Beethoven has a quote that goes something like “whenever the gentleman finds himself in a bit of trouble, he can call a diminished seventh to save the day” or something like that. He used them frequently to find his way back to tonic.
Do you have a source for that? Playing Beethoven's Sonata 14 Movement 1 brought me here because he uses these chords there excessively. I could find that quote via Google but would be interested whether it is true and whether he said this in a broader context.
if you complain about me calling it "a" and not "b double flat" then ur banned from the server. also, the intro music is just augmented chords, not diminished as the theme may suggest. Aug is way better for sci-fi mystery!
Dumb down society. These scales were written centuries ago.. It's actaully SIMPLE and EASY..so lets Keep it SIMPLE STUPID. If you know your shit...you can tell DUMB DOWN people to...FFFFFF-OFF There's 9 DIATONIC parallel scales....DUDE. Until you learn them. and the MODES in them. (it's going to give you every possible) 7 notes MODES variations within the 12 note... 63 MODES... The vi mode of A Harmonic min (b6) is a F Lydian #2 The IV mode of C Harmonic MAJOR is F lydian b3.. They are what they are......1. #2, #4, 6 or 1. b3. #4, 6 Im not playing a PIANO...I dunnn have to stack it every other. I can stack it to whatever the hell I please...it's not my fault people can't play the piano or only know ONE scale in 12 different pitch. and cant even play half of the different keys.lmao They can kiss my ass. There's a difference...There's a G note in F Lydian b3 There's no G note in F lydian #2 The A harmonic b5 = F Hungarian MAJOR ( ion #2. #4, b7) 1 , 3, ,5, b7 1. #2, 5, b7 !, #2, #4, 6 1, #2, #4 b7 augmented 6th ??? they 're mode from the ematic scales they are what they are.. example if you count from b2 mode of A harmonic minor b2 1.....2...........3......#4 5.................#67R but I can make the Bb dominant god damn it..lmao if you count from the 7th degree mode 1b2 bb3.....b4 b5 b6 bb7.........8 You get what you get.....They are what they are yes...yes..yes..WTF is bb3??? Why U not just call that btich a 2..FFS.lmao There's' lydian Lydian#2 Lydian b3 Lydian augmented Lydian augment #2 Lydian aug #3...lmao lydian aug b3........why the FFFF do you play a b3 in an augment..it's dim..god damn it. A Melodic min b5...You get what you get..lol lydian aug b7....lmao ( Melodic min b2) Melodic min #4 ( lydian b3) Melodic min b2 ( N6) Melodic min b5....I made that up. But it's just dorian b5 with a leading tone dorian b5 = II of Harmonic MAJOR.. You'll see it..easier if you play A lydian b3 ( E Harmonic MAJOR) or A melodic min It's going to help modulate to F# minor (A MAJOR) F# aeo b5 or F# dor b5...simply play a leading tone.. It'll also over lap with F # Harmonic min b5 D lydian dominant...or D lydian dominant #2 ( or mix #2, #4) D Hungarian Major... Then you can play F # harmonic min b2,...to E min or G MAJOR or you can play G7 as the b2 chord...then A7 into D melodic min Then DOuble Dunnnnnn...lmao Play D double harmonics or D lydian b3 ( E7) into A min. or play G augmented into C min....hahhaaaaaaa ( F# melodic min b2)
I, personally have always hated enharmonic spellings. The idea that they are "technically correct", sort of erks me. When you look at mucic staff, seeing to notes that are space or a line apart as a third, really only helps keyboard players who's fingers are trained in diatonic theory. But if you are a horn player, for just one example, your limted range means practicing your chromatic scale from one end to the other is very important. Guitarist have a very wide range, but "suffer" from see everything as parallel shapes. All notes are space out chromaticly, so switching keys is very easy. You start to see you range as a cycle of 12 individual notes, whose names start to become irrelevant. To players like these Fb's or B#'s really piss you off, not to even mention double #'s and b's.
@@floracanou7613 hmmm...once I wrote a song that was very chromatic and modren, almost like a 12 tone row-thingy, but only 7 tones. My classically trained pianist was very confused by my instructions. Finally I just printed out what I wanted him to play. It was a simple 7 note key, just like he was used too: A##, B#, C#, D, Eb, Fb, Gbb. You know what? It did look pretty fucking cool.
Who are you.. friggin' Beethoven?! the fact that i could almost begin to follow your dialogue makes me think i might actually be learning something. Thanks Jake, i have learned a lot about theory and composition from your channel. You are a great teacher.
*Rob Scallon* : Plays music on everything and with everything. *Stevie T.* : Weird faces, music comedy, reacts to-videos. *Jake Lizzio* : Creative, informative and concise guitar lessons. *Jared Dines* : Every x musician/music style. *Adam Neely* : Theory of the theory. *Davie504* : Impressive, but can you play... *Samurai Guitarrist* : Happy face: :| Sad Face: :| Normal face: :|. Takes a bow. *Paul Davids* : Fantastic production value > Informative guitar lesson. *Ola Englund* : Shred, Death Metal, Video Games. *Music is Win* : Soft voice. Maybe even psychodelic sometimes. *Sarah Longfield* : Taps and taps and taps and taps. Slayer with Rob. *Rick Beato* : Makes Adam Neely look like a freshman. *The Art of Guitar* : Relatable guy, admits to cheat sometimes. I've taken my pick. Take yours!
man If I could afford, I would've paid you for this lesson, but still, I want to convey my gratitude to you, thank you and you are a GEM mate :) I hope you never stop and people never forget to appreciate and value your knowledge and lessons :)
I probably say this on every video of yours, but this is the most powerful music theory technique I've ever seen. And your sample piece is unbelievably great. It sounds so diverse and harmonically complex and yet the idea it was built upon is so simple! It's DT level harmonic virtuosity
Yay, Jake! As much as you kept dissing the poor vii° in, like, every single other video of yours, as much love you're giving to it in this one. Justice restored. (Also, good job on the thumbnail. Really caught me off guard, this one. Who is this, I thought at first. But then I did recognize the channel name.) And yeah, killer video as usual. Like, obviously I've been using dim7 for a long time, but I never realized there were a whopping eight possible targets. I always end up using the same four, if that. Can't wait to try out all the other ones.
Did you notice....he used the Bb Harmonic MAJOR scale??? There's more you can do..becuase there also the Harmonic min b5 or Melodic minor b5.... The II. IV. vi VII....( of Harmonic MAJOR and Harmonic Minor are all possible FULL diminished. That's D F Ab B.......from C harmonics Major or min B D F G# from A Harmonic Major or min A Harmonic min b5 = F Hungarian MAJOR... A Melodic min b5...That's a possible Full diminished from the TONIC A lydian b3 .... The ( N6) are going to help you the other way Harmonic min b2 or Melodic min b2 b2 = Bb Major Cycle down to the 4th. ( the rookie ones..lmao) or B maj7......C7 into F MAJOR or F minor or B7 C7 to F melodic min or Bb dim into B min or MAJOR C E, G, B = C7........E, G, B = E dim....yes? once you play the F as ....Minor. you can alway Play F double harmonic min or F lydian b3 G7....to A min or into C MAJOR or C minor.lmao incase you get bore of play dimished all the time... A Lydian b3....why..that's G # phrygian b4 G#7 into C# min/E MAJOR....or Db MAJOR/Bb minor or you can play BMaj7.......C Maj7.......F Maj7 incase you get bored of Metal and all that Jazz...lmao You Know....E HUNGARIAN MAJOR = G# Harmonic min b5..yes?? YOu know you can also alter the G Loc b4, bb6 from Maj. min, or DOminant ... Play the G# harmonic min b2....A7 or B7 You;re in G# Minor....oki doke.... Play G# minor Melodic min or what ever. excuse me...... while I kiss the sky.Lmao You know the I III V ..are possible Augmented too...right? You can play into whatever keys from where ever. You dont have to put it all in one song... just dont do the same old shit in different keys.lol
watched it again after 2 years and as a music teacher myself i have to say congratulations Jake! Your content is priceless! I like how fluent you talk (i am not a native English speaker). I can write a lot, but i will sum it like, "one of the best guitar / theory videos I have ever watched"! Keep it up!
Andy LaRocque from King Diamond said that music was alot of hard work. I did not understand that, until this video, and the time it took you to write this musical score. I have downloaded it because it is very creative and has exciting tension buildup.
I teach and just LOVE diminished chords! They are TRULY a gateway to other musical dimensions. Moving any one note either a half step down or up produces either a new dominant or a minor flat 5 chord, and moving any two adjacent notes together up or down gives you new minor 7s that are a 5th apart. Then if you move any notes in converse directions, the combination can give you a two suspended chords! The possibilities are MADDENING!!!!
Jake, I've got to say your teaching is brilliant. I'm finding that you help me understand the musical worth of concepts I've actually known about for some time but never successfully put to good use.
heres a handy tip I picked up from Duanne Shin.....play a diminished 7th chord...drop one of the notes down a half step...it gives you a Dom 7 chord, which leads you to a new key
I'm not sure whether this comment gets noticed but Jake, you have just nailed this hardest theory for me in such a concise yet easy to understand concept to take home with! It took me several videos to get into your groove, but man I always wanted to know if I were to write in diminished chords how would it be and you have really make it palatable to digest! Amazing! Sending love from Singapore!
I'm here for the music theory (another great lesson!) but the intros are great too. Each one is a unique appetizer to the main course. The composition is cool and the point about the utility of diminished 7th chords is great. The term "reductive polymeter" is welcome too, as that's a technique I appreciate but never had a concise name for.
You are easily the best channel for music theory and application of music theory, that I've come across. A lot of channels over complicate elements of theory, for example modes, but you explain it in a way that is easily understandable for a noob like me.
Jake: "A diminished chord is pretty useless on it's own.. it needs to go somewhere" Wagner: "Hold my beer....." haha Love your channel man! Keep up the great work
Dude man....first off I gotta say how impressive I found this video to be. It’s extremely helpful and it couldn’t have come at a better time. I was struggling with a composition today, jumping between modes and key’s and I settled with something I wasn’t happy with. After watching this video it made me realise the importance of diminished chords and how to use them as a portal. Thank you so much dude. Btw I’ve been watching your videos for a couple of months now and I’ve learned a hell of a lot. Thanks again mate 🤘🏼
You are doing an enormous favour to us . Because in my country to find a western music teacher with slightly more knowledge than just major minor is next to impossible.
I believe so. I just saw a video about them and learned that they resolve a fourth above or a minor third below. For example, Caug can resolve to F or Am. *BUT* [the video didn't say this but, this is what I'm thinking] since Caug is the same as Eaug and G#aug (same notes), it can resolve to: C# as well. So that's C#, C#m F, Fm, A, and Am. (or any chord a half-step above any note of your augmented chord. just to make it easier.) That's all I know about augmented chords for now. Happy portaling! :)
The other way an Aug chord can be a portal is due to being symmetrical, you can throw an Aug chord on the 5th of the scale but resolve it to a new tonic, so long as the Aug chord has a note in it that is 5th above the new tonic. Works best to a minor scale imo, but will do both. So say you are in Cmaj, you end up on G which would reslve back to C. But instead you use Gaugmented which contains a B and a D# thus you can resolve back to C as normal, or back to E (5th below B) or to G# (5th below D#)
You are that one special person. That 0.1% of people. There are many good musicians but you are that one out of a thousand that knows how to think, how to understand. That not only knows but feels the theory to the deepest roots. You speak so clearly and explain so brilliantly, you make it look so easy. This is sincerely the most helpful channel I ever found on UA-cam, thank you so much for doing what you do.
Man even after you posted this a long time, I have to say what you played in the end was so...... illuminating (that's too weak a word I'm sorry for my English vocabulary). Thank you very much for the effort in this one.
Honestly, this is probably that one video of yours that I will from now on use to recommend your channel to other guitarists and musicians in general. Thanks, this is some truly great stuff!
wow, that's neat. very impressive jake. been watching some of your videos for an hour and a half, you deserve more subscriber. the way you concept the content, the way you explain things, the way you show some examples and how it's done, when to use it, good video and audio quality, clear and comfortable voice, you deserve more than this. I can clearly see your passion and dedication. i wish you all the best, jake. never let go that passion, you're on the right track. you got it.
I stumbled on this series yesterday. Great stuff. I'm analytic by nature and have some theory on board. It's entertaining and informative to learn that many changes I thought were random and creative can be understood in a larger context. It's also cool to realize some writers who hear such changes in their head may not know the theory, but can still creative beautiful music that still operates in that larger context. Good job!
Don't forget you can also use the dim7 chord as a passage chord to almost any chord! Similar to a passage note, try connecting two chords which have their root notes separated by a whole step with a dim7 chord that has its root note a half step in between them (for example, Fmaj7 -> F#dim7 -> Gm7). This also works in a descending motion (Bbm7(b5) -> Adim7 -> AbmMaj7). You can also resolve a dim7 chord on a major or dom7 chord with the same root (Dbdim7 -> Dbmaj9 / G#dim7 -> G#7). Those resolutions are not really used to change tonality, but they add a good amount of spice to your harmonic progression. It works because a dim7 chord contains two tritones (between 1 and b5, between b3 and 6), which makes it a highly unstable chord, which means it can resolve to almost any chord. You can also resolve any dim7 chord a half-step down to any chord in your progression. For example, I'm having fun with this progression for a song of mine: C -> Fmaj7 -> Gdim7 -> F#7 -> Bdim7 -> Db7 -> C. Have fun, and may the dim7 be with you!
I have a lot of fun with that diminished chord already, but now I'm really excited at all the ways to resolve it into something else. This is really useful. Thanks!
I always used dim7 as a chromatic transition between two chords, and this alone yielded so many possibilities, that I never bothered to explore further. Now I will have to.
I love your way of talking. As a non-native English speaker (I'm Italian), I can tell you that I can perfectly understand every word you say (unlike other channels that I follow) and your way of explaining is absolutely fantastic.
Funny, the two resolving chords (up a halfstep and down a wholestep) are again a minor triad away from each other. Its like the diminishing never stops. Fascinating stuff.
Jake is an absolute genius at taking complex theories and not only making them understandable but making them practical. He’s not my first subscription, but he’s one of the best.
Finally, been waiting for YOU to explain diminished chords. You must be the only channel to break stuff down to the point where I get it FIRST TIME.. THANK YOU
I really like this mechanical approach to music making. I recently completed a small piece well more of a study where i wanted to use different approaches to change key. It took several days but from it i was able o learn so much. Thanks in no small part to your other videos on Diminished chords. Please keep teaching us. We appreciate.
I think you created a very successful piece of music . The lead was very musical and and actually very melodic. To create something that melodic with such flow over the progression you chose is very impressive indeed. Amazing job with a tough challenge. Thanks! I learned a lot. I wasn’t sure how to know how to resolve dim chords like that.
Hi Jake. Thanks for all your work and dedication. It really helps a lot of people who wants to know how to make their own material (for what ever the purpose is). Your natural manner of teaching is very relaxed and focused. I admire your creativity in all the sense of the word. You are a Good tescher and musician. Keep doing what you like because we all like what you do, and the way you can and want to do it.
Jake, I think you may well be one of the top guitar instructors on the web today. You have unraveled so many music theory mysteries for me. You are VERY talented as a teacher as well as musician, with fantastic on-camera presence. I think the recognition will continue and you will build a massive fan base. Keep at it! Thanks for all you do.
I never thought about opening a piece with a diminished chord but now I really wanna try it out! I don't wanna say it was eye-opening but certainly impressing that a powerful technique like this can be so simple~!
Man, you are a master. Your videos have so much information at varying levels of complexity, that I feel almost anyone can get something out of videos, even on some difficult concepts.
A diminished chord functions as the seven chord of four different major tonalities and the ii chord of four different minor tonalities. Excellent. I easily forget about the ii chords.
this is awesome i am a bit crazy on diminished chords but cannot work out how and where to use them, i will have to watch this vid a few times. This is one of the best explanations of diminished i have come across. So many thanks and i look forward to more of your vids. Thank you.
It was INCREDIBLY useful to have what you were playing down at the bottom. One thing that had been confusing me on your mode videos was whether we have to switch to any specific scale when working with modal interchange. From what I -think- im starting to get, its that you should really just embellish derivatives of major/minor options when specific chords come up. I'm still trying to figure out if theres any hard and fast rules to what scale to use when, but I think there is a relationship between 1) Major/Minor key you are in 2) Major/minor chord options (either naturally or in borrowed chords) 3) potentially in the chord shapes and the notes in the chords themselves. There aren't a lot of videos that really drive lead playing, scale choices/rules too hard out there and it would be really nice to get an expanded version of your video about modal mixture and maybe a little more insight there. Still feel like I'm missing a piece of the puzzle, but starting to get deeper.
That minute and a half of music was sonic bliss! It was worthy of the progressive rock artists of the 60s and 70s. My instrument is synthesizer, and I will be incorporating more diminished seventh chords in my work. Thanks!
This is one my favourite theory videos, and that song you came up with to demonstrate it is sick. My jaw was on the floor and I had to rewind it to show it to my wife and 7-month-old daughter. Very intense 1:30 minutes. Awesome!
After listening to a lot of prog that musical example sounded very normal to me didn’t realize it was weird until you said it changed keys too many times
Dude, you are a genius!!! This opened my mind to many possibilities to change keys in my songs that I desperately try to do and can't for lack of knowledge. Thank you so much. I will totally check your patreon
![Demonstrating 7 Ways that Composers Make Music Using Modes [SONGWRITING / THEORY]](http://i.ytimg.com/vi/sC2qXLnVU3A/mqdefault.jpg)
![Demonstrating 7 Ways that Composers Make Music Using Modes [SONGWRITING / THEORY]](/img/tr.png)
![How to Sound Like Daft Punk, Tool, or EVERY Rock Band using Minor/Aeolian [Riffing With Modes #6]](http://i.ytimg.com/vi/Bz_q96JhSOg/mqdefault.jpg)
![Motifs and Chords- The Fast and Easy Way to Make Music! [SONGWRITNG - MUSIC THEORY - LESSON]]](/img/n.gif)
Beethoven has a quote that goes something like “whenever the gentleman finds himself in a bit of trouble, he can call a diminished seventh to save the day” or something like that. He used them frequently to find his way back to tonic.
Do you have a source for that? Playing Beethoven's Sonata 14 Movement 1 brought me here because he uses these chords there excessively. I could find that quote via Google but would be interested whether it is true and whether he said this in a broader context.
@@keckwinamadeus8244 ha I don’t remember. I wrote a research paper about Beethoven in high school almost 25 years ago and just recalled that.
This is a crossover I definitely didn’t expect lol, sup kenji!
what is j kenji lopez alt doing here
cool
woahhh heyy
if you complain about me calling it "a" and not "b double flat" then ur banned from the server. also, the intro music is just augmented chords, not diminished as the theme may suggest. Aug is way better for sci-fi mystery!
So can we expect a videon on half diminshed 7 (m7b5) chords soon?
Dumb down society. These scales were written centuries ago..
It's actaully SIMPLE and EASY..so lets Keep it SIMPLE STUPID.
If you know your shit...you can tell DUMB DOWN people to...FFFFFF-OFF
There's 9 DIATONIC parallel scales....DUDE. Until you learn them.
and the MODES in them. (it's going to give you every possible)
7 notes MODES variations within the 12 note...
63 MODES...
The vi mode of A Harmonic min (b6) is a F Lydian #2
The IV mode of C Harmonic MAJOR is F lydian b3..
They are what they are......1. #2, #4, 6 or 1. b3. #4, 6
Im not playing a PIANO...I dunnn have to stack it every other.
I can stack it to whatever the hell I please...it's not my fault
people can't play the piano or only know ONE scale in 12 different pitch.
and cant even play half of the different keys.lmao
They can kiss my ass.
There's a difference...There's a G note in F Lydian b3
There's no G note in F lydian #2
The A harmonic b5 = F Hungarian MAJOR ( ion #2. #4, b7)
1 , 3, ,5, b7
1. #2, 5, b7
!, #2, #4, 6
1, #2, #4 b7
augmented 6th ??? they 're mode from the ematic scales
they are what they are..
example if you count from b2 mode of A harmonic minor b2
1.....2...........3......#4 5.................#67R
but I can make the Bb dominant god damn it..lmao
if you count from the 7th degree mode
1b2 bb3.....b4 b5 b6 bb7.........8
You get what you get.....They are what they are
yes...yes..yes..WTF is bb3??? Why U not just call that btich a 2..FFS.lmao
There's' lydian
Lydian#2
Lydian b3
Lydian augmented
Lydian augment #2
Lydian aug #3...lmao
lydian aug b3........why the FFFF do you play a b3 in an augment..it's dim..god damn it.
A Melodic min b5...You get what you get..lol
lydian aug b7....lmao ( Melodic min b2)
Melodic min #4 ( lydian b3)
Melodic min b2 ( N6)
Melodic min b5....I made that up.
But it's just dorian b5 with a leading tone
dorian b5 = II of Harmonic MAJOR..
You'll see it..easier
if you play A lydian b3 ( E Harmonic MAJOR)
or A melodic min
It's going to help modulate to F# minor (A MAJOR)
F# aeo b5 or F# dor b5...simply play a leading tone..
It'll also over lap with F # Harmonic min b5
D lydian dominant...or D lydian dominant #2 ( or mix #2, #4)
D Hungarian Major...
Then you can play F # harmonic min b2,...to E min or G MAJOR
or you can play G7 as the b2 chord...then A7 into D melodic min
Then DOuble Dunnnnnn...lmao Play D double harmonics or D lydian b3 ( E7)
into A min.
or play G augmented into C min....hahhaaaaaaa ( F# melodic min b2)
I, personally have always hated enharmonic spellings. The idea that they are "technically correct", sort of erks me. When you look at mucic staff, seeing to notes that are space or a line apart as a third, really only helps keyboard players who's fingers are trained in diatonic theory. But if you are a horn player, for just one example, your limted range means practicing your chromatic scale from one end to the other is very important. Guitarist have a very wide range, but "suffer" from see everything as parallel shapes. All notes are space out chromaticly, so switching keys is very easy. You start to see you range as a cycle of 12 individual notes, whose names start to become irrelevant. To players like these Fb's or B#'s really piss you off, not to even mention double #'s and b's.
@@mickeyrube6623 But those notes mean(t) different pitch in a temperament other than the equal temperament. Plus, they look cool.
@@floracanou7613 hmmm...once I wrote a song that was very chromatic and modren, almost like a 12 tone row-thingy, but only 7 tones. My classically trained pianist was very confused by my instructions. Finally I just printed out what I wanted him to play. It was a simple 7 note key, just like he was used too:
A##, B#, C#, D, Eb, Fb, Gbb.
You know what? It did look pretty fucking cool.
Bruh, that track in the end was sublime.
The Castlevania-like sound in the beginning of the song is pure eargasm. Jake is a undeclared genius.
If you have not yet, check out his track in the mixing major and minor video
That final boss theme is coming along really well.
This is what I thought.
Maybe late but imagine that boss changing attack patterns for every change in key... I'm a nerd. Sorry.
@@bohenian Also you have a minute and a half to beat it or you die
Jake, man. How come you're not a super successful voice over artist?
I don't have an agent- if you know one, give me their number lol!
Because Hollywood is run by commies
Awesome video as always! Thank you man!
@@DrumRoody of course I knew it all along. genius
@@SignalsMusicStudio He plays one on TV
Best subscription I've ever subscribed to in my life.
ikr
@@blackcitadel37 You're a Sales too??? Damn! What's up, Family?
My best subscription is PewDiePie.
si
Who are you.. friggin' Beethoven?! the fact that i could almost begin to follow your dialogue makes me think i might actually be learning something. Thanks Jake, i have learned a lot about theory and composition from your channel. You are a great teacher.
Actually, Beethoven himself use that particular technique in 2nd movement of Symphony no.5 which he modulate from A flat major to C major. Good Stuff.
No he a natural and they are analyst's trying to understand his music must be really bored then he just offed himself
*Rob Scallon* : Plays music on everything and with everything.
*Stevie T.* : Weird faces, music comedy, reacts to-videos.
*Jake Lizzio* : Creative, informative and concise guitar lessons.
*Jared Dines* : Every x musician/music style.
*Adam Neely* : Theory of the theory.
*Davie504* : Impressive, but can you play...
*Samurai Guitarrist* : Happy face: :| Sad Face: :| Normal face: :|. Takes a bow.
*Paul Davids* : Fantastic production value > Informative guitar lesson.
*Ola Englund* : Shred, Death Metal, Video Games.
*Music is Win* : Soft voice. Maybe even psychodelic sometimes.
*Sarah Longfield* : Taps and taps and taps and taps. Slayer with Rob.
*Rick Beato* : Makes Adam Neely look like a freshman.
*The Art of Guitar* : Relatable guy, admits to cheat sometimes.
I've taken my pick. Take yours!
Shady Cicada: How to make a(...) guy
Also reel em with the harmony
Davie: slap
Davie504- very impressive, plays _______ while/on/at _______
Check out stich method guitar
DavidWalliman : more top guitar theory..
2:09
That chilling realization when suddenly every note in a dim7 is the root
Just experienced that in another video 😮
"That was too many key changes to be listenable"
LAUGHS IN PROG
Hell, a whole song with just diminished 7th chords is way more prog than “lots of key changes.”
@@yarlodek5842 I know right. This was so Prog that I loved every key change. I can imagine a prog solo something similar to this :-P
Best comment! Haha I was vibing hard to this
man If I could afford, I would've paid you for this lesson, but still, I want to convey my gratitude to you, thank you and you are a GEM mate :) I hope you never stop and people never forget to appreciate and value your knowledge and lessons :)
I went to Jazz University, and I never learned that thank you so much Jake.
You are the equivalent of Master Yoda for guitar players. Amazing video
so truuuuuue !
Jesus man, that demo song rips. Well done.
I probably say this on every video of yours, but this is the most powerful music theory technique I've ever seen.
And your sample piece is unbelievably great. It sounds so diverse and harmonically complex and yet the idea it was built upon is so simple! It's DT level harmonic virtuosity
Man that piece at 8:14 was evil, epic, mysterious, and beautiful. I need more!
Yay, Jake! As much as you kept dissing the poor vii° in, like, every single other video of yours, as much love you're giving to it in this one. Justice restored.
(Also, good job on the thumbnail. Really caught me off guard, this one. Who is this, I thought at first. But then I did recognize the channel name.)
And yeah, killer video as usual. Like, obviously I've been using dim7 for a long time, but I never realized there were a whopping eight possible targets. I always end up using the same four, if that. Can't wait to try out all the other ones.
Did you notice....he used the Bb Harmonic MAJOR scale???
There's more you can do..becuase there also the
Harmonic min b5 or Melodic minor b5....
The II. IV. vi VII....( of Harmonic MAJOR and Harmonic Minor
are all possible FULL diminished.
That's D F Ab B.......from C harmonics Major or min
B D F G# from A Harmonic Major or min
A Harmonic min b5 = F Hungarian MAJOR...
A Melodic min b5...That's a possible Full diminished from the TONIC
A lydian b3 ....
The ( N6) are going to help you the other way
Harmonic min b2 or Melodic min b2
b2 = Bb Major
Cycle down to the 4th. ( the rookie ones..lmao)
or B maj7......C7 into F MAJOR or F minor
or B7 C7 to F melodic min
or Bb dim into B min or MAJOR
C E, G, B = C7........E, G, B = E dim....yes?
once you play the F as ....Minor.
you can alway Play F double harmonic min or F lydian b3
G7....to A min or into C MAJOR or C minor.lmao
incase you get bore of play dimished all the time...
A Lydian b3....why..that's G # phrygian b4
G#7 into C# min/E MAJOR....or Db MAJOR/Bb minor
or you can play BMaj7.......C Maj7.......F Maj7
incase you get bored of Metal and all that Jazz...lmao
You Know....E HUNGARIAN MAJOR = G# Harmonic min b5..yes??
YOu know you can also alter the G Loc b4, bb6
from Maj. min, or DOminant ...
Play the G# harmonic min b2....A7 or B7
You;re in G# Minor....oki doke....
Play G# minor Melodic min or what ever.
excuse me...... while I kiss the sky.Lmao
You know the I III V ..are possible Augmented too...right?
You can play into whatever keys from where ever.
You dont have to put it all in one song...
just dont do the same old shit in different keys.lol
watched it again after 2 years and as a music teacher myself i have to say congratulations Jake! Your content is priceless! I like how fluent you talk (i am not a native English speaker). I can write a lot, but i will sum it like, "one of the best guitar / theory videos I have ever watched"! Keep it up!
Andy LaRocque from King Diamond said that music was alot of hard work. I did not understand that, until this video, and the time it took you to write this musical score. I have downloaded it because it is very creative and has exciting tension buildup.
I come back here every couple of weeks to hear that killer track again. 🔥🔥🔥
Thanks a lot Jake, your content is the superior best by far.
I teach and just LOVE diminished chords! They are TRULY a gateway to other musical dimensions. Moving any one note either a half step down or up produces either a new dominant or a minor flat 5 chord, and moving any two adjacent notes together up or down gives you new minor 7s that are a 5th apart.
Then if you move any notes in converse directions, the combination can give you a two suspended chords! The possibilities are MADDENING!!!!
8:14 for those who wanna listen to that amazing sample piece
That lick and arpeggio at the start was crazy cool
I've been playing for like 15 years and that was the coolest musical thing I've ever seen.
Jake, I've got to say your teaching is brilliant. I'm finding that you help me understand the musical worth of concepts I've actually known about for some time but never successfully put to good use.
heres a handy tip I picked up from Duanne Shin.....play a diminished 7th chord...drop one of the notes down a half step...it gives you a Dom 7 chord, which leads you to a new key
I'm not sure whether this comment gets noticed but Jake, you have just nailed this hardest theory for me in such a concise yet easy to understand concept to take home with! It took me several videos to get into your groove, but man I always wanted to know if I were to write in diminished chords how would it be and you have really make it palatable to digest! Amazing! Sending love from Singapore!
That solo was SO awesome. I especially loved the Hungarian minor part.
I'm here for the music theory (another great lesson!) but the intros are great too. Each one is a unique appetizer to the main course. The composition is cool and the point about the utility of diminished 7th chords is great. The term "reductive polymeter" is welcome too, as that's a technique I appreciate but never had a concise name for.
Man, the song you wrote and played is a huuuuge example on how and when use a viiº. Thank you for making it real.
awesome awesome awesome, thanks thanks!! Diminished + modal mixture, ILUMINATION! Its sounds like the colors of GENESIS thanks again! thanks again! thanks again! thanks again!
You are easily the best channel for music theory and application of music theory, that I've come across. A lot of channels over complicate elements of theory, for example modes, but you explain it in a way that is easily understandable for a noob like me.
I laughed out loud when you said "nutty stuff" at the end of that killer track!
BRILLIANT!!!!!
Exploring innovative music options is this satisfyingggg
The Jake is a lie!!! Not /this/ Jake. Happy Holidays, Sr. Lizzio. Your channel is a jewel among mossy stones.
No dislikes, i DARE you bastards! Jake makin you better!
He is probably the best teacher on UA-cam.
I couldn't even imagine expalining such concepts as easily as he does.
I got your modes of the majors poster, framed it. And now have it in my face all day. Thanks. Jake.
That was fricken awesome!
You voice and musical science enthusiasm is clear evidence that you're none other than Cave & Caroline's love child. Astoundingly talented. 😎
Jake: "A diminished chord is pretty useless on it's own.. it needs to go somewhere"
Wagner: "Hold my beer....."
haha Love your channel man! Keep up the great work
Wagner: "...and I'll write some stuff about Valhalla, Nibelungs and their greed... berp!!! One more beer and I'll add some valkyries" :D
Are you talking about the "Tristan" chord? I thought that was a minor7 flat5, but it's a while since I looked at it.
Diminished seventh chord is more about late classical era. Wagner preferred half-dinimished and dominant ninth chords
Dude man....first off I gotta say how impressive I found this video to be. It’s extremely helpful and it couldn’t have come at a better time. I was struggling with a composition today, jumping between modes and key’s and I settled with something I wasn’t happy with. After watching this video it made me realise the importance of diminished chords and how to use them as a portal.
Thank you so much dude.
Btw I’ve been watching your videos for a couple of months now and I’ve learned a hell of a lot.
Thanks again mate 🤘🏼
The Petruccian vibe is too strong with this one!
Yeah, agree with you
Reminded me a bit of Octavarium (song)
I came back to listen again to the finished product. It is so so so good!
I'm SURE I've heard that progression at 2:09 used to build increasing tension in spongebob episodes
Jake, you' re the best person to explain chords and melody out there. Once again, thanks so much. Love your lick at the end of the video.
Brilliant intro
You are doing an enormous favour to us . Because in my country to find a western music teacher with slightly more knowledge than just major minor is next to impossible.
Thats metal af
I’m obsessed w/ that transition from G Mixolydian b6 to E Lydian to Bb Harmonic Major
Could augmented chords be used as portals too???🤔
I believe so. I just saw a video about them and learned that they resolve a fourth above or a minor third below. For example, Caug can resolve to F or Am. *BUT* [the video didn't say this but, this is what I'm thinking] since Caug is the same as Eaug and G#aug (same notes), it can resolve to: C# as well. So that's C#, C#m F, Fm, A, and Am. (or any chord a half-step above any note of your augmented chord. just to make it easier.) That's all I know about augmented chords for now. Happy portaling! :)
@Azmon Rougier Oops! You are right. I just changed it. :)
The other way an Aug chord can be a portal is due to being symmetrical, you can throw an Aug chord on the 5th of the scale but resolve it to a new tonic, so long as the Aug chord has a note in it that is 5th above the new tonic. Works best to a minor scale imo, but will do both.
So say you are in Cmaj, you end up on G which would reslve back to C. But instead you use Gaugmented which contains a B and a D# thus you can resolve back to C as normal, or back to E (5th below B) or to G# (5th below D#)
You are that one special person. That 0.1% of people. There are many good musicians but you are that one out of a thousand that knows how to think, how to understand. That not only knows but feels the theory to the deepest roots. You speak so clearly and explain so brilliantly, you make it look so easy. This is sincerely the most helpful channel I ever found on UA-cam, thank you so much for doing what you do.
Suddenly Yngwie doesn't seem like a God anymore..
Chesky Stern "Yngwie is just really really fast." - His wife
Man even after you posted this a long time, I have to say what you played in the end was so...... illuminating (that's too weak a word I'm sorry for my English vocabulary).
Thank you very much for the effort in this one.
After listening to this I think I understand now how Dream Theater composes their songs.
Use a lot of diminshed 7th portals, play as fast as possible.
Honestly, this is probably that one video of yours that I will from now on use to recommend your channel to other guitarists and musicians in general. Thanks, this is some truly great stuff!
Now that’s ebic
Thanks a lot man, you've really unlocked chords in my mind like never before
wow, that's neat. very impressive jake. been watching some of your videos for an hour and a half, you deserve more subscriber. the way you concept the content, the way you explain things, the way you show some examples and how it's done, when to use it, good video and audio quality, clear and comfortable voice, you deserve more than this. I can clearly see your passion and dedication. i wish you all the best, jake. never let go that passion, you're on the right track. you got it.
I stumbled on this series yesterday. Great stuff. I'm analytic by nature and have some theory on board. It's entertaining and informative to learn that many changes I thought were random and creative can be understood in a larger context. It's also cool to realize some writers who hear such changes in their head may not know the theory, but can still creative beautiful music that still operates in that larger context. Good job!
Don't forget you can also use the dim7 chord as a passage chord to almost any chord! Similar to a passage note, try connecting two chords which have their root notes separated by a whole step with a dim7 chord that has its root note a half step in between them (for example, Fmaj7 -> F#dim7 -> Gm7). This also works in a descending motion (Bbm7(b5) -> Adim7 -> AbmMaj7). You can also resolve a dim7 chord on a major or dom7 chord with the same root (Dbdim7 -> Dbmaj9 / G#dim7 -> G#7). Those resolutions are not really used to change tonality, but they add a good amount of spice to your harmonic progression. It works because a dim7 chord contains two tritones (between 1 and b5, between b3 and 6), which makes it a highly unstable chord, which means it can resolve to almost any chord.
You can also resolve any dim7 chord a half-step down to any chord in your progression. For example, I'm having fun with this progression for a song of mine: C -> Fmaj7 -> Gdim7 -> F#7 -> Bdim7 -> Db7 -> C. Have fun, and may the dim7 be with you!
I found this technique elsewhere with inverting diminished chords, but this blew my mind now that I understand it. 👍🏻👍🏻
In harmonic minor, vii°7 is a diminished while iiø7 is a half diminished.
Awesome video !! The composition is great.
I have a lot of fun with that diminished chord already, but now I'm really excited at all the ways to resolve it into something else. This is really useful. Thanks!
Really liked the back and forth on the cdim and e. Another great video, giving real examples of what you're talking about. Thanks, man!
That's your best jam to date. Well done man! Fascinating stuff.
I always used dim7 as a chromatic transition between two chords, and this alone yielded so many possibilities, that I never bothered to explore further. Now I will have to.
Seriously, what an incredible tutorial and what a beautiful little song to show it off
Man, I keep listening to that track, it's so awesome
Bravo for taking the time out to demonstrate this theoretical exercise!
I love your way of talking. As a non-native English speaker (I'm Italian), I can tell you that I can perfectly understand every word you say (unlike other channels that I follow) and your way of explaining is absolutely fantastic.
Funny, the two resolving chords (up a halfstep and down a wholestep) are again a minor triad away from each other. Its like the diminishing never stops. Fascinating stuff.
So glad to hear you call it a "full diminished chord". For a while now I thought I was the only one...
That was a top tier intro man. Haven't even watched the rest of the video yet but that auto-tune robot voice was spot-on lol
Jake is an absolute genius at taking complex theories and not only making them understandable but making them practical. He’s not my first subscription, but he’s one of the best.
Finally, been waiting for YOU to explain diminished chords. You must be the only channel to break stuff down to the point where I get it FIRST TIME..
THANK YOU
I really like this mechanical approach to music making. I recently completed a small piece well more of a study where i wanted to use different approaches to change key. It took several days but from it i was able o learn so much. Thanks in no small part to your other videos on Diminished chords.
Please keep teaching us. We appreciate.
That song was epic. I wish you'd make a longer version!
Lesson was great - as always - LOVED the “Portal” tie in - very clever!!!
I think you created a very successful piece of music . The lead was very musical and and actually very melodic. To create something that melodic with such flow over the progression you chose is very impressive indeed. Amazing job with a tough challenge. Thanks! I learned a lot. I wasn’t sure how to know how to resolve dim chords like that.
Hi Jake.
Thanks for all your work and dedication. It really helps a lot of people who wants to know how to make their own material (for what ever the purpose is). Your natural manner of teaching is very relaxed and focused. I admire your creativity in all the sense of the word. You are a Good tescher and musician. Keep doing what you like because we all like what you do, and the way you can and want to do it.
Love how he inadvertently played the opening riff to "ghost town" by the specials at 2:09
That minute and a half is like your very own Giant Steps, and that's extra giant I'm talking 'bout! Thanks for the lessons.
That bit on the end...BRUH!!!!...
You got us all back in the WOODSHED...TO SHRED
I follow many music teachers on UA-cam, and I believe you are by far the most applicable and entertaining of them all. Bravo!
This is great. A keyboardist friend and band mate has always says diminished is a portal. Really nice work to illustrate it all.
Jake, I think you may well be one of the top guitar instructors on the web today. You have unraveled so many music theory mysteries for me. You are VERY talented as a teacher as well as musician, with fantastic on-camera presence. I think the recognition will continue and you will build a massive fan base. Keep at it! Thanks for all you do.
That song is absolutely nuts. Incredible.
please never stop making these videos brother. thank you so much for this. you just continue to help me improve with every video. words cant explain.
I never thought about opening a piece with a diminished chord but now I really wanna try it out! I don't wanna say it was eye-opening but certainly impressing that a powerful technique like this can be so simple~!
Man, you are a master. Your videos have so much information at varying levels of complexity, that I feel almost anyone can get something out of videos, even on some difficult concepts.
A diminished chord functions as the seven chord of four different major tonalities and the ii chord of four different minor tonalities. Excellent. I easily forget about the ii chords.
This is the best 10-minute harmony lesson I have ever seen
this is awesome i am a bit crazy on diminished chords but cannot work out how and where to use them, i will have to watch this vid a few times. This is one of the best explanations of diminished i have come across. So many thanks and i look forward to more of your vids. Thank you.
It was INCREDIBLY useful to have what you were playing down at the bottom. One thing that had been confusing me on your mode videos was whether we have to switch to any specific scale when working with modal interchange. From what I -think- im starting to get, its that you should really just embellish derivatives of major/minor options when specific chords come up. I'm still trying to figure out if theres any hard and fast rules to what scale to use when, but I think there is a relationship between 1) Major/Minor key you are in 2) Major/minor chord options (either naturally or in borrowed chords) 3) potentially in the chord shapes and the notes in the chords themselves. There aren't a lot of videos that really drive lead playing, scale choices/rules too hard out there and it would be really nice to get an expanded version of your video about modal mixture and maybe a little more insight there. Still feel like I'm missing a piece of the puzzle, but starting to get deeper.
That minute and a half of music was sonic bliss! It was worthy of the progressive rock artists of the 60s and 70s. My instrument is synthesizer, and I will be incorporating more diminished seventh chords in my work. Thanks!
This is one my favourite theory videos, and that song you came up with to demonstrate it is sick. My jaw was on the floor and I had to rewind it to show it to my wife and 7-month-old daughter. Very intense 1:30 minutes. Awesome!
After listening to a lot of prog that musical example sounded very normal to me didn’t realize it was weird until you said it changed keys too many times
JAKE I LOVE YOUR CHANNEL! So glad I had to brush up on Dim 7’s cause it’s been a while since I watched a Signals Music Studio video
Lots of key changes really work for me. Music that goes new places. Really like your videos!
Dude, you are a genius!!! This opened my mind to many possibilities to change keys in my songs that I desperately try to do and can't for lack of knowledge. Thank you so much. I will totally check your patreon
Absolutely invigorating. I enjoyed that to the maximum. Truly sublime. Thank you maestro!