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Half Whole Diminished Arpeggios Practice

This document discusses half-whole diminished (dominant diminished) arpeggios. It notes that these arpeggios are formed from minor thirds and are used over dominant 7 chords, especially those with a flat 9, such as in jazz blues and rhythm changes progressions. Diagrams then show the fingerings for half-whole diminished arpeggios ascending and descending.

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patrick casey
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83 views2 pages

Half Whole Diminished Arpeggios Practice

This document discusses half-whole diminished (dominant diminished) arpeggios. It notes that these arpeggios are formed from minor thirds and are used over dominant 7 chords, especially those with a flat 9, such as in jazz blues and rhythm changes progressions. Diagrams then show the fingerings for half-whole diminished arpeggios ascending and descending.

Uploaded by

patrick casey
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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13

Half-Whole Diminished (Dominant Diminished) Arpeggios


Use over Dom 7 chords (like alt. scale) ,esp. 7b9 -
as V of ii V I and VIb9 of I VI II V (rhythm changes/jazz blues)
form by minor 3rds (1 b9 #9 3 #11/b5 5 13/6 b7) - 1 b3 b5 bb7

Half-Whole Ascending

               
   
323 Cdim Ddim E♭dim Edim

          
        
325 F♯dim Gmdim Adim B♭dim

                  
         
328

       
     
331

    
        
Half-Whole Descending

  
333

 
                 
 
335

   
              
338

 
            
       
340
14

   
Half-Whole Diminished Crossed

             
343

            
      
345

      
                
 
348

     
    
351

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