I really appreciate you going into the harmony of the section, and not just "here's the part at half speed and these are the fret numbers". Learning to play the notes is cool, but learning how and why they work is even cooler.
I really like those diminished chord modulations (or dominant) that Christian was talking about and playing! I do know the upper structure triad of a dom7 chord is a diminished triad. I see it's a diminished 7th chord (or the triad from it, which has a dominant function).
What's funny is that he states the chord progression as a matter of fact, as it's no big deal...But my head started spinning trying to relate!...Time for the lessons again.....
This is the kind of stuff I like to see. I'm more interested in what you're thinking than anything. The theory is standard music theory, but what you're thinking when you approach a chord in the phrasing and which part of the chord or key you want to use (e.g., playing a G maj over an Em to emphasize the third) is what certainly interests me the most. Why you chose the phrasing would be nice too. Thanks!!
@@justin.hombach That's going to be great for when I finally decide to actually start working on what I intend to be a neoclassical power metal song. oh and also make sure to create drum playthroughs we need some footage of hannes as well
This was a fucking sick lesson and I hope you guys do more! I've been trying to learn music theory on my own for a while to help me writting soundtracks and it would be so amazing to see you breaking down some other songs! I do have a few questions about the the theory behind this song, and I hope you guys can give me a hand: On the beggining, you start with a Cm chord, then go into the C# Dim chord. Where did the diminished chord came from? Because C# doesn't exist in the Cm scale. Are you seeing the C# as a passing tone/chord? The only other way I could see it working is if you were actually in C phrygian. Is that the case? Through the whole lesson you mention the diminished chords being substitutions of the dominant chord. what exactly does that mean? Is it related to tritone substitutions? Or is it some kind of invertion of the dominant chord? When harmonizing the leads, wich guitar would you say is playing the main melody? The highest one (being harmonized in this case by the low sixth degree) or the lowest one (being harmonized in the case by the high third degree)? In your opinion, is it important to keep the main melody higher than it's harmony? Thanks you so much for the attention and for the lesson! Please keep doing these!
Yes the C# dim. is used as a substitute for a secondary dominant, in this case Eb. We want to go from C-Minor to Ab-Minor, which is (seeing from a scale perspective) pretty far away. C-Minor with 3 flats and Ab Minor with 7 flats (or 6 sharps seeing it as G#-Minor which would be abit more common, when you want to see it as a scale). How did you get so far away? With secondary dominants! And in this case the C#-dim. is pretty close to C minor, by only raising the C and the Eb to C# and E. I would recommend going abit away from thinking in scales in this case and more think in the harmonys for its own. Because the diminished chords actually can be part of alot of scales. As Christian said id in the video you can resolve from C#-Dim into: G#(Ab), B, D and F so this chord can be from the G#(Ab)/B/D and F-Harmonic minor scale. For the melody question, this can be that Christian maybe has a different POV than me but, I don't think that parts like these have "Main Melodies". Both Guitars are equel important for the overall sound. For me the question: "do I go up or down to harmonize?" by writing stuff like this, often will be answered with simple: "Do I have the space? Or is a third up maybe to high or maybe to low?" :)
@@justin.hombach Thank you so much for the answer! So, when you mentioned the dim chord being a substitute, I thought you meant it was a tritone substitution (wich was the oly substitution I knew before this video), so that got me super confused. I was trying to see how this modulation could be a II-V-I with a substitute V, but that was the wrong way to see things. Now it's all clear. Are there any other types of substitutions I should be checking? Or any other interesting ways to modulate keys I should look into? I think this video and these comments can lead me on a good research journey! But if you don't mind, I would also like to know how you are choosing the the target chord/key you are modulating into. Is there a "rule" or recomendation to where someone should modulate to? Or did you guys experiment and chose Cm to Abm because it was cooler than all the other options? Thanks again for the video and for the lengthy answer! That was super nice of you!
I really appreciate you going into the harmony of the section, and not just "here's the part at half speed and these are the fret numbers". Learning to play the notes is cool, but learning how and why they work is even cooler.
i agree
The knowledge of theory and raw skill you guys have is crazy.
Awesome that you actually mention the theory behind it! Much more interesting than just simply showing what you're playing on the fretboard!
Great, thanks so much
I learned a lot from this.
Thank you, Christian and Justin.
Danke schön!
I really like the structure of this lesson. Especially going between the 2 guitarists. Thanks Gents
I really like those diminished chord modulations (or dominant) that Christian was talking about and playing! I do know the upper structure triad of a dom7 chord is a diminished triad. I see it's a diminished 7th chord (or the triad from it, which has a dominant function).
Thank you, this is very good
Amaziiig, need to learn this
What's funny is that he states the chord progression as a matter of fact, as it's no big deal...But my head started spinning trying to relate!...Time for the lessons again.....
very interesting
time to learn some dank riffs
Hell yeah brother!
By the way Christian, if you're reading this, your guest solo on Virial's Transhumanism was fucking awesome.
This is the kind of stuff I like to see. I'm more interested in what you're thinking than anything. The theory is standard music theory, but what you're thinking when you approach a chord in the phrasing and which part of the chord or key you want to use (e.g., playing a G maj over an Em to emphasize the third) is what certainly interests me the most. Why you chose the phrasing would be nice too. Thanks!!
We filmed a bunch of lessons on this day, so more videos from Christian will come soon :D
kinda funny seeing justin here. Good Job \m/
Hahah now taking over all the other channels from my bandmates :D
This is a great video. Very helpful. I'm trying to write more neoclassical and this helps alot. Thanks
Nice
Could you make a video on more of those neoclassical chord progressions?
We filmed a bunch of lessons that day, so yes! More of it will come :D
@@justin.hombach That's going to be great for when I finally decide to actually start working on what I intend to be a neoclassical power metal song.
oh and also make sure to create drum playthroughs
we need some footage of hannes as well
I'm very intrigued to know what Linus is doing finishing this section of arpeggios
Ever thought of classic stance for playing guitar?
This was a fucking sick lesson and I hope you guys do more! I've been trying to learn music theory on my own for a while to help me writting soundtracks and it would be so amazing to see you breaking down some other songs!
I do have a few questions about the the theory behind this song, and I hope you guys can give me a hand:
On the beggining, you start with a Cm chord, then go into the C# Dim chord. Where did the diminished chord came from? Because C# doesn't exist in the Cm scale. Are you seeing the C# as a passing tone/chord? The only other way I could see it working is if you were actually in C phrygian. Is that the case?
Through the whole lesson you mention the diminished chords being substitutions of the dominant chord. what exactly does that mean? Is it related to tritone substitutions? Or is it some kind of invertion of the dominant chord?
When harmonizing the leads, wich guitar would you say is playing the main melody? The highest one (being harmonized in this case by the low sixth degree) or the lowest one (being harmonized in the case by the high third degree)? In your opinion, is it important to keep the main melody higher than it's harmony?
Thanks you so much for the attention and for the lesson! Please keep doing these!
Yes the C# dim. is used as a substitute for a secondary dominant, in this case Eb. We want to go from C-Minor to Ab-Minor, which is (seeing from a scale perspective) pretty far away. C-Minor with 3 flats and Ab Minor with 7 flats (or 6 sharps seeing it as G#-Minor which would be abit more common, when you want to see it as a scale). How did you get so far away? With secondary dominants! And in this case the C#-dim. is pretty close to C minor, by only raising the C and the Eb to C# and E.
I would recommend going abit away from thinking in scales in this case and more think in the harmonys for its own. Because the diminished chords actually can be part of alot of scales. As Christian said id in the video you can resolve from C#-Dim into: G#(Ab), B, D and F so this chord can be from the G#(Ab)/B/D and F-Harmonic minor scale.
For the melody question, this can be that Christian maybe has a different POV than me but, I don't think that parts like these have "Main Melodies". Both Guitars are equel important for the overall sound. For me the question: "do I go up or down to harmonize?" by writing stuff like this, often will be answered with simple: "Do I have the space? Or is a third up maybe to high or maybe to low?"
:)
@@justin.hombach Thank you so much for the answer!
So, when you mentioned the dim chord being a substitute, I thought you meant it was a tritone substitution (wich was the oly substitution I knew before this video), so that got me super confused. I was trying to see how this modulation could be a II-V-I with a substitute V, but that was the wrong way to see things. Now it's all clear.
Are there any other types of substitutions I should be checking? Or any other interesting ways to modulate keys I should look into? I think this video and these comments can lead me on a good research journey!
But if you don't mind, I would also like to know how you are choosing the the target chord/key you are modulating into. Is there a "rule" or recomendation to where someone should modulate to? Or did you guys experiment and chose Cm to Abm because it was cooler than all the other options?
Thanks again for the video and for the lengthy answer! That was super nice of you!
Jesus is guitar shredder
I say make D standard the new standard.