Diminished 7ths: Tritones Taped To Tritones
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- Опубліковано 3 бер 2016
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i really love tour videos and especially your drawings, also awalys warms my heart when a see another left-handeds in music
Ahh I know this was posted a while ago but I've been scratching my head trying to figure out how the progression in Liszt's 6th consolation works and this pretty much covered all of my bases! There's a great Vdim7 to I dim7 in there in the beginning so it gets super weird (at least to my ears) but it's a great piece and I'm glad I'm slowly figuring out how it works! Thank you!
I just took a short break from composing to watch some of your Videos and surprisingly I used the exact same chords as you did in the Common tone dim7 resolution (4:03) while composing a few minutes ago... even in the same key😂
Great video as always. Keep up the good work!
+Tiniuc Alex Thanks!
Could you explain the VIIo7/bVI a little more? Would that be C diminished resolving to the Db in F minor?
Great video,,,, gotta catch em all
OMG 2:43... is that the building block of a Shepard tone?
2:44 is what you hear in an old silent movie when the bad guy has the damsel tied to the train tracks and the camera shows the train is fast approaching. 😁
why is that +2 diminished 7 while the interval is a minor third? and what is chromatic alteration?
I'll go ahead and point out that these are really fun to use non-functionally for metal riffs. My favorite example is Blotted Science's Oscillation Cycles. The piece is based on a 12-tone row organized into the three dim7 chords, so it has this fantastically evil momentum to it.
Wow, that's really neat! Thanks for sharing!
pleasantly surprised to find someone talking about blotted science on a 12 tone video's comment section. cheers
best use for fully diminished 7ths are obv. to take a dominant 7th chord and move the root up a half step to form that sweet, sweet jazz that is the fully diminished 7th
more like b9 chords
I tried to do a chord breakdown of Moonlight Sonata, am I right to believe the development section of the first movement consists mainly of these?
I'm honestly not sure, I never took the time to analyze that one! I googled a lead sheet for it that indicates quite a few diminished 7ths so you're probably right, but I haven't actually dived into the score or anything so I can't say for sure.
bygon432 Yes. Beethoven went nuts in that piece with diminished 7th. And the way he did it was incredibly hip.
Ricardo Francis Zayas Honestly, a lack of diminished sevenths is an exception in Beethoven.
Very nice Video. Am i right, that these chords are good for pivoting, because they have so many common scales?
+MisterTaberlasche You are! In fact, their role in modulations is something we're going to be making a whole video about, because they're truly all-stars of the pivot chord modulation.
But make sure that those D7 are resolved properly or else there will be mistakes due to the enharmonic
What does he mean at 2:55? (about diminished 7ths over 4ths and 2nds) may you guys give me examples and explainations?
Very handy for modulations or unexpected chord progressions. You can consider any note of the diminished 7 to be the root, just by inverting it differently. All the intervals are the same. So: If you are about to resolve to a V-I but you'd prefer to slyly modulate instead to, say, bVII-bIII, just remember that the V can be led into by a iidim7, which is THE SAME (inverted) as a ivdim7. So if it can lead to a V, it can instead lead to a bVII, because symmetry.
Question, I'm in no way a theorist, but I often use Em and G or Am and C scales interchangeably because they are more or less the same. In my mind Am is what I use as "C but minor", is this bad? Or wrong? When I'm writing a song and want to change from Major to Minor, I find that it flows better than suddenly using the true minor version of that key. At what point is modal interchange a key change or not? My mother studied music classically and often gets annoyed at how I think of things like this. Will it hurt me?
When it comes to composition, I'm a firm believer that nothing that works is wrong. If you're making music you like, then your methods are fine.
The last example +VIº7 reminds me So What.
very cool
0:37 isn’t the VII a dim chord?
Not in natural minor. In natural minor, it’s a major chord, dominant if extending to a seventh chord.
Reminds me of the opening chords of Elton John's Crocodile Rock- am I right?
+Susan Jones Sort of. I looked it up, and I think the chord you're thinking of is the last of the three held ones before the rhythm kicks in. That is an F# chord, going to G, so it has the same half step movement, but it's an F# major triad, not an F# diminished 7. It makes sense that it would remind you of it since it has the same root movement, but it's a slightly different chord.
E o before F min objectively functions as a C7b9 without the root. It cannot possibly be anything else.
It doesn't have to be. It sounds like that only because of a lack of other context. But try playing E half-whole diminished scale, which contains chords enharmonic to both E o7 and Fm, but has no C at all. That negates the C7b9 color
Symmetry. you could take the E note up an octave making it Gdim7 instead, and assume the root is Eb. Now suddenly it comes before Abminor instead, for a handy way to pivot up a minor third. Or two.
'recdue'