would love to see a compilation of your licks in modes or you dismantle your own complete solos with insight into what you were thinking
Can you talk about other diminished voicings such as voicings that dont particularly have a name but the shapes are unique. For example...left hand A and F#... right hand C F and Bb. It's not necessarily a diminished chord but it does have a tritone in it which gives it a unique sound.
can someone explain the relation of the Dminor inverted triad stacked above the Gb diminshed voicing? in the video peter mentions "minor 3rd." what is meant by this? because I dont believe all those notes are in the same scale? I understand the F note is the major 7th, but what about the D and the A notes? and also, what key is this in, is the gb diminshed chord the vii chord or what?? sorry if my questions are dumb or I am a little slow at understanding the video, I would just really like to understand it better.
The root of D minor triad in 2nd inversion he showed in the video is enharmonic to Ebb (E double flat), which would be the b6 or b13 to Gb. Therefore in theory Peter is not playing A D and F over Gb diminished, he is playing Bbb(minor 3rd to Gb) Ebb (b13) and F (major 7th). The stacking effectively creates a Gbdim.alt. or Gbdim7,maj7,b13. So basically you can create this voicing by playing the root ,b5 and dim 7 of your diminished chord, then stack the b13 triad in 2nd inversion over it. I believe it has to be the b13 triad because it would be the only triad to contain both the minor 3rd and major 7th relative to the chord you're staking onto.
He said, he uses Half/Wholetone Scale for the Gb diminished. But he looks at the Gb dim as its the third of a D7#9 chord (better see the Gb as F#). So either way, the D Half/Wholetone Scale contains a D minor triad and the D7#9 chord does also. You want different notes in the right hand then in the left hand and you dont have many options in fully diminshed. Using minor or major chords from Half/Wholetone Scale is a good tool to open up the sound of the diminshed voicings.
Thank you for your videos! Hearing your 2 min jazz piano videos has fired up my passion for practicing.
dude i love the internet. thank you for the short and sweet lesson
Be very afraid :) of the diminished.. Always insightful!!
THIS IS EXACTLY WHAT I WAS LOOKING FOR WHAT! You’re videos are insane thank you!
Thanks for identifying such a subtle difficulty and offering such a useful solution for it.
you’re always right in the nitty-gritty of how to make the piano stand up and shout all of its expression and possibilities.
I would love it if you talked about your formation, your background, did you grow up in St. Louis?
Love it Peter, you're the man. Will try this on rhythm changes. Also great for triad pairs. Dm and Cdim (C, Eb, F#)
Fantastic
Damn this is GOOD!
Thanks for the written transcript!
That's a really nice lesson, thank you so much!
Woah happy to see your lessons again peter you are brilliant teacher - i Would love to see a compilation of your licks
in modes or you dismantle your own complete solos with insight into what you were thinking
2:15-2:23 is absolutely unreal. My goal is to play like that.
Short and sweet.....thanks for this great idea.
Can you talk about other diminished voicings such as voicings that dont particularly have a name but the shapes are unique. For example...left hand A and F#... right hand C F and Bb. It's not necessarily a diminished chord but it does have a tritone in it which gives it a unique sound.
Awesome lessons! Great player
next 2 minute jazz could you please do lick ideas in Locrian? thanks!!
Just discovered your channel - love it! This is so concise and helpful - thank you!
can someone explain the relation of the Dminor inverted triad stacked above the Gb diminshed voicing? in the video peter mentions "minor 3rd." what is meant by this? because I dont believe all those notes are in the same scale? I understand the F note is the major 7th, but what about the D and the A notes? and also, what key is this in, is the gb diminshed chord the vii chord or what?? sorry if my questions are dumb or I am a little slow at understanding the video, I would just really like to understand it better.
The root of D minor triad in 2nd inversion he showed in the video is enharmonic to Ebb (E double flat), which would be the b6 or b13 to Gb. Therefore in theory Peter is not playing A D and F over Gb diminished, he is playing Bbb(minor 3rd to Gb) Ebb (b13) and F (major 7th). The stacking effectively creates a Gbdim.alt. or Gbdim7,maj7,b13. So basically you can create this voicing by playing the root ,b5 and dim 7 of your diminished chord, then stack the b13 triad in 2nd inversion over it. I believe it has to be the b13 triad because it would be the only triad to contain both the minor 3rd and major 7th relative to the chord you're staking onto.
He said, he uses Half/Wholetone Scale for the Gb diminished. But he looks at the Gb dim as its the third of a D7#9 chord (better see the Gb as F#). So either way, the D Half/Wholetone Scale contains a D minor triad and the D7#9 chord does also. You want different notes in the right hand then in the left hand and you dont have many options in fully diminshed. Using minor or major chords from Half/Wholetone Scale is a good tool to open up the sound of the diminshed voicings.
Even you play an exercise, I hear music... Nice!
Face at 0:51
Pause at 0:51
this guy is real asf
Loved this video man! Do you give private lessons as well?
Can I use this voicing on the second chord of "have you met mis jones" in F?
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