For anyone interested behind the harmonic theory of this one. He is using one of three harmonic functions of the dimished (7 or not) chord. The "substitution" function. Because dim7 naturally resolves into the minor chord following it, it has a dominant function. This can also be done on the note one step above the dominant fifth of the major scale to resolve to the root therefore "substituting" for the fifth chord. For example: G#dim(7) wil be a dominant chord to C.
Wow, almost New Year's 2024 here and you became my brand new favorite just by this video. I had to break out my harmonic minor spell book and I saw right there what I wrote. The 7th mode IS diminished! Not exactly whole half all the way, but totally a diminish sound very full like. That linked it all together for me, bud. Teacher to teacher, that is what we call the stuff. 😄👊
Great lesson David ! Other teachers claim this is the “Robben Ford” Trick, which apparently he combines Diminished Arpeggios with Dominant chords ! that may be the case for ‘Astrophysicists’ and ‘Rocket Scientists’……….but for us intermediate guitarists yours is a brilliantly simple method of “showing us” how the ‘Harmonic minor scale’ contains the Diminished arpeggio. Telling us that each of the ‘Modes’ has a single trigger note into the Diminished is brilliant ! Now my playing can go beyond the Pentatonic scales. Thank you.
Great lesson, playing along a backing track can also make the lesson more easy to follow for some of us who find it ease to follow when we hear the guitar following a backing track.
Have you ever been in a position when you get hit with the right info at exactly the right time? This is that for me. Perfect timing and many thanks for saving me hours of work. Knowing what note to use as a springboard into the arpeggio is pure gold. I know what I am working on for the foreseeable future. You have a way of communicating things in a way that I can grasp easily. That sheet you offer where you colour in the notes of the modes, is great on a 1/2 a dozen levels. Very useful tool. Thx for that too.
Hi David - great channel! I use a very similar approach, but stack the minor 3rds in string pairs, so the g sharp and b would be on strings 6 and 5, and the d and f on strings 5 and 4 etc. A cool twist to this is to play g sharp, and b, then slide into the d from the c sharp, then f, then slide into the g sharp from the g etc etc. This takes out most of the uncomfortable stretches, and adds some cool approach tones. I think Django does a similar thing, probably to to reduce the minor 3rd stretch to 2 frets on adjacent strings rather than 3 frets on one string. I think it's also worth pointing out that, when playing these arpeggios descending, it's dead easy to think of the 9th as your access tone. Also, as well as outlining A harmonic minor, you could regard it as outlining an E7 flat 9 arpeggio (etc!) Keep up the good work - there's an awful lot of very poor tuition on RUclips, and it's great to see someone who can put the info over so well!
visit the sites of these 2 guitar companies and prepare to be blown away, skervesen and aristides (bonus 3rd ethereal guitars all made of various metals, as is aristides but thats a proprietary alloy called arium i think. its unique and they are beautiful) skervy is my favorite of the 3 but i want an aristides 808s bad
Love this, partly because I'v already been working on this exact thing for a while (trying to build speed/make it more natural), even in the same key. But I didn't know exactly what it was, so this explanation is very helpful. Also, I hope this is the beginning of more videos that cover similar "tricks".
you can do the same with the major chord, Phrygian Dominant, 5th mode of the harmonic minor. (example play the A harmonic minor scale over a E major Chord) The diminish arp is symmetrical, this pattern should work starting on minor 3rd intervals apart.
this has brought new meaning to soloing ... this is one of the best vids i have seen on using diminished, i love dim chords but was a bit frightened to try and use in soloing. Now you have opened yet another door for me and i would like to thsnk you David. So thabkyou so much for this and all you do for musicians.. Oh just one more thing .. KEEP ON ROCKIN IN THE FREE WORLD.
I think it's important to point out where the harmonic minor and diminished scales come from too- it was created by classical composers who wanted a really strong resolution from the V chord back to the I chord like they get in a major progression when they were composing in a minor progression-so they "borrowed" the dominant V chord from the major scale and used it. That raised 7th degree really wants to move up a half step back to the tonic, and works very nicely. To help with that they then created the harmonic minor scale- and most composers will write melodies in natural minor over the other chords in the progression- then switch to harmonic minor over the V chord for the melody. Since that leaves a very nice diminished scale available- you can play the diminished over the V chord too- and all the Yngwie diminished runs are based right off that tone! Just move them up every three frets~
Thanks! I noticed that if you start a diminished arpeggio on the 7th of the scale you hit the same notes. Got me thinking of how the locrian scale relates to the diminished.
Thank you David, so easy to relates to you teaching. I’m a self taught and this is how I learn to reach outside of my normal playing. The more times I kept coming back to watch your videos the more I hear what you’re trying not to confuse guys like me. I’m grateful, thanks!
You are a great teacher. Since I’ve subscribed to your channel I have started to understand the fret board a little bit more each time I do deep practicing. Love your approach to playing and teaching. Thank you 🙏
Thanks David! Been looking for this for ages. Even hounded a few jazz head friends. Your explanation was by far the best and most practical. Just wondering if there's an exit note or exit point that would work with either whole half or half whole diminished scales? Most likely with more outside notes. Just wondering what your thoughts are on that. My gratitude for this really useful video. Shukria.
Great Master, and superior information about modes and the dimish chords for this scale that many players enjoy, but we assume that only goes for E m and some flamenco shapes with the A armonic minor, thanks so much.
This is great stuff. Describing the diminished ladder as an 'exit' or 'get out' (I also like 'portal') really makes this concept easy(er) to understand. I do have questions though: Where can the 'exit' lead to? What other destinations do the 'portals' take us? I think exploring this would make for a fun follow-up.
Wow bro!!!! You are an awesome teacher!!! You make it so easy and understandable. Unlike some other guitarist who make it so complicated... Lol!!!!! Great job!!!! Keep up the good work. I've learned so much from you over the last month or so.
Thank you david your classes are super awesome. I started playing around with your diminished scale trick and by chance in the background there is a symphonic melody. Im trying to express how to say it....this little scale is like a magic trick that helps you zero in on which scale the chord progression is in but still sounds good because there is structure to it. In my creative brain, it feels almost like the diminished scale is like a "doorway" if you will. When you close it, you are back "inside" key.
Cool concept, I really need to practice more guitar because I'm finding that that my understanding of the application of music theory on the instrument has improved greatly through watching listening and paying attention to your instruction, Thank you!
Another way to find that particular note is to find the diminished triad that is native to the modes associated with aeolian. Then add the missing note which will be the "7th" of a diminished 7 chord. That is the note to which you refer as well.
Great lesson. I can't figure out how to get the document related for the exit notes for each mode. I signed into the site but I'm not seeing where to get it. Plz help. I love the idea and diminished and am trying to get it into my playing more. Thabks
This seems to me an extremely useful scale, It was the one scale I was looking for as it can fit many places you wouldn't have realised. Diminished chords sound to my ear a mish mash of minor 7th
I love playing a diminished arpeggio from the b5 of Dorian! If you really want to get an outside sound, try playing a diminished arpeggio a major 3rd from Dorian's root. So when playing A Dorian, start your dim arpeggio from Db. This concept actually works well with Aoleon as well. Using this with Aoleon leads well when going from vi7-ii9 (A Aoleon to D Dorian, maj 3rd of Aoleon is the maj 7 of Dorian). This works because the dim arpeggio is being treated as a diminished chord that leads to the ii9.
One of the best instructors on you tube.Explains everything in detail without all of the in between words.
For anyone interested behind the harmonic theory of this one. He is using one of three harmonic functions of the dimished (7 or not) chord. The "substitution" function. Because dim7 naturally resolves into the minor chord following it, it has a dominant function. This can also be done on the note one step above the dominant fifth of the major scale to resolve to the root therefore "substituting" for the fifth chord. For example: G#dim(7) wil be a dominant chord to C.
Where can we find the 7 church modes pdf you mentioned in this video 11:04? Great lesson. Thanks!
Wow, almost New Year's 2024 here and you became my brand new favorite just by this video. I had to break out my harmonic minor spell book and I saw right there what I wrote. The 7th mode IS diminished! Not exactly whole half all the way, but totally a diminish sound very full like. That linked it all together for me, bud. Teacher to teacher, that is what we call the stuff. 😄👊
Great lesson David ! Other teachers claim this is the “Robben Ford” Trick, which apparently he combines Diminished Arpeggios with Dominant chords ! that may be the case for ‘Astrophysicists’ and ‘Rocket Scientists’……….but for us intermediate guitarists yours is a brilliantly simple method of “showing us” how the ‘Harmonic minor scale’ contains the Diminished arpeggio. Telling us that each of the ‘Modes’ has a single trigger note into the Diminished is brilliant ! Now my playing can go beyond the Pentatonic scales. Thank you.
Great lesson, playing along a backing track can also make the lesson more easy to follow for some of us who find it ease to follow when we hear the guitar following a backing track.
Dear David,
your lessons are pure musical gold.
Thank you!
Just the Teacher i needed to move from intermediate to advanced Guitarist. Big Thanks Great Job!
Best guitar theory video I’ve seen on RUclips in at least 6 months. Thanks. Can’t wait to try some new licks with the band.
Just stumbled across this. What a fantastic teacher!
Contents are getting better and better!
This might be the single most useful guitar video I have ever seen. Great stuff. Thank you.
Have you ever been in a position when you get hit with the right info at exactly the right time? This is that for me. Perfect timing and many thanks for saving me hours of work. Knowing what note to use as a springboard into the arpeggio is pure gold. I know what I am working on for the foreseeable future.
You have a way of communicating things in a way that I can grasp easily. That sheet you offer where you colour in the notes of the modes, is great on a 1/2 a dozen levels. Very useful tool. Thx for that too.
Thank you!
Nice trick and a simple way to remember. Thanks.
that Vola guitar is absolutely stunning
man you diminished my depression. Thanks
Dave you are one of the coolest,best teachers out there,please dont stop anytime soon.
Hi David - great channel! I use a very similar approach, but stack the minor 3rds in string pairs, so the g sharp and b would be on strings 6 and 5, and the d and f on strings 5 and 4 etc. A cool twist to this is to play g sharp, and b, then slide into the d from the c sharp, then f, then slide into the g sharp from the g etc etc. This takes out most of the uncomfortable stretches, and adds some cool approach tones. I think Django does a similar thing, probably to to reduce the minor 3rd stretch to 2 frets on adjacent strings rather than 3 frets on one string. I think it's also worth pointing out that, when playing these arpeggios descending, it's dead easy to think of the 9th as your access tone. Also, as well as outlining A harmonic minor, you could regard it as outlining an E7 flat 9 arpeggio (etc!)
Keep up the good work - there's an awful lot of very poor tuition on RUclips, and it's great to see someone who can put the info over so well!
start your diminished runs in between SO and LA regardless, is what I took out of this. great job
Yeah Nice Job David… all the best…!!
Great lesson! Could you add a pedal tone or backing track for reference and explain the relationship if changing chords please
That Vola is straight sick. That's the nicest looking guitar I've seen I a while.
Ikr, that fretboard is gorgeous
visit the sites of these 2 guitar companies and prepare to be blown away, skervesen and aristides (bonus 3rd ethereal guitars all made of various metals, as is aristides but thats a proprietary alloy called arium i think. its unique and they are beautiful) skervy is my favorite of the 3 but i want an aristides 808s bad
Good lesson. Easy to understand!
I use this same thing on several tunes and It is very cool. Thx
Love this, partly because I'v already been working on this exact thing for a while (trying to build speed/make it more natural), even in the same key. But I didn't know exactly what it was, so this explanation is very helpful. Also, I hope this is the beginning of more videos that cover similar "tricks".
I found this arppegio months ago and now finally understood what it was
you can do the same with the major chord, Phrygian Dominant, 5th mode of the harmonic minor. (example play the A harmonic minor scale over a E major Chord) The diminish arp is symmetrical, this pattern should work starting on minor 3rd intervals apart.
You have simplified a complex subject - well done mate!
Beautiful studio beautiful beautiful studio
This is amazing stuff, sir! It’s 5am all of a sudden and I’m still at it. Just excellent stuff. All of your vids are, in fact. Thank you!
That was awesome, David. Thank you.
Great little trick! Came at a good time for me. Thanks!
this has brought new meaning to soloing ... this is one of the best vids i have seen on using diminished, i love dim chords but was a bit frightened to try and use in soloing. Now you have opened yet another door for me and i would like to thsnk you David. So thabkyou so much for this and all you do for musicians.. Oh just one more thing .. KEEP ON ROCKIN IN THE FREE WORLD.
I think it's important to point out where the harmonic minor and diminished scales come from too- it was created by classical composers who wanted a really strong resolution from the V chord back to the I chord like they get in a major progression when they were composing in a minor progression-so they "borrowed" the dominant V chord from the major scale and used it. That raised 7th degree really wants to move up a half step back to the tonic, and works very nicely. To help with that they then created the harmonic minor scale- and most composers will write melodies in natural minor over the other chords in the progression- then switch to harmonic minor over the V chord for the melody. Since that leaves a very nice diminished scale available- you can play the diminished over the V chord too- and all the Yngwie diminished runs are based right off that tone! Just move them up every three frets~
so diminished arpeg over aeolean? close enough to harmonic.
This well articulated video has helped me IMMENSELY. You’re both a great player and teacher. Thank you surly!!
Thanks so much!
Thanks! I noticed that if you start a diminished arpeggio on the 7th of the scale you hit the same notes. Got me thinking of how the locrian scale relates to the diminished.
Very cool, easy to follow video.
Dude this was really helpful and something so precious explained so easily, thanks a lot!
nicely explained mate
Woww. I very like this video master, i cant understand english very well,but you was explaning very simple. Thank u so much
By far the best teacher I have encountered. Thanx so much for sharing your knowledge;) You rock brother.
Thank you David, so easy to relates to you teaching. I’m a self taught and this is how I learn to reach outside of my normal playing. The more times I kept coming back to watch your videos the more I hear what you’re trying not to confuse guys like me. I’m grateful, thanks!
This man is the Bob Ross of guitar....
Lichkrieg Alight now we’re walking through the woods and look, look at that. It’s an evil little diminished arpeggio. Doesn’t look too happy does he?
That's not very flattering.
check out Chords of Orion. Could also be the Bob Ross of guitar
Cgvdñwñwqññññwwe
actually Paul Davids is
You are a great teacher. Since I’ve subscribed to your channel I have started to understand the fret board a little bit more each time I do deep practicing. Love your approach to playing and teaching. Thank you 🙏
Thx for this great eye-opener. 👍
Great David, so clear and logical, a tasty language, good playing. Thank you.
thats so fantastic! its so easy to apply and has tons of flavour! thanks!
Just led me down a path that was unknown to me. And I've been playing for a while. Thanks David.
Thanks David! Been looking for this for ages. Even hounded a few jazz head friends. Your explanation was by far the best and most practical.
Just wondering if there's an exit note or exit point that would work with either whole half or half whole diminished scales? Most likely with more outside notes. Just wondering what your thoughts are on that. My gratitude for this really useful video. Shukria.
Great Master, and superior information about modes and the dimish chords for this scale that many players enjoy, but we assume that only goes for E m and some flamenco shapes with the A armonic minor, thanks so much.
This is great stuff. Describing the diminished ladder as an 'exit' or 'get out' (I also like 'portal') really makes this concept easy(er) to understand. I do have questions though: Where can the 'exit' lead to? What other destinations do the 'portals' take us? I think exploring this would make for a fun follow-up.
Thank you so much! That was something I never understood! I've been searching for this lesson for 10 years or so! ;-)
Wow bro!!!!
You are an awesome teacher!!!
You make it so easy and understandable. Unlike some other guitarist who make it so complicated...
Lol!!!!!
Great job!!!!
Keep up the good work.
I've learned so much from you over the last month or so.
Again, theory is fabulous - it opens endless unexpected tracks ! Thank you so much David.
Very helpful as always
Thank you david your classes are super awesome. I started playing around with your diminished scale trick and by chance in the background there is a symphonic melody. Im trying to express how to say it....this little scale is like a magic trick that helps you zero in on which scale the chord progression is in but still sounds good because there is structure to it. In my creative brain, it feels almost like the diminished scale is like a "doorway" if you will. When you close it, you are back "inside" key.
Clear and simply explained.👍
Love the lesson, and the guitar design and the finish is a kill ✌️
Thanks David, Tricky subject really well taught
Superb explanation
Wow. Talented playing and mind-expanding theory. Thanks
why would you like your own comment...
@@iangarza990 I did? Did not mean to
This is useful approach, thanks.
Amazingly I understand a fair bit of what you said. I'm enjoying your channel a lot recently. Keep going
Great info ... thank you ! Subscribed
What a beautiful guitar
"but how's the intonation" LOL. I bet it's good...very good...
played by an incredible guy
Great explanation. Thank you :)
What did I take from the lesson? Natural and harmonic minor, B Locrian and D Dorian. Plenty to be going on with !
Been looking for this for years. Thank You so much.
Oh geez that axe is STUNNING ♥️
very nice video my friend! keep it up! learned a lot.
Excellent. Thank you.
Great lesson! Clear and useful explanation!
Very cool. Great stuff!
Cool concept, I really need to practice more guitar because I'm finding that that my understanding of the application of music theory on the instrument has improved greatly through watching listening and paying attention to your instruction, Thank you!
This session is fabulous 🎉…straight to the vocabulary ….straight to the next gig 🤗…you ROCK 💥✨💙💫
So glad I watched this.
Just found this and it's a fantastic concept! Thanks. I'm about to have some fun...and by the way, I have the same exact chair and color at my DAW!
Great! Lesson, I was wondering if you would show us how to build model chords?
Really good lesson, David.
Nice job 🤟🤠🤟
another superb lesson, great concept, really useful to apply either soloing live or just noodling in your room, cheers.
Really well explained! Thank you!
Another way to find that particular note is to find the diminished triad that is native to the modes associated with aeolian. Then add the missing note which will be the "7th" of a diminished 7 chord. That is the note to which you refer as well.
Such a good teacher , God bless
Awesome lesson.Well done.
Great lesson. I can't figure out how to get the document related for the exit notes for each mode. I signed into the site but I'm not seeing where to get it. Plz help. I love the idea and diminished and am trying to get it into my playing more. Thabks
Go it disregard that last comment. Great lesson ty!
This seems to me an extremely useful scale, It was the one scale I
was looking for as it can fit many places you wouldn't have realised.
Diminished chords sound to my ear a mish mash of minor 7th
Thanks David, it helps me a lot to improve my guitar playing. Mostly got stuck in minor progression, but it's wide open.
I love playing a diminished arpeggio from the b5 of Dorian! If you really want to get an outside sound, try playing a diminished arpeggio a major 3rd from Dorian's root. So when playing A Dorian, start your dim arpeggio from Db. This concept actually works well with Aoleon as well. Using this with Aoleon leads well when going from vi7-ii9 (A Aoleon to D Dorian, maj 3rd of Aoleon is the maj 7 of Dorian). This works because the dim arpeggio is being treated as a diminished chord that leads to the ii9.
that dorian impro was amazing
Absolutely awesome concept, can't wait to start using this idea tomorrow when I am jamming! Looking forward to the follow up on this.....
Yes, good stuff! Those exit notes make up a scale in themselves
That beautiful guitar is in the right hands
You're the Man! Love your creative mind applied to pemuting the infinite possibilities of the fretboard.
Dude, thx. Much needed video. Had to stop and pause several time. Great playing.
Thanks! :)
He knows his stuff! Ty!
thanks David. you are still rocking my Bro.
David. More of this, this was freakin’ rad.
My use of dim7 arps just became so much more useful.
Glad I've already practiced them a bunch in the past.
good by David from italy congratulation
great lesson!
Yes, licks please!