Grazie for another great lesson, Tommaso. I love that diminished 7th chords are fully symmetrical (all minor 3rds stacked) which is why transposing them by 4 frets results in the same chord-but in a different inversion-even though the root technically says it's a different chord, it's really not-back off, nitpickers. ;) You can add a little extra spice to these passing chords by experimenting with sliding the dim7 chord shape up and down by minor 3rds to your taste. Also, one reason choosing the dim7 chord 1/2 step below the next chord works so well is that it is basically the upper structure (rootless voicing) of the dominant 7th chord a 5th away from the target chord you're approaching. That might sound confusing to some when first reading it, but in the last progression with A minor chord, the secondary dominant V of V is E7, with no E you have the notes G# B D F - or G# dim7 - which is basically an E7b9 (E G# B D F). I hope that's now slightly less confusing! :) Cheers.
I was just thinking of the whiteboard lessons less than 6 hours ago! lols Always a great lesson regardless and most important is that you're doing what makes you happy, but I admit these are my faves. Edit: Add plenty of compression too.
Besides the lesson being crystal clear and straight to the point, I’d just like to say that I massively respect teachers that encourage “breaking” the “rules” and creativity Cheers!!
@@tritus1i believe you are correct. there is a mistake there. they have a diagram for A#o7. when it should be one fret down or 2 frets up like you have. that's the funny thing with these diminished chords. there's really only 3 of them lol. so i can see how easy it might have been to miss
I think the problem is in the interpretation of the chord diagrams. The chord diagrams I wrote do not have a fret number. They are just shapes, but I don't specify at which fret they have to be played. You seem to interpret these as if I specified a (wrong) fret number.
Thanks for that great video. Just one question: Once you selected the scale, and decided to use 7th chords, what is the reasoning for using the b5 ones or for deciding between 7ths and Maj7ths for a given major chord ?
the diminished b5 chords are kind of equivalent to a 5 chord of the proceeding chord. it is equivalent in a sense that when you add a note a major 3rd below the dim b5 chord root note you get a dominant 7 flat 9 chord. dominant meaning 5 chord. for example, C# dim 7 = A dom 7 flat 9 (A7b9) they literally share the same notes except for the A which is a major 3rd below the C#. HAPPY MUSIC THEORING😁😁
2:34 It seems to me that there should be a guideline in not letting a hole in the 1st bar, otherwise the progression would start with a diminished chord, or isn't that too much of a problem?
Pardon the intrusion, but an error seems to have slipped in the tabs of the Dm7 example: you seem to be playing the C#°7 as [x-4-x-3-5-3] instead of the written [x-4-5-3-5-x]! I personally prefer the played shape, though. Not a fan of the tension that comes with dropping that high note with a half step, on top of it already being a diminished 7th. ... or perhaps neo soul just isn't my thing, and I should sit back down again.
@@MusicTheoryForGuitar Then I should've reconsidered my phrasing before submitting! It's indeed just moving that diminished fifth up an octave, but it results in that F from the Bb∆ being followed up by the G on the first string instead of the E on the second string. This is the semitone "drop" I wanted to refer to. Now I think about it again, I suppose that moving the G away from the C# also smoothens out that tritone, which is another reason why I like how you played it!
Ah, that's what you meant! I like both versions - but it's good to identify what you like and what you don't so you can replicate it later in other situations. Thanks for clarifying! :)
I don’t know man. This doesn’t sound anything like Neo Soul to me. Sounds just like pop chord progressions to me. Something Post Malone might use in his SoundCloud stuff or maybe Lo-Fi music but nothing like Neo Soul. What do you consider Neo Soul so I can get some context of where your coming from?
@@MusicTheoryForGuitar Okay, a serious question that occurred to me after I logged off ... You say to choose a minor key and restrict yourself in step (1), and then pick two or three chords from it in step (2), but after that you never use the fact that you have a minor key. To do (2), you could just as well have chosen a major key to choose the chords, since it's the same set of chords. So why insist on a minor key? I suspect the answer might have to do with licks and things after you choose the progression, but you don't need it to choose the progression itself.
Thanks for another succinct and practical lesson 🤗. Not sure if this was picked up in the comments somewhere down below, but the chord 2(C# dim7) at 5:39 is not played as notated. It is on the same string set and up a third. Just for any confusion. Also open to being completely wrong :). ------ --8-- --6-- --8-- --7-- ------
This was hands down the best explanation to get started. If you need more information you alwys can get tehm but for a start 10/10 thanks
Incredibly interesting lesson ! Thank you so much for sharing !
Wow this is so simple but genius haha
I always come back to you! Easy to learn and practical. You are my Favorite online teacher.
Super lesson! So immediately useful. Lovin’ your style, Tomasso: crystal clear and fun too!
Very good stuff! Nice presentation! 👏👏👏
Thanks for your sharing
I subscribed within the first minute. Very few people can break lessons down to where I can actually comprehend
Thanks for the phenomenal lesson!! Had one of those "aha" moments in the video, the diminished chord trick is so cool!
Thank you so much 🎉😊
Love the way you teach, man!
II V I reharmonization is also good for neo soul chord progression
Thanks Sir, Can you do more on neo soul guitar videos
Lovely!!!! More please!!!!
Grazie for another great lesson, Tommaso. I love that diminished 7th chords are fully symmetrical (all minor 3rds stacked) which is why transposing them by 4 frets results in the same chord-but in a different inversion-even though the root technically says it's a different chord, it's really not-back off, nitpickers. ;) You can add a little extra spice to these passing chords by experimenting with sliding the dim7 chord shape up and down by minor 3rds to your taste. Also, one reason choosing the dim7 chord 1/2 step below the next chord works so well is that it is basically the upper structure (rootless voicing) of the dominant 7th chord a 5th away from the target chord you're approaching. That might sound confusing to some when first reading it, but in the last progression with A minor chord, the secondary dominant V of V is E7, with no E you have the notes G# B D F - or G# dim7 - which is basically an E7b9 (E G# B D F). I hope that's now slightly less confusing! :) Cheers.
Yes! I made a video about all that: ruclips.net/video/uNEOS3tZDKc/видео.html
This is so helpfull ! Thank you!
Another day new video lesson, interesting subject and definitely learnt something. Thank you.
Very helpful thank you
This is SO F***CKING AWESOME and helpful!!! Thanks A LOT!!!!
I like your question marks. They look cool
Thanks ! This was simple for me to follow! Thanks so much!
So awesome. this video was a fun learning experience. TYSM!
Yaaaas! I haven't been on this channel for timme
Evil Genius. Love!
wowwww great lesson, thanks man 🤘
Man, you are such a good teacher!!!!
Super cool. Thank you, Tommaso!
Not a style I'm familiar with but I found it interesting and played through it anyway. Good applied theory exercises.
An outstanding tutorial presentation! Thank you!
great my friend !
very useful thank you!
Very interesting and well presented 👍😊
Wow, this is very interesting, I always wonder where the dim chords get dropped into a progression, thanks.
I was just thinking of the whiteboard lessons less than 6 hours ago! lols
Always a great lesson regardless and most important is that you're doing what makes you happy, but I admit these are my faves.
Edit: Add plenty of compression too.
this leason is not only for musicion, but also importan for DAW softwere Developer...Super😎
Fabulous lesson recommended by the youtube algorithm. Thanks a lot. What scale over this?😍😃😀
Excellent video: thank you for being so clear! You are a hell of a lecturer!
I love your lesson, straight to the point 👍
Besides the lesson being crystal clear and straight to the point, I’d just like to say that I massively respect teachers that encourage “breaking” the “rules” and creativity
Cheers!!
What a fantastic lesson! Thank you.
hmm 3:40 - A diminished chord can be played this way ( A dim) or this way (C# dim) or this (F# dim) how all those chords A dim7?
ok if were talking that the chord can be moved 3 frets and still be the same then second one shouldnt be X6757X not X4535X?
A dim7 is not the same as C# dim7 and I don't think I said that so... I'm confused about the question.
@@tritus1i believe you are correct. there is a mistake there. they have a diagram for A#o7. when it should be one fret down or 2 frets up like you have.
that's the funny thing with these diminished chords. there's really only 3 of them lol. so i can see how easy it might have been to miss
I think the problem is in the interpretation of the chord diagrams. The chord diagrams I wrote do not have a fret number. They are just shapes, but I don't specify at which fret they have to be played. You seem to interpret these as if I specified a (wrong) fret number.
Sounds like “just the 2 of us” by what’s his face
Grover Jr.
@@LoveMostHigh played by Grover jr, written by Bill Withers
You from England enit
Will smith mate 🤔
che leggenda che sei
Awesome. For step 2, does it have to include the root like your example or can it literally be any 2 or 3 chords in the progression with out the root?
Literally any chord, though it's more common to have the tonic chord rather than not.
Can you tech us how did you figure out the chords for dminor like dm7 em7/b5 and so one cause I’m confuse there
Watch all this playlist: ruclips.net/video/WSB3iIkDy7o/видео.html&pp=gAQB
How do we incorporate this In a music software program?
Thanks for that great video. Just one question: Once you selected the scale, and decided to use 7th chords, what is the reasoning for using the b5 ones or for deciding between 7ths and Maj7ths for a given major chord ?
the diminished b5 chords are kind of equivalent to a 5 chord of the proceeding chord. it is equivalent in a sense that when you add a note a major 3rd below the dim b5 chord root note you get a dominant 7 flat 9 chord. dominant meaning 5 chord. for example, C# dim 7 = A dom 7 flat 9 (A7b9) they literally share the same notes except for the A which is a major 3rd below the C#. HAPPY MUSIC THEORING😁😁
Hi Sir, I want to make songs like Tempest Pulse by Greg Howe, what's the formula?
2:34 It seems to me that there should be a guideline in not letting a hole in the 1st bar, otherwise the progression would start with a diminished chord, or isn't that too much of a problem?
A diminished 7th sounds ok by me in the first bar, and there's no problem with that... it's down to what you like and what you don't :)
Good as an italian pizza.
are you brazilian?
Italian
@@MusicTheoryForGuitar that explains your accent haha
reminded me of the brazilian accent
Pardon the intrusion, but an error seems to have slipped in the tabs of the Dm7 example: you seem to be playing the C#°7 as [x-4-x-3-5-3] instead of the written [x-4-5-3-5-x]!
I personally prefer the played shape, though. Not a fan of the tension that comes with dropping that high note with a half step, on top of it already being a diminished 7th.
... or perhaps neo soul just isn't my thing, and I should sit back down again.
Could be! Both the chords you write contain the same notes, though, with no notes dropped by a half-step.
@@MusicTheoryForGuitar Then I should've reconsidered my phrasing before submitting!
It's indeed just moving that diminished fifth up an octave, but it results in that F from the Bb∆ being followed up by the G on the first string instead of the E on the second string.
This is the semitone "drop" I wanted to refer to.
Now I think about it again, I suppose that moving the G away from the C# also smoothens out that tritone, which is another reason why I like how you played it!
Ah, that's what you meant! I like both versions - but it's good to identify what you like and what you don't so you can replicate it later in other situations. Thanks for clarifying! :)
I don’t know man. This doesn’t sound anything like Neo Soul to me. Sounds just like pop chord progressions to me. Something Post Malone might use in his SoundCloud stuff or maybe Lo-Fi music but nothing like Neo Soul. What do you consider Neo Soul so I can get some context of where your coming from?
There is also embellishments needed as well
(1) 2:59 Of course, it's hard to put I in the first position if you didn't choose that to be one of your chords. 8-)
(2) 8:06 Bad guitar! Bad guitar!
:-)))
@@MusicTheoryForGuitar Okay, a serious question that occurred to me after I logged off ...
You say to choose a minor key and restrict yourself in step (1), and then pick two or three chords from it in step (2), but after that you never use the fact that you have a minor key. To do (2), you could just as well have chosen a major key to choose the chords, since it's the same set of chords. So why insist on a minor key?
I suspect the answer might have to do with licks and things after you choose the progression, but you don't need it to choose the progression itself.
Since when did playing 7th chords become a style😮?
Thanks for another succinct and practical lesson 🤗.
Not sure if this was picked up in the comments somewhere down below, but the chord 2(C# dim7) at 5:39 is not played as notated. It is on the same string set and up a third. Just for any confusion. Also open to being completely wrong :).
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You're probably right. I might have used the wrong audio clip!