As I sit here designing a math test for my online students, I receive the notification of a new MTFG video, and I realize that this is one of the highlights of my week.
You can also put it this way: You can modulate to any Key a half step up away of any note from your dim. chord (directly)... ex. Bdim. to C or Eb or Gb or A
You are amazing, your video are not only useful to guitar players. I am a piano teacher and i couldn't explain those concepts in a better way. Great JOB. Understanding what's behind makes people passionate and music more funny to play!
Something I noticed that may be of use: For a Bo chord the resulting modulation keys are C,Eb,Gb,A which are the notes in the Co chord. So, for an easy reminder, any given diminished chord can be used to modulate to any key from the isolated notes of the diminished chord half a step above. This can be useful to save some time and be aware of the possibilities of modulation while writing, without having to think too much. Regarding the minor keys, they are simply the relative minor keys to the major ones, so that should be no big deal. Peace!
Flavio Lima Música - Txá thanks! That is a very useful short cut to what was explained on the video!
4 года назад+3
@@Bozzigmupp i mean, he points the keys as if there were eight of them in total, 4 major ones, 4 minor ones, but these minor ones are simply the relative minor to the 4 major keys he spoke of earlier. That means you can think of the whole thing as 4 keys, with their relative minors. For instance, in the same example i gave, you have the keys of C = Aminor Eb = Cminor Gb = Ebminor A = Gbminor It's always the same 4 letters, see?
Much apreciated, certainly very useful. This video, like diminished chords, connects other notions together that are in your course : the other use of °chords and the other ways to change scales !
I'm a woodwind player, this video helped me in the way that it confirmed things that i've been guessing at. Now that I know that I am on the right path I can play more confidently. Thank you for the clarity!
I’ve been using diminished chords a lot, like (in C Maj) going from E min to G dim7 to D min 7 or from G to G# dim7 to A min but you’ve shown me how I can use diminished chords to modulate to other keys that don’t have common/shared chords for pivoting. This is really good. Thank you.. Previously I was attempting to use pivot notes but was finding that tricky...
Wow what an excellent video……..you made that modulation concept so crystal clear……once I got the relationship between the diminished and 7th chords the flood gates open. A video on interweaving that stuff to jump around the circle of 5ths would be great……thanks
Molto interessante: pur usando gli accordi di 7a diminuita, non avevo mai notato questa loro similarità con quattro accordi di dominante. Grazie mille.
This is a small leap from Hotcha's unique diminished chord I learned ( Roy Buchanan song ), but a giant step to the use of diminished chords in every thought I have when I play 7th's chords - Neil "Blues Cat" Armstrong
Thank you very much for your video. This is a great trick! The only thing I dont understand is that at 9:56 you say that, G7 is in a key of C minor, but I do think so. Isnt it Gmin7 that is in the C minor scale on the fifth position? The dominant chord in C minor would then be Bb7. Am I getting something wrong?
In a minor key you can also take chords from the harmonic minor scale. So G7 is an option in C minor. In Cm, Bb7 is a dominant chord in the sense that it's contains a major 3 and a minor 7, but is't not 'the' dominant chord of the key: that is always the 5th chord of the key. (The word 'dominant' has two meanings). For more details, see this playlist: ruclips.net/video/kXVfzYKYvCI/видео.html
MusicTheoryForGuitar I tought the harmonic minor scale takes its name from the re-enharmonization of the minor scale in order to get a fifth degree which would be seventh and find again the tension-resolve move as it’s found in the major scale. The minor scale is wrongly called a scale to me but would be more the aeolian mode of the major scale. In this mode the fifth is not dominant (no triton or tension) hence the need for a new scale. Thanks so much for your videos and i really appreciate the way you share your knowledge, it must be a pain in the a.. all these comments to correct a sentence here and there ;)
Dhanesh Sarangadharan I don’t know what instrument you play but there’s a fantastic book that covers the “agreed upon consensus” of emotional impact between intervals, keys, chord sequences and key changes. “How To Write Songs On Guitar” by Rikki Rooksby. I’ve given a copy to some piano players and they absolutely love it. It’s a fun read. Cheers.
In Hinduism there are three Nadis (channels) for Energy: Ida, Pingala, Sushamna. May think of them as the Minor, Major and Diminished. Diminished is the vertebra so it is symmetric. The others are either right spin or left. Minor chords (ida) is the pituitary gland, whereas (pingala) is the pineal gland. Music is the science between Geometry and Astronomy.
Hi Tommaso ! Thanks a lot for all this material 👍 A significant riddle for me : how could we analyse a fully diminished seven resolving into a minor seven 1/2 tone lower as in « All the things you are » ? Keep on with these Great videos. I am totally addicted to them
Augmented 6th chords play a role in this. There is a cadence where a french 6th resolves down a half step to a dominant chord. French 6th has a lot of notes in common with a diminished chord, so the effect is mirrored in my opinion.
Thank-you for your answer Metaljay !! You are right with this 7 French chord with a flatted 5th introducing the dominant smoothly by anticipation but the sound of the diminished chord leading into a minor chord à semitone lower seems different to my ears. I’ve studied a new possibility without any guarantee : A classical cadence is : C - Bdim/D - C/E The I in 1st inversion reminds me of a Emb6(no5) and Bdim is the same as F diminished. Don’t know if this makes sense
@@MusicTedB I think the diminished resolving a half step down makes the diminished chord fill a subdominant function in relation to the I chord, since like the subdominant, it shares some of the notes with the I chord, just resolving the tension notes, ie, not as strong of a resolution as resolving it a half step up, where all the notes change to resolve. At least those are my thoughts on it.
These overkills sound awesome, though. 😃 I've been wondering about something - how do different chord extensions influence the harmonic qualities of a chord? For example, a major flat 9th chord reminds us of a minor chord, because of the minor third between the flat 9th and the 3rd. This flat 9 creates tension and an interesting "flavour" of the chord, and dismissing it simply as an extension with the same qualities as the original chord seems wrong to me, since we hear something entirely different. Do you have knowledge on the topic?
I had to watch this again. Without thought of chord progressions, I'd change one note - from a diminished to a seventh. The naming of the chord, being a half step below the diminished, to me, is a reason to not think in the usual 'chord progressions'. I use the 'French' seven. People should get used to experiencing cultural or personal variations - like the different language dialects of Norway trying not to be standardised or dominated by one variety. I will write down the formula. I'm very eager to find methods in how to change key - especially if it flows through without a sense of it being noticeable as if done for the purpose of changing keys - but more essentially for the melody, lyrics or mood. This transformation of the musical piece, I see now, appears as if going through a mind portal or a gate to another dimension, as TedBoyRomerino says.
Thank you, thank you, thank you! Great video and very easy to follow. I've just started using diminished chords in my writing; mostly as transition and turnaround chords, so this video provides a lot of ideas to play with. My question is, how can I incorporate diminished chords in/under my melodies, either as substitutes for other chords, or on their own? When does it make sense to do this, and when doesn't it? Thanks again.
Amazing explanation !!! So the diminished chord functions basically like a roundabout or an exchanger on a freeway, allowing to take different directions ! I never knew that. Thank you so much for explaining so clearly how chords function within the musical structure instead of just describing how to play them. It makes a MAJOR difference 😉 I wonder what's left for your paying courses 😉 The only thing is you tend to speak to fast without pauses. I guess you speed up the recording and edit the silence out but we need some pauses to fully rephrase / understand.
Hi. Thank you for your wonderful lessons. Question for you, just listening to transition from G7 and Bdim7 musically sound very close, so could we go straight to Bdim7 after playing C and F? When convenient, could you please let me / us students know. I appreciate all what you do.
Great classical movement. Sounds Instant medieval. I’d love to know if there‘s something the like for augmented chords. I can‘t figure out how to use them in a musical context, as they sound even more dissonant to my ears.
So I am getting that there are only really three diminished chords since regardless of where on the fretboard you play them they repeat at minor third intervals. Is this correct - only three actual diminished chords just changing names as they move through the three intervals?
Nice video, thanks. I just want to say that G7 to Bº in classical music either in jazz is not a common or even cool movement, it sounds as the progression weakens, can you listen to it? It´s much better option to go C to Dmin to Bº then your preferred Dominant for modulation and your confirmation cadence or sequence on the new tonality. all the best! (G7 to Bº weakens, but Bº to G7 strengthens) in general yes.
Actually, G7 to Bdim7 is done all the time - in both jazz and classical and several other styles - and it does not weaken the progression at all. Bdim7 is equivalent to a G7/b9/no root, so the tension increases, as it should.
MusicTheoryForGuitar actually is not, not as triads. What it is yes common is G7 to Bmin7(b5) but not as triads, you where presenting as triads. when you use diminished triads (not diminished 7ths or min7(5). Diminished triads in root position also are much weaker than in first inversion, so if you want to use triads I would take consideration of these subjects when teaching. Nothing wrong with doing whatever, I am fine with it, but teaching is another story.
MusicTheoryForGuitar prove me wrong and show a V7 to Bdim triad in any Bach, Mozart, Beethoven era, which is the era of tonal harmony based mostly on triads. They 99% or any accomplished composed would use the triad diminished harmony in first inversion. Almost never ever in root position, forget the theory, just listen to the difference. When inverted you have a consonant outer interval, instead of the root and diminished 5th of the root position. I was surprised you defended your point. I mean we all know things but we will never know all.
If they were triads, you would be right - in fact I agree with everything you write about inversions. But this does not apply here. I may not know everything, but if there is one thing I know is that in this video I'm talking about diminished 7th, not triads. I say as much at 0:38, and when I spell them and play them (see 1:13) they are clearly 4 notes chords - not triads.
Great! but I have a question. dont you think its irelevant to use the dom.7 chords you are using after the dim. chord?? I could go from Bdim. directly to Eb or Gbm right? the dim. and does dom, chords have just 1 note different... thanks
I understand its common practice to turn the v chord in a minor key to V7 (making it harmonic minor) to make a cadence but it wouldnt say minor keys contains V7 chord.
thanks for presenting , this may become a nice improv device , it took me a minute to verify the modified note is the root of the new dominant chord, after discovering this will now try to short hand direct for the tonic keys first and see how it works it seems that there is both a diminished chord of tonics and fifths tonic C Eb F# A fifth G Bb Db E tonic Eb F# A C fifth Bb Db E G tonic F# A C Eb fifth Db E G Bb tonic A C Eb F# fifth E G Bb Db
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As I sit here designing a math test for my online students, I receive the notification of a new MTFG video, and I realize that this is one of the highlights of my week.
Wow, thank you!
there are 3 diminished chords 1 b3 b5, 1 b3 b5 bb7 = dim7, 1 b3 b5 b7= half dim or m7(b5)
You've managed to explain something that has utterly eluded me. You're a wonderful teacher.
Happy to hear it!
@@MusicTheoryForGuitar I can only second that. Well done indeed, sir!
You can also put it this way: You can modulate to any Key a half step up away of any note from your dim. chord (directly)... ex. Bdim. to C or Eb or Gb or A
Yes
This makes everything easier but Im still glad to get to know the drill to transform to other keys
You are amazing, your video are not only useful to guitar players. I am a piano teacher and i couldn't explain those concepts in a better way. Great JOB. Understanding what's behind makes people passionate and music more funny to play!
You have a great teaching style
1 of the Best teachers among few of them on RUclips. Thank you 🙏
Diminished chords are the gates to other dimensions
True!
One of the gates
This is one of those rare 'Holy Grail' videos that just opens up the mind to a new world. Amazing.
Also you can use the minor transition to reach a major key. E.g. C F G7 Bo Bb7 Ebm Abm Bb7 Eb .. gives a lovely melodic feel
Perfect Explanation! Thanks a lot man
Something I noticed that may be of use:
For a Bo chord the resulting modulation keys are C,Eb,Gb,A which are the notes in the Co chord.
So, for an easy reminder, any given diminished chord can be used to modulate to any key from the isolated notes of the diminished chord half a step above. This can be useful to save some time and be aware of the possibilities of modulation while writing, without having to think too much.
Regarding the minor keys, they are simply the relative minor keys to the major ones, so that should be no big deal.
Peace!
Well spotted!! thank you this is so helpful :)
Flavio Lima Música - Txá what do you mean with the last sentance?
Flavio Lima Música - Txá thanks! That is a very useful short cut to what was explained on the video!
@@Bozzigmupp i mean, he points the keys as if there were eight of them in total, 4 major ones, 4 minor ones, but these minor ones are simply the relative minor to the 4 major keys he spoke of earlier.
That means you can think of the whole thing as 4 keys, with their relative minors.
For instance, in the same example i gave, you have the keys of
C = Aminor
Eb = Cminor
Gb = Ebminor
A = Gbminor
It's always the same 4 letters, see?
Qué grande! Bien visto.
I love how human and uplifting is your intro. Great video
Thank you Tommaso! Diminished chords are my weakest so I really appreciate this lesson!! Incredibly valuable to me :)
Great to hear!
Those dominant chords are part of the whole-half diminished scale. Its so beautiful and crazy the relationship between simply three diminished chords.
Brilliant explanation as ever .. thank you
You are saving me!
I have to compose a piece which modulates every 12 bars (for school, don't ask) and I ran out of ideas of modulation.
Thank you^^.
Fantastic! You may find this helpful too: ruclips.net/video/KqpZTAg6ltw/видео.html
@@MusicTheoryForGuitar I do, thank you!
This is a very nice class!!! Thank you very much! 😊❤️🙏🏻
Much apreciated, certainly very useful. This video, like diminished chords, connects other notions together that are in your course : the other use of °chords and the other ways to change scales !
Found myself doing this in my song writing lately. Nice to know the theory behind it now! Thanks for that!
Tom, you blew my mind with this one! Cheers, pierre - from Oz.
Great job, teacher. Very enlightening... Now I'm planning to avail the course asap... Thanks a lot!
I'm a woodwind player, this video helped me in the way that it confirmed things that i've been guessing at. Now that I know that I am on the right path I can play more confidently. Thank you for the clarity!
I’ve been using diminished chords a lot, like (in C Maj) going from E min to G dim7 to D min 7 or from G to G# dim7 to A min but you’ve shown me how I can use diminished chords to modulate to other keys that don’t have common/shared chords for pivoting. This is really good. Thank you.. Previously I was attempting to use pivot notes but was finding that tricky...
This lesson opened my mind. Very helpful....Thank you, brother. 🙏
Excellent and very pleasant explanation. I can listen to you all day. I wish you had been my theory teacher in college.
Thank you Tommaso. God bless you. You always make things simpler!!
Enlightenment. Really wonderful piece. I'll take it along.
Thanks for the amazing content as usual.
Discovering this channel was one of the best things ever
Really enjoying these diminished lessons, thanks a lot.
Fascinating lesson. Never realized this. Thanks Tommaso
Wow what an excellent video……..you made that modulation concept so crystal clear……once I got the relationship between the diminished and 7th chords the flood gates open. A video on interweaving that stuff to jump around the circle of 5ths would be great……thanks
Molto interessante: pur usando gli accordi di 7a diminuita, non avevo mai notato questa loro similarità con quattro accordi di dominante.
Grazie mille.
Excellent explanation... Thank you!
Nicely simplified
Now i got it! Thanks!!!
An excellent lesson/video, thank you very much.👍
Muy bueno tu aporte y enfoque. Didáctico. Felicitaciones
Your videos are all so well taught!
Thank you for this video. I’m excited to make music with these concepts
Excellent lesson! Thank you!!
Thank you for a wonderful explaination.
Cool. This technique makes me think of a gear to shift keys.
Nice! Thanks so much, you just opened up so many doors!
Great Lesson!
I will practice this a lot.
Thank you!
Amazing ! Music is so rich !!!!!!
very good info thank you...really appreciate it..
very helpful for composing, thanks
This is a small leap from Hotcha's unique diminished chord I learned ( Roy Buchanan song ), but a giant step to the use of diminished chords in every thought I have when I play 7th's chords - Neil "Blues Cat" Armstrong
Thank you Thomas..awesome!!! To me, this a new knowledge
Very clearly explained thx
Amazing!!!! Thanks a lot!
Thank you very much for your video. This is a great trick! The only thing I dont understand is that at 9:56 you say that, G7 is in a key of C minor, but I do think so. Isnt it Gmin7 that is in the C minor scale on the fifth position? The dominant chord in C minor would then be Bb7. Am I getting something wrong?
In a minor key you can also take chords from the harmonic minor scale. So G7 is an option in C minor. In Cm, Bb7 is a dominant chord in the sense that it's contains a major 3 and a minor 7, but is't not 'the' dominant chord of the key: that is always the 5th chord of the key. (The word 'dominant' has two meanings). For more details, see this playlist: ruclips.net/video/kXVfzYKYvCI/видео.html
MusicTheoryForGuitar I tought the harmonic minor scale takes its name from the re-enharmonization of the minor scale in order to get a fifth degree which would be seventh and find again the tension-resolve move as it’s found in the major scale.
The minor scale is wrongly called a scale to me but would be more the aeolian mode of the major scale.
In this mode the fifth is not dominant (no triton or tension) hence the need for a new scale.
Thanks so much for your videos and i really appreciate the way you share your knowledge,
it must be a pain in the a.. all these comments to correct a sentence here and there ;)
Very interesting. Thanks for sharing!
I discover your channel, and instantly love it
great tutorial!!
Mind blowing... Thanks Tommaso...It would be interesting to see how and when Key changes are useful for a particular emotional impact
Dhanesh Sarangadharan I don’t know what instrument you play but there’s a fantastic book that covers the “agreed upon consensus” of emotional impact between intervals, keys, chord sequences and key changes. “How To Write Songs On Guitar” by Rikki Rooksby. I’ve given a copy to some piano players and they absolutely love it. It’s a fun read. Cheers.
@@Tyrell_Corp2019 Guitar is my primary instrument...Thanks for the recommendation... Let me check if there's a digital copy available
Barry Harris, anyone? Great lesson, Tommaso!
this a highlight of my week also;diminished chords are awesome:)
Great stuff, thank you for taking time to explain!
My pleasure!
I saw the tik tok that Jacob Collier did, and I was baffled, I was looking everywhere for the theory of it. Thank You!
Great lesson!
I love learning stuff like this, great video!
Plants by crumb uses the symmetry of dim7 chords very well
At last I can see it. Thanks 👍🏻
And the "Along came Jones" ah he tied me to the railway tracks !
Wow! So good
Thank you, excellent information 👍
"So next time you wield a diminished chord, wield it irresponsibly"
I LOVE this! :)
jacob collier hahahahaha
You are an excellent teacher! Do you have tutorials in your course on Passing Tones?
is this the secret sauce of the stellar Bach's harmony 🤩
Thanks. This is *so* interesting. I just wish I could keep up with you. It takes me *so* long to process this. . .
One step at a time, you can do it!
In Hinduism there are three Nadis (channels) for Energy: Ida, Pingala, Sushamna. May think of them as the Minor, Major and Diminished. Diminished is the vertebra so it is symmetric. The others are either right spin or left. Minor chords (ida) is the pituitary gland, whereas (pingala) is the pineal gland. Music is the science between Geometry and Astronomy.
Hi Tommaso ! Thanks a lot for all this material 👍
A significant riddle for me : how could we analyse a fully diminished seven resolving into a minor seven 1/2 tone lower as in « All the things you are » ?
Keep on with these Great videos. I am totally addicted to them
Augmented 6th chords play a role in this. There is a cadence where a french 6th resolves down a half step to a dominant chord.
French 6th has a lot of notes in common with a diminished chord, so the effect is mirrored in my opinion.
Thank-you for your answer Metaljay !!
You are right with this 7 French chord with a flatted 5th introducing the dominant smoothly by anticipation but the sound of the diminished chord leading into a minor chord à semitone lower seems different to my ears.
I’ve studied a new possibility without any guarantee :
A classical cadence is : C - Bdim/D - C/E
The I in 1st inversion reminds me of a Emb6(no5) and Bdim is the same as F diminished. Don’t know if this makes sense
@@MusicTedB I think the diminished resolving a half step down makes the diminished chord fill a subdominant function in relation to the I chord, since like the subdominant, it shares some of the notes with the I chord, just resolving the tension notes, ie, not as strong of a resolution as resolving it a half step up, where all the notes change to resolve. At least those are my thoughts on it.
I ❤ diminished chords.
Thanks! Great info and useful.
Great content thanks
These overkills sound awesome, though. 😃
I've been wondering about something - how do different chord extensions influence the harmonic qualities of a chord? For example, a major flat 9th chord reminds us of a minor chord, because of the minor third between the flat 9th and the 3rd. This flat 9 creates tension and an interesting "flavour" of the chord, and dismissing it simply as an extension with the same qualities as the original chord seems wrong to me, since we hear something entirely different. Do you have knowledge on the topic?
Grande Tommaso!
awesome...thankyou
super master. thanks.
I had to watch this again. Without thought of chord progressions, I'd change one note - from a diminished to a seventh. The naming of the chord, being a half step below the diminished, to me, is a reason to not think in the usual 'chord progressions'.
I use the 'French' seven. People should get used to experiencing cultural or personal variations - like the different language dialects of Norway trying not to be standardised or dominated by one variety.
I will write down the formula. I'm very eager to find methods in how to change key - especially if it flows through without a sense of it being noticeable as if done for the purpose of changing keys - but more essentially for the melody, lyrics or mood. This transformation of the musical piece, I see now, appears as if going through a mind portal or a gate to another dimension, as TedBoyRomerino says.
You are so nice man, many thanks.
Thank you, thank you, thank you! Great video and very easy to follow. I've just started using diminished chords in my writing; mostly as transition and turnaround chords, so this video provides a lot of ideas to play with. My question is, how can I incorporate diminished chords in/under my melodies, either as substitutes for other chords, or on their own? When does it make sense to do this, and when doesn't it? Thanks again.
I have another video coming on using diminished chords to spice up chord progressions. Stay tuned :)
Amazing explanation !!! So the diminished chord functions basically like a roundabout or an exchanger on a freeway, allowing to take different directions ! I never knew that. Thank you so much for explaining so clearly how chords function within the musical structure instead of just describing how to play them. It makes a MAJOR difference 😉 I wonder what's left for your paying courses 😉 The only thing is you tend to speak to fast without pauses. I guess you speed up the recording and edit the silence out but we need some pauses to fully rephrase / understand.
Thank you!
Hi.
Thank you for your wonderful lessons.
Question for you, just listening to transition from G7 and Bdim7 musically sound very close, so could we go straight to Bdim7 after playing C and F?
When convenient, could you please let me / us students know.
I appreciate all what you do.
Love the intro - "Hel-looo Internet, so nice so see you :)" Thanks for your videos
Great classical movement. Sounds Instant medieval.
I’d love to know if there‘s something the like for augmented chords. I can‘t figure out how to use them in a musical context, as they sound even more dissonant to my ears.
ruclips.net/video/cLrhgmkcxgE/видео.html
ruclips.net/video/ZVqKB9PaYcE/видео.html
When his letter "m" even has an extra hook, you know he's not a joke
Music is life
wonder like to know more about modulation to any key. Generally how to master modulation.
So I am getting that there are only really three diminished chords since regardless of where on the fretboard you play them they repeat at minor third intervals. Is this correct - only three actual diminished chords just changing names as they move through the three intervals?
Nice video, thanks. I just want to say that G7 to Bº in classical music either in jazz is not a common or even cool movement, it sounds as the progression weakens, can you listen to it? It´s much better option to go C to Dmin to Bº then your preferred Dominant for modulation and your confirmation cadence or sequence on the new tonality. all the best! (G7 to Bº weakens, but Bº to G7 strengthens) in general yes.
Actually, G7 to Bdim7 is done all the time - in both jazz and classical and several other styles - and it does not weaken the progression at all. Bdim7 is equivalent to a G7/b9/no root, so the tension increases, as it should.
MusicTheoryForGuitar actually is not, not as triads. What it is yes common is G7 to Bmin7(b5) but not as triads, you where presenting as triads. when you use diminished triads (not diminished 7ths or min7(5). Diminished triads in root position also are much weaker than in first inversion, so if you want to use triads I would take consideration of these subjects when teaching. Nothing wrong with doing whatever, I am fine with it, but teaching is another story.
MusicTheoryForGuitar prove me wrong and show a V7 to Bdim triad in any Bach, Mozart, Beethoven era, which is the era of tonal harmony based mostly on triads.
They 99% or any accomplished composed would use the triad diminished harmony in first inversion. Almost never ever in root position, forget the theory, just listen to the difference. When inverted you have a consonant outer interval, instead of the root and diminished 5th of the root position.
I was surprised you defended your point. I mean we all know things but we will never know all.
If they were triads, you would be right - in fact I agree with everything you write about inversions. But this does not apply here. I may not know everything, but if there is one thing I know is that in this video I'm talking about diminished 7th, not triads. I say as much at 0:38, and when I spell them and play them (see 1:13) they are clearly 4 notes chords - not triads.
Great! but I have a question. dont you think its irelevant to use the dom.7 chords you are using after the dim. chord?? I could go from Bdim. directly to Eb or Gbm right? the dim. and does dom, chords have just 1 note different... thanks
Yes, you can eliminate one or both dominant chords.
@@MusicTheoryForGuitar Great! thankyou!
Mind blown.
I understand its common practice to turn the v chord in a minor key to V7 (making it harmonic minor) to make a cadence but it wouldnt say minor keys contains V7 chord.
Must be the Illuminati right 😄
Sick name btw
Veramente fantastico
thanks for presenting , this may become a nice improv device , it took me a minute to verify the modified note is the root of the new dominant chord, after discovering this will now try to short hand direct for the tonic keys first and see how it works
it seems that there is both a diminished chord of tonics and fifths
tonic C Eb F# A
fifth G Bb Db E
tonic Eb F# A C
fifth Bb Db E G
tonic F# A C Eb
fifth Db E G Bb
tonic A C Eb F#
fifth E G Bb Db
Thank you
vague concepts becomes totally clear