The estimable Bob DeBoo demystifies the most misunderstood chord in the twilight zone. Watch at your own risk. *this version contains updated notation!
Anton Reicha (a friend of Beethoven) asserts that diminished chords don't even exist in his book "Course of Musical Composition". He would call them "false chords". He would call diminished chords 'rootless minor 9th chords' and half dinimished chords 'rootless major 9th chords'. It gets even more interesting when you start applying this logic to early 19th century compositions, such as Chopin, because they apparently agree. There's a free public domain English translation on google books. I highly recommend it if you're interested in music history. It's one of those "harmonic styles of 18th century musicians" that is actually lost in modern theory.
There is no way in a million years B half dim in key of A min is a ‘rootless major 9th. That would make it G9 which has a totally different harmonic function.
Bach used chains of diminished chords over tonic and dominant pedals for fun. Used as colour within a static harmonic context. They are certainly not all dominant flat 9s.
@@gregduhon5510 I choose to embrace the new word you’ve created. I feel it includes being awed in the past and future simultaneously, which feels like such a Twilight Zone possibility of being. 😎👍🏽
Always good to fully explore one concept from as much as different viewpoints as you can imagine - even when 'knowing' the diminished scales, arpeggios and stuff, you get a lot of new approaches and ideas you may haven't explored so far - thank you for this clearly structured lesson💯🎶👍
Using C, Eb, F#, or A as roots using this particular half diminished or octatonic scale, you can spell the major, minor, or diminished chord. The possibilities are endless, especially if you jump from one octatonic scale to another (there are three).
The way you explained diminished works very well when substituting diminished for the V7b9 chord. Nailed it when you said that if the 7th chord had a natural 13th, your good to go with the * “diminished scale.” But you mentioned the e half diminished first chord of “Stella by Starlight.” It’s of course a better sound to think of the chord of being Db diminished. I imagine that you know this but thought it too much for your viewer to get. The context in this situation, the Db diminished is a flat iii diminished going to ii in the key of Bb. (If using Db diminished in place of e half dim- A7b9 in Stella) Also half whole is normally not the best choice of scales; in this case and others as well. Half whole diminished scale is simply putting a leading tone before each chord tone which doesn’t sound good descending; sounds fine ascending. I hope that it doesn’t seem as though I am trolling you as I think your bass playing is excellent but I don’t think that it is a good idea to teach people to look at diminished chords out of their context; better within a song. How about addressing a song like “Ain’t Misbehaving?” I #I ii #ii iii. The #I diminished has a different scale than the #ii. This #ii will have a different scale than a descending biii (flat three) diminished. Also the half whole diminished scale sounds like doggy poo poo when used on the second chord of Jobim’s “Wave.” 9:51 How is saying C Locrian verbose? Locrian is a mode that every freshman music major knows. Regarding the Locrian #2: I don’t like it because it undermines the need for the actual Locrian on the half diminished chord. Pianists disagree with me because the #2 makes for some better voicing choices for them. But Barry Harris agrees with me as he disagrees with pianists playing the natural d in the C minor chord, bar 31 of “All the Thing You Are.” * “diminished scale.” I put diminished scale in quotes because there is more than one depending on the context.
Great video though I am unhappy to hear say you should play locryan on a half diminished. It fits the chord but in most cases you would play harmonic minor in a context of minor 2 5 1. You said so yourself.
Not true, honestly. I still prefer the locrian sound on the Minor 2 in a bebop setting... in a more modern setting though I'd entertain it though. Thank you for watching and I appreciate the comment!
I don’t get how you know the difference between a dom7b9 and a straight dim in a sequence. eg How insensitive bar 3 and 4 and then bars 7 and 8. Any dim chord can be converted into a dom7b9 by moving the root. Bloody confusing. The gypsy jazz guys tend to think r,b9,#9,3,#4,#5,6,7. It works well….mostly. 😵💫
Context and being able to (hopefully) hear the intention. Any dim void can be converted into a major or minor chord pretty easily as well, and I think the context is paramount. Depends on where the harmony is going as well... big factor
All your half whole diminished ideas work over whole half and Vice versa…There is only 3 diminished scales and you know every half/whole and whole/half. Ex.. C dim7 scale is also D7b9 F7b9 Ab7b9 and B7b9
Nice no bull explanation. HOWEVER…a straight diminished chord is nothing more complicated than a Minor 6 flat 5. ie root , b3, b5, 6. It’s a minor chord. Similar but not the same as minor 7b5 or half diminished. JUST BAN THE WORD DIMINISHED. haha!
Asking a bass player to give a lecture? That's below our pay grade, isn't it? And what was that piano guy doing trying to scare us? Aren't you obliged to put viewer warnings on these videos?
![Diminshed 7th Chord = PORTAL to 8 Tonalities [MUSIC THEORY]](/img/n.gif)
The diminished chord is my favorite, it adds so much to a progression and as a blues turnaround substitution for a V chord.
That intro was no joke! Good grief, I'm on the edge of my seat here
From that intro I thought the answer was play lots of notes because the odds are in your favor more will be right than wrong. 😎😎😎
Anton Reicha (a friend of Beethoven) asserts that diminished chords don't even exist in his book "Course of Musical Composition". He would call them "false chords". He would call diminished chords 'rootless minor 9th chords' and half dinimished chords 'rootless major 9th chords'. It gets even more interesting when you start applying this logic to early 19th century compositions, such as Chopin, because they apparently agree. There's a free public domain English translation on google books. I highly recommend it if you're interested in music history. It's one of those "harmonic styles of 18th century musicians" that is actually lost in modern theory.
Thank you very much! I will check it out
There is no way in a million years B half dim in key of A min is a ‘rootless major 9th. That would make it G9 which has a totally different harmonic function.
Bach used chains of diminished chords over tonic and dominant pedals for fun. Used as colour within a static harmonic context. They are certainly not all dominant flat 9s.
The tonic diminished 7th chord was a favourite of Romantic era composers; think Tchaikovsky first phrase of Dance of the Flowers.
A better case can be made for saying that half diminished chords are really minor key subdominant chords with an added 6th/13th.
Thank you - this lesson is PURE GOLD!
Twilight Zone "like" intro is AWEDOME!!!!
😂😂😂😂
I meant AWESOME !!!!
I originally wrote ASSUME 😂
@@gregduhon5510 I choose to embrace the new word you’ve created. I feel it includes being awed in the past and future simultaneously, which feels like such a Twilight Zone possibility of being. 😎👍🏽
Bob DeBoo is pretty much the sound of a double bass
I mean if you have a name like this you have to play jazz lol
Notation gets you everytime. Great video!
Out of my control... thanks though!
best intro.
Always good to fully explore one concept from as much as different viewpoints as you can imagine - even when 'knowing' the diminished scales, arpeggios and stuff, you get a lot of new approaches and ideas you may haven't explored so far - thank you for this clearly structured lesson💯🎶👍
Another great video Bob - Love the introduction as well - ha ha ! Keep up the great work
Using C, Eb, F#, or A as roots using this particular half diminished or octatonic scale, you can spell the major, minor, or diminished chord. The possibilities are endless, especially if you jump from one octatonic scale to another (there are three).
Excellent content explained simply! Bravo!
Amazing Intro you guys! 🤩
Thanks so much. This video was so helpful for me (a pianist)
Great video!! Give us more double bass ones please!
Powerful and easy to understand👌
Great video!
Rod Serling would be proud.
That bass sounds huge! Those fingers help too :-) Thanks Bob!
🙏
great stuff. ty
Amazing lesson!! And that intro… get a smoke machine and add some ambient sound effects to transport us all the way there!
Another words, background music to the 1959 TV show Peter gunn😅😅😅😅
damn I tried the trick for the 13b9 chords before even finishing this video and my lines sound so much more musical already thinking about it that way
🎉
Terrific video…
The way you explained diminished works very well when substituting diminished for the V7b9 chord. Nailed it when you said that if the 7th chord had a natural 13th, your good to go with the * “diminished scale.” But you mentioned the e half diminished first chord of “Stella by Starlight.” It’s of course a better sound to think of the chord of being Db diminished. I imagine that you know this but thought it too much for your viewer to get. The context in this situation, the Db diminished is a flat iii diminished going to ii in the key of Bb. (If using Db diminished in place of e half dim- A7b9 in Stella) Also half whole is normally not the best choice of scales; in this case and others as well. Half whole diminished scale is simply putting a leading tone before each chord tone which doesn’t sound good descending; sounds fine ascending.
I hope that it doesn’t seem as though I am trolling you as I think your bass playing is excellent but I don’t think that it is a good idea to teach people to look at diminished chords out of their context; better within a song.
How about addressing a song like “Ain’t Misbehaving?” I #I ii #ii iii. The #I diminished has a different scale than the #ii. This #ii will have a different scale than a descending biii (flat three) diminished. Also the half whole diminished scale sounds like doggy poo poo when used on the second chord of Jobim’s “Wave.”
9:51 How is saying C Locrian verbose? Locrian is a mode that every freshman music major knows.
Regarding the Locrian #2: I don’t like it because it undermines the need for the actual Locrian on the half diminished chord. Pianists disagree with me because the #2 makes for some better voicing choices for them. But Barry Harris agrees with me as he disagrees with pianists playing the natural d in the C minor chord, bar 31 of “All the Thing You Are.”
* “diminished scale.” I put diminished scale in quotes because there is more than one depending on the context.
I thoroughly enjoy scary Adam
Epic!
Just saw One minute of video and i like it
so you can riff off a Gmaj 7 on 2nd Chord in Ms Jones?ive seen it written as D7 ,D-7, F#half dim...TY
❤️❤️❤️❤️
❤
Thanks much, Bob. (BTW - what are them there strings?)
Thomastik Spirocores these days! Thanks for watching 🙂
Great video though I am unhappy to hear say you should play locryan on a half diminished. It fits the chord but in most cases you would play harmonic minor in a context of minor 2 5 1. You said so yourself.
Not true, honestly. I still prefer the locrian sound on the Minor 2 in a bebop setting... in a more modern setting though I'd entertain it though. Thank you for watching and I appreciate the comment!
intro 👍
Why the reupload
There was a typo in some of the onscreen graphic.
Just play an A major triad!
What instrument is he playing?
Bass, double bass
Sea bass
it’s a Fodera for real musicians.
Bass Ale
@@jazzman1954 😅
little late for a helloween special :P
I don’t get how you know the difference between a dom7b9 and a straight dim in a sequence. eg How insensitive bar 3 and 4 and then bars 7 and 8. Any dim chord can be converted into a dom7b9 by moving the root. Bloody confusing.
The gypsy jazz guys tend to think r,b9,#9,3,#4,#5,6,7. It works well….mostly. 😵💫
Context and being able to (hopefully) hear the intention. Any dim void can be converted into a major or minor chord pretty easily as well, and I think the context is paramount. Depends on where the harmony is going as well... big factor
Adam you are fucking hilarious.
Is there a reason as to this being reuploaded?
read the description
There was an error in one of the graphics. Apologies
@@bobdeboo8549 Thank you 👍😊
Tradução 😭.... 🙏
😂😂😂😂
Hii
All your half whole diminished ideas work over whole half and Vice versa…There is only 3 diminished scales and you know every half/whole and whole/half.
Ex..
C dim7 scale is also D7b9 F7b9 Ab7b9 and B7b9
Nice no bull explanation. HOWEVER…a straight diminished chord is nothing more complicated than a Minor 6 flat 5. ie root , b3, b5, 6. It’s a minor chord. Similar but not the same as minor 7b5 or half diminished. JUST BAN THE WORD DIMINISHED. haha!
Asking a bass player to give a lecture?
That's below our pay grade, isn't it?
And what was that piano guy doing trying to scare us? Aren't you obliged to put viewer warnings on these videos?