I remember Pat Gilbert saying that theory was just names for stuff you already know, lol. While all I actually know about theory is the difference between a major and minor third, and the difference between a major 7th(jazz) and a dominant 7th(country),I had no idea that what you are doing was a diminished chord. I used that all the time, but I didn't know that was what the name of it was. I always called it "weird", lol. Vernon Reid used that a lot, and it's where I got it. I retired from playing about 20 years ago, and I get asked to teach all the time, but I don't, because I have no clue of what I am doing, just 1,3,5,7,9,11,13-everything else is a passing tone, and if it sounds good, it is good. I used to play with a bunch of teachers from Denton, and UTA, and they knew I was illiterate, but they called me all the time to do gigs. My band's drummer at the time, was Greg Bissonette's college roommate, and he said he liked the way I used trytones, whatever that is. Liked and subbed to your channel, THANKS!
Hey man, I hear ya! I don't know half as much as I think I do;) I do find the theory side of music, especially as pertains to guitar, particularly fascinating though! There are a lot of great musicians who couldn't tell you what they're doing, and it doesn't in any way "diminish" their talent in my opinion. I played in bands and various musical combos, solos, etc. until my mid 30s, but my main career has been as a songwriter. However, I started taking classical guitar as a teenager and learned to read, and have learned a few Joe Pass chord melodies through the years. I do those things just for fun, but now they are coming in handy since I'm concentrating on this channel. If you know major, minor, major 7th, min 7th, dom 7th, the diminished chord, AND 1,3,5,7,9,11,13, that's pretty much all there is imho! And regarding the tritone, which is merely the 1st and 3rd intervals of a linear diminished chord, it is indeed weird, so much so that it was once called the "devil's interval". I did a whole video on the subject and how it relates to a blues progression, a few years back: ua-cam.com/video/bDuTeBizXgU/v-deo.html. I appreciate the comment and all the love bro! Best of luck to you!!
Pat Martinos’ TrueFire course is worth the money just to hear his stories. The way he sees the guitar neck and music theory was true genius. Thanks for posting.
Thanks buddy. Pat is a big hero of mine but I struggle to see how this concept makes you a better player. It’s interesting but can’t imagine how you would use the knowledge when playing.
Man, I appreciate the comment. I get that a lot about, "what the heck am I supposed to do with this??" I'm actually working on a couple of followup videos to this, where I address that very thing! It's mainly for me, a reinforcement of the CAGED location of the Dom7 and min7b5 chords. I'm currently editing a video where I go up the neck through the inversions of both the Dom7 and min7b5 chords that result from these diminished forms. If you actually digest those, it really does improve your playing via chordal options I'm convinced! It helped me see how Joe Pass came up with those amazing chord melodies where he flies up and down the neck with inversions! Stay tuned, and thanks for watching!
Remember, any minor7b5 chord is also FIVE other chords ! For example, Bmin7b5 = Dmin6 = G9(rootless) = E7sus4b9(rootless) = Db7b9b13(rootless) = F6#11 !!! It has SIX purposeful functional identities, and many more applications ! It's the Swiss army knife, of chords ! ENJOY!
Damn dude! Not really being a jazz player myself, I had not made all those connections. That is truly fascinating! I briefly draw attention to the correlation between the min7b5 and the rootless 9 chord somewhere in the video, but that's as far as I got. I might have to do a followup video with this nugget! Thanks!!
If I only knew how to use all those chords in progressions, as means to transition from where I am to where I want to go, I might actually sound like I know how to play a guitar.
I was so confused by the count of the chords until I remembered you weren't just talking about note layout but where on guitar neck and strings it was being played, and vocings lol. Am I not getting it still? Because 12 augmented chords as triads (as opposed to our holy 3 diminished 4 note chords) then 12 major chords as triads. Plus 3 inversions only reveals 72. Then you add voicings which I can't immediately conceive, and is theoretically infinite. But if you make it finite in service of function/sound/and possibility/probability of your fingers then add in where on guitar it's played that's how you got the number? I'm wrapping my head around your first like minute of the video because I care. So if you could reply or send a link to where it's explained that would be appreciated. If not I'll figure it out anyways so no worries
@@derwienernuts Hey man, I’ll be glad to clarify! But to be clear, you’re referring to the count of chords from my previous Pat Martino video about augmented triads, right? That chord count was 196. The count for this video about Pat’s Dimished parental form concept is 135.
At 6:13 he says I’m going to show you all five clusters. (E diminished, E flat7, etc) going through 5 keys? But he doesn’t show it? Was this video edited skips? Then he says “So today I’m goin to show you, (he goes into something else). Hes talking while moving one note (like diminished chord while flattening the lowest note (bass note) changing E flat dominant (basically E flat 7 chord) He wants to show (RESULTS FROM CHANGING ONE NOTE IN A CHORD) moving through different keys. But he doesnt stop talking while moving chords around. Terrible lousy lesson! . It might be good lesson for someone who can hear understand everything he says while he’s playing changing chords. Sucks. I came here for ‘octave displacement’ thing he does.
Hey Danny, sorry if my narrative is a bit confusing! The five clusters I refer to are actually “string” clusters, and I explain these beginning around 2:00 - 4:13. Those string clusters are strings 4,3,2,1 then 5,4,3,2, then 6,5,4,3 for the adjacent string clusters and then strings 6,4,3,2 and 5,3,2,1 for the 2 non adjacent clusters. For this lesson I only use those 5 clusters in one position on the neck. The first cluster we learn is on strings 4,3,2,1 with our fingers on frets 2,3,2,3 of those strings respectively. Since we begin with a diminished 7th chord, which is a four note chord (same for the dom7 and min7b5 chords we get when we lower or raise each string one fret), we are only dealing with four keys here. You can call a dim7 chord by any note in the chord. So for these 5 clusters, since they are simply different vertical inversions of the same chord, those 4 dim chords are Edim, Bbdim, C#dim, and Gdim. The four dom7 chords we get when we lower each string 1 fret are Eb7, A7, C7, and F#7 and the four Min7b5 chords we get from raising each string 1 fret are Gm7b5, C#m7b5, Em7b5, and Bbm7b5. If we move this whole operation up the neck a minor 3rd, or 3 frets, to the 5th fret from the 2nd fret, we find the next inversion of each of those four dim7, dom7, and Min7b5 chords respectively. We find the rest of the 12 keys on those frets between frets 2 and 5, so on frets 3 and 4 (for the first cluster that is). Doing this gives you all 12 keys. Sorry, it appears that I didn’t explain this well enough in the video.
I basically take the rest of the video to explain those five clusters to you, and show you the resulting dom7 and Min7b5 chords in one position. I was moving back and forth from Edim to Ebdom7 in that first cluster at the point in the video you reference because that’s where the lesson starts from! Sorry if this was confusing to you! I do have a video on my channel about Pat’s Octavistics, or octave displacement, from 3 or 4 years ago! Feel free to check it out, and please help yourself to the free chord diagrams for this lesson on my website. There’s a link in the description. And I’ve released 2 more videos since this one that takes you through all of the Dom7 and Min7b5 inversions up the neck. Those diagrams are there now as well!!!
I remember Pat Gilbert saying that theory was just names for stuff you already know, lol. While all I actually know about theory is the difference between a major and minor third, and the difference between a major 7th(jazz) and a dominant 7th(country),I had no idea that what you are doing was a diminished chord. I used that all the time, but I didn't know that was what the name of it was. I always called it "weird", lol. Vernon Reid used that a lot, and it's where I got it. I retired from playing about 20 years ago, and I get asked to teach all the time, but I don't, because I have no clue of what I am doing, just 1,3,5,7,9,11,13-everything else is a passing tone, and if it sounds good, it is good. I used to play with a bunch of teachers from Denton, and UTA, and they knew I was illiterate, but they called me all the time to do gigs. My band's drummer at the time, was Greg Bissonette's college roommate, and he said he liked the way I used trytones, whatever that is.
Liked and subbed to your channel, THANKS!
Hey man, I hear ya! I don't know half as much as I think I do;) I do find the theory side of music, especially as pertains to guitar, particularly fascinating though! There are a lot of great musicians who couldn't tell you what they're doing, and it doesn't in any way "diminish" their talent in my opinion. I played in bands and various musical combos, solos, etc. until my mid 30s, but my main career has been as a songwriter. However, I started taking classical guitar as a teenager and learned to read, and have learned a few Joe Pass chord melodies through the years. I do those things just for fun, but now they are coming in handy since I'm concentrating on this channel. If you know major, minor, major 7th, min 7th, dom 7th, the diminished chord, AND 1,3,5,7,9,11,13, that's pretty much all there is imho! And regarding the tritone, which is merely the 1st and 3rd intervals of a linear diminished chord, it is indeed weird, so much so that it was once called the "devil's interval". I did a whole video on the subject and how it relates to a blues progression, a few years back: ua-cam.com/video/bDuTeBizXgU/v-deo.html. I appreciate the comment and all the love bro! Best of luck to you!!
Pat Martinos’ TrueFire course is worth the money just to hear his stories. The way he sees the guitar neck and music theory was true genius. Thanks for posting.
@@donindri indeed, brother! I couldn’t agree more!
Thanks buddy. Pat is a big hero of mine but I struggle to see how this concept makes you a better player. It’s interesting but can’t imagine how you would use the knowledge when playing.
Man, I appreciate the comment. I get that a lot about, "what the heck am I supposed to do with this??" I'm actually working on a couple of followup videos to this, where I address that very thing! It's mainly for me, a reinforcement of the CAGED location of the Dom7 and min7b5 chords. I'm currently editing a video where I go up the neck through the inversions of both the Dom7 and min7b5 chords that result from these diminished forms. If you actually digest those, it really does improve your playing via chordal options I'm convinced! It helped me see how Joe Pass came up with those amazing chord melodies where he flies up and down the neck with inversions! Stay tuned, and thanks for watching!
@@ChuckJonesMusic Thanks so much Chuck. 🙂
that was really helpful with that concept. thank you for sharing, look forward to more
@@ramseyomery Thanks for watching man! I’m editing the follow up to it now!
You're back!!! Great to see you.
@@lawbossproductions1331 Thanks man! Good to be back!
Whoa! I’m gonna need another finger! Quite a stretch on some of those. Thanks Chuck for sharing these awesome tips
@@RonnieWScottHa! I’m inventing a finger stretcher. It should be available soon!!
great lesson!!!
Thanks for watching, friend!
Wow ...love this ...Thank you Sir!
I appreciate that! Thanks for tunin' in!
Remember, any minor7b5 chord is also FIVE other chords ! For example, Bmin7b5 = Dmin6 = G9(rootless) = E7sus4b9(rootless) = Db7b9b13(rootless) = F6#11 !!! It has SIX purposeful functional identities, and many more applications ! It's the Swiss army knife, of chords ! ENJOY!
Damn dude! Not really being a jazz player myself, I had not made all those connections. That is truly fascinating! I briefly draw attention to the correlation between the min7b5 and the rootless 9 chord somewhere in the video, but that's as far as I got. I might have to do a followup video with this nugget! Thanks!!
@@ChuckJonesMusic You're welcome ! It's a harmonic party, have fun !
Great post. I bet I would enjoy listening to you play, even if I didn't like the song.
@@christopherparsons3224 Hey man, check out my channel! I have several song videos on there. Some original and some covers. Thanks for watching!
If I only knew how to use all those chords in progressions, as means to transition from where I am to where I want to go, I might actually sound like I know how to play a guitar.
I’m working on some follow up videos now that will help with that Christopher! Thanks for watching!
I was so confused by the count of the chords until I remembered you weren't just talking about note layout but where on guitar neck and strings it was being played, and vocings lol. Am I not getting it still? Because 12 augmented chords as triads (as opposed to our holy 3 diminished 4 note chords) then 12 major chords as triads. Plus 3 inversions only reveals 72. Then you add voicings which I can't immediately conceive, and is theoretically infinite. But if you make it finite in service of function/sound/and possibility/probability of your fingers then add in where on guitar it's played that's how you got the number? I'm wrapping my head around your first like minute of the video because I care. So if you could reply or send a link to where it's explained that would be appreciated. If not I'll figure it out anyways so no worries
Much love btw
@@derwienernuts Hey man, I’ll be glad to clarify! But to be clear, you’re referring to the count of chords from my previous Pat Martino video about augmented triads, right? That chord count was 196. The count for this video about Pat’s Dimished parental form concept is 135.
I’ll be glad to clarify both!
Yes the major becoming augmented through semi tone movement
Much appreciated!!!!
At 6:13 he says I’m going to show you all five clusters. (E diminished, E flat7, etc) going through 5 keys? But he doesn’t show it? Was this video edited skips? Then he says “So today I’m goin to show you, (he goes into something else). Hes talking while moving one note (like diminished chord while flattening the lowest note (bass note) changing E flat dominant (basically E flat 7 chord) He wants to show (RESULTS FROM CHANGING ONE NOTE IN A CHORD) moving through different keys. But he doesnt stop talking while moving chords around. Terrible lousy lesson! . It might be good lesson for someone who can hear understand everything he says while he’s playing changing chords. Sucks. I came here for ‘octave displacement’ thing he does.
Hey Danny, sorry if my narrative is a bit confusing! The five clusters I refer to are actually “string” clusters, and I explain these beginning around 2:00 - 4:13. Those string clusters are strings 4,3,2,1 then 5,4,3,2, then 6,5,4,3 for the adjacent string clusters and then strings 6,4,3,2 and 5,3,2,1 for the 2 non adjacent clusters. For this lesson I only use those 5 clusters in one position on the neck. The first cluster we learn is on strings 4,3,2,1 with our fingers on frets 2,3,2,3 of those strings respectively. Since we begin with a diminished 7th chord, which is a four note chord (same for the dom7 and min7b5 chords we get when we lower or raise each string one fret), we are only dealing with four keys here. You can call a dim7 chord by any note in the chord. So for these 5 clusters, since they are simply different vertical inversions of the same chord, those 4 dim chords are Edim, Bbdim, C#dim, and Gdim. The four dom7 chords we get when we lower each string 1 fret are Eb7, A7, C7, and F#7 and the four Min7b5 chords we get from raising each string 1 fret are Gm7b5, C#m7b5, Em7b5, and Bbm7b5. If we move this whole operation up the neck a minor 3rd, or 3 frets, to the 5th fret from the 2nd fret, we find the next inversion of each of those four dim7, dom7, and Min7b5 chords respectively. We find the rest of the 12 keys on those frets between frets 2 and 5, so on frets 3 and 4 (for the first cluster that is). Doing this gives you all 12 keys. Sorry, it appears that I didn’t explain this well enough in the video.
I basically take the rest of the video to explain those five clusters to you, and show you the resulting dom7 and Min7b5 chords in one position. I was moving back and forth from Edim to Ebdom7 in that first cluster at the point in the video you reference because that’s where the lesson starts from! Sorry if this was confusing to you! I do have a video on my channel about Pat’s Octavistics, or octave displacement, from 3 or 4 years ago! Feel free to check it out, and please help yourself to the free chord diagrams for this lesson on my website. There’s a link in the description. And I’ve released 2 more videos since this one that takes you through all of the Dom7 and Min7b5 inversions up the neck. Those diagrams are there now as well!!!
Play the chord before you talk for 2 minutes.