David, this video is so good! It was great to have an amazing music theorist like yourself at our studio. Thank you for sharing your knowledge with us🙌🏼
Whenever I'm this early I like to remind everyone that this is the best music theory channel on RUclips, thorough, clear, and super stylistic. Couldn't be any better!
If you restrict that to mostly harmonic theory for pop songwriting, I'd agree. If someone wants to learn about microtonal jazz, or maqam, or Indian classical music, etc, there are other options. There isn't much here that's specific to hip-hop, or trap rhythms and so on. OTOH, that allows some space for expansion. The connection with Pianote kinda shows the pop connection. If someone wanted to focus on jazz or classical or gospel, and so on, they might choose another place, but for pop songs, that seems to be Pianote's big thing.
The setting has changed, and improved, but the quality remains the same. Good for you, David. You have earned and richly deserve the recognition which this video reflects.
David Bennet is by far one of the best music theory teachers I have ever seen. 1. He is articulate and precise about the subject matters he discusses. 2. He uses clear visual diagrams and animation to help explain what you are hearing. 3. The pacing on the videos never drag or feel rushed. I am a music teacher and find that David’s approach to explaining theory is truly amazing.
Fun fact! In all these 7th chords, if you pick a note of the 12 notes there are and make it one of these 7th chords you'd have a unique combination of notes. However, in the dim7 chords, there are only 3 possible combinations. For example, Cdim7 has the same notes as Ebdim7, Gbdim7 and Adim7. The bass note will show you the actual chord!
this is really helpful, i've been playing piano for many years and only with this video realized that i've been calling major sevenths dominant sevenths and vice versa. great video!
I never knew how the 6th note in a scale could be considered a seventh, until you showed how the diminished fifth changes from where it was to where it goes which drags the 7th down along with it. Made perfect sense when I watched you do that part. Thanks so much!
I'm surprised he didn't mention that the diminished 7th chord has a double flat 7th or bb7, which is still equivalent to a major 6th enharmonically. He kind of did in a simple way though.
Well, it does not. In the case of any C scale, the proper name note names of a Cdim7 chords are : C Eb, Gb, Bbb (That’s B double-flat). For the same reason that you can’t call the diminished 5th « F# » instead of Gb. (That would be a sharp 4th, and make no sense from a theory point of view). Hope this helps.
Aurgh! That is the part where I get lost! I think I understand the rule that makes a diminished triad. But, how on earth does applying certain chord rules to the scale "So, instead of just adding the diminished 7th, you have to do THIS, and then THAT!... See?😊" NO! I DIDN'T! HELP! Thank you!
@@JeffMountainPicker It doesn't change the scale. Some of the 7th chords are from outside of the scale. There's an alphabetical rule that any 7th chord in C will have to be C with some sort of E (E-flat or E-natural, usually) and some sort of G (G-natural, G-flat, whatever) and some sort of B (B-natural, B-flat, or B-double-flat). So while B-double-flat looks the same as A on a piano, really the proper spelling of it in that diminished 7th chord is B-double-flat due to that rule.
One thing I notice in my recently arrived song book by The Who is that Pete Townshend really loved playing with chords. In "Our Love Was, Is" it starts with a downward progression and then starts plays with mood chords from that. He was young at the time and becoming stronger as a songwriter. I found out that The Who Sell Out was the first album he began composing songs on piano.
Another great example of the use of the Major 7th is Simon and Garfunkel's song "Old Friends" (which may have been inspired by Satie). And a further variation on the main seven types is D7(#9), which you'll recognise from the Beatles' song "You Can't Do That".
15:18 - This is altered chord territory. Learning about the altered scale made me understand tritone subs and unlocked an entire new world of harmony for me. I'm in love with altered chords at the moment. Such a strange cool sound.
Welcome to Canada, David! Lovely summary of the different types of 7th chords. Interesting how simply moving one note by one interval can change the whole "feeI" of a chord. Thought for sure you'd sneak in a few extensions to 7th chords as well, like the Hendrix chord (dom7th #9). ;-)
Some people might be confused at the Cdim7 containing an A - which looks like the 6th degree.The explanation is that the 7th itself is diminished as well as the triad it is added to, so strictly speaking this note is B double flat. In the dim7 starting on Csharp, this note would be Bflat - clearly the seventh degree. Start on D and it would be Cflat.
Awesome video! Something really nice to do and understand these chords, is to think that every 7th chord have 2 triads. Dominant 7: C E G Bb (E with a 5b [E to Bb is a tritone]) Major 7th: C E G B; have an Em triad in it. That's why the Maj7 chords are so emotional yet melancholic Minor 7th: C Eb G Bb; have an Eb major chord inside. That's why the Minor 7th chords are kinda sad but insipirationals and bright at the same time. Minor maj7: C Eb G B; have an Eb(#5), thats why the minor maj7 sounds so tense but with an additional flavour Dim7: C Eb Gb Bbb; the chord is simmetrical, every note is 1,5 tones away from each other. Thats why the resolutions and the chord itself sounds so tense. Half diminished: C Eb Gb Bb; the chord have a really tense taste, like the dim7. But the chord is not that strong as the full diminished, because of the minor 7, instead of a diminished 7. Something great too is to think the half diminished as a sub mediant chord, because they are tense but not THAT tense, so can cause move in the chord progression. The half diminished can used like a dominant chord
Minor major 7th chords have an augmented chord inside them (Eb G B). That's why it feels unstable yet upwardly mobile. That's fun, categorizing it like that. You could come up with a whole musical divination system this way, even draw tarot-esque cards for the different archetypes found in each chord... perhaps for the basic chords, even multiple cards (archetypes), context dependant. I'll have to whiteboard this like I was trying to track a serial killer. What a splendid idea. I hope I don't forget by morning, but I don't see how. Of course, I never do, at the time. Thanks for the insight.
I long ago noticed that a major 7th is formed from a diatonic major chord with a diatonic minor chord overlaid from the major third, and that a minor 7th is a minor chord and a major summed together, but it can get really hard to recognise them when - in contemporary electronic music - inversions are frequently used, and/or a bass note is played with one instrument and the rest of the chord played with another. e.g. You could have your bass play an A, and a synth play CEG (or EGC, GCE, or even CGE or ECG) and it would still sum up to an A minor 7th, but some transcribers would call it a C major over A. It's very confusing!
As a software developer specializing in the low level details of computing, I appreciate and enjoy your great explanatory videos David. It helps me understand not only how to play, but also why to play.
The Minor Major 7th sounds like Zelda tunes when complete a puzzle. The Diminished 7th sounds like the Divine Beasts, with both mystery and oppression linked to it. Thanks for the video, it's very helpful!
The only 7th chords I was familiar with was the major 7th and dominant 7th. Your content has brought me to a much more sophisticated level of play. Thank you!
I have been watching your channel for a little over a year now and I just want to say thank you. Your videos have helped me grasp music theory in a much more tangible and useful way than any other channel that I know of. Keep up the good work! Cheers!
Yes but his old setting had more charm. This is fine for a few videos but hopefully he at least sometimes goes back to a warmer background for future efforts. That's my one vote anyway!
Just wanted to comment that I've been playing music nearly by whole life. I love music theory just as much as honing the skills to play. These videos are possibly my favorites on youtube. I love the real life examples of chord progressions and the explanation of why something is the way it is. I havent commented before so it was high time I do that and say thank you for the supplemental vids!
I do have a question. Is there any material (im sure there is) on how to begin analyzing songs? It's one thing to be told whats in a song, what key its in, chord structure etc. But for instance lets say theres a song I want to analyze. I have the song, im listening to it and im ready with a blank sheet of paper and pencil in hand aaaaand where does one go from there? How does a person begin the analysis? Hope that makes sense. Just wanted to get some direction on how to attack the song. @@DavidBennettPiano
You mentioned in your video on diminished chords that a dominant 7 has a diminished triad in the voicing. The same can also be said for the minor major 7 chord having an augmented triad in its voicing.
I usually go for the degree sign to indicate dim7 chords because they are symmetric, meaning that all notes are a 3rd apart and they are also circular, because if you add another 3rd you get to the octave. This makes sense also for the half-dim symbol, because it is literally almost a dim7, assymetrical and non circular. At least it works for me
Thank you! As a classically trained violinist I obviously know that all these chords exist... but no one bothers to tell you what it means to say a chord is diminished or dominant or suspended, and none of that is at all intuitive if you're playing chords as arpeggios. So imagine me trying to talk to bassists 😂.
something that was not mentioned is that the non-classical name for a dominant 7th chord is major minor 7, because it's a major triad with a minor 7th on top. in written music, they'll usually write C7, but sometimes if they want to be specific, people will write CMm7. specifically writing Mm7 is especially popular in guitar music, because it doesn't follow classical harmony with the dominant being on the 5, they want to specify that yes, this is a major minor 7th, even though it's on the root
7sus4 (or the "dual sus second inversion" if you're feeling spicy) is my favorite 7th chord, especially played in ascending arpeggio. It has such a vast feeling, but more color than a plain sus2 or sus4, a twinge of darkness that keeps it from being overbearingly bright.
Here are each of the scales that each of the 7th chords talked about here occur in naturally as the tonic chord. Major 7: Major, Lydian, and double harmonic major, Ionian flat 6. Dominant 7: Mixolydian, Phrygian dominant, Lydian dominant, mixolydian flat 2. Minor major 7: harmonic minor, double harmonic minor, melodic minor, and Lydian flat 3 (Halloween scale) [a mode of Ionian flat 6]. Minor 7: natural minor, Dorian, Phrygian, Dorian flat 2, and Ukrainian Dorian (Dorian sharp 4). Half diminished 7 (minor 7 flat 5): locrian, super locrian, and locrian natural (sharp) 6. Diminished 7: ultra locrian.
Loved this video but I would have loved to hear one or two examples of each chord from popular music. This video is very packed so totally understand why none were included.
The minMaj7 chord occurs as the chord created from the 1357 of a melodic minor scale. The min7b5 chord is the 7th built on the 7th chord of a major scale as well, eg, BDFA in C major.
No news to me here, but I like your videos so why not watch. 😄 Small comment; I think you could have mentioned the 9, 11 and 13 chords too there in the end, as they’re quite common and always contain the dominant 7, which might not be obvious to everyone. Likewise, the maj9 chord contain the maj7 note.
10:35 This would actually be written as: C natural E flat G flat B double flat. Double flats are rare, but this is one of the cases when they can appear. The symbol looks kind of like bb, or two regular flat symbols stuck together.
Thanks for another wonderful and well-thought out video. I wondered about what that little triangle meant - I assumed it was something complex, but no - just a maj7. Thanks for that! Although I appreciate Pianote supporting you, and it is good to try new things - strangely, I prefer your single-camera, home shot videos.
Hands down the best music instruction I've ever had. Apparently We're all lined up hear to get our next fix. This stuff is either powerful to you or it isn't. Please take my money! No - really.
It’s painful how I took 1 music fundamentals class in college - everything you’re saying makes sense but is also over my head just a bit. Love your insights though bc as a guitar player for 16 years a lot of the riffs you mention definitely come to mind - like a line cliche which you can hear in Eleanor Rigby I believe. Makes me motivated to dive back in and be able to have more to work with in writing material again
I will say, I think the best example of the minor major 7 being used in pop music is in the song “As the World Caves in” by Matt Maltese. The chorus has a beautiful C minor major 7 that uses a plagual cadence resolving to the G.
Fine. You got me. I had to try and think about how you could wind up with seven 7th chords. I try on my own. I look at your thumbnail and realize you included 8 (with one alternate notation repeat). So I'm here to find out exactly which seven 7th chorfds you chose.
Coming from the classical side, I think of chords like what you call "Gm (5b)7" (i.e., g - b♭ - d♭ - f), differently: While you think of it as the "2" in the "2-5-1" chord sequence "Gm - C - F", I think of it as the "4" in the "4-5-1" chord sequence "B♭6 - C - F", where the 4 is the minor subdominant with a 6 on the bottom. In my view, that is more rational than the jazz interpretation with the weird minor fifth. But Jazz people think more practical, and their interpretation may be easier to remember and play on the spot.
It’s not so much rational/practical as it is contextual. Jazz tends to be a very modal style of music, with the individual chords indicating the scope of scales and licks that can be played over it. Whereas in classical the emphasis is more on how harmony lines move within the piece. Naming conventions are tied more closely there to the chord/harmony immediately before and after the chord in question, less isolated.
The diminshed 7th is a really awkward one to spell starting on C (technically the spelling should be C Eb Gb Bbb -- yes, "B double flat"), the reason being that diminished 7ths occur naturally in the harmonic minor scale, starting on the raised 7th note (the "leading tone"), so they will often be called formally as "leading-tone diminished 7th" chords... Spelling these chords in their actual key makes it much less weird, for example, in the key of C minor, we start the chord on the leading tone of B-natural (raised from the B-flat), and spell the chord B D F Ab... the diminished 7th chord C Eb Gb Bbb technically belongs to the "theoretical" key of Db minor, which would have 8 flats, hence the odd spelling of the chord!
One song that uses seventh chords is the starman theme heard in many Mario games. It’s chord progression is a vamp between the 2 and 1 chords. To be specific, it uses a minor 7 on the 2 chord, and a major 7 on the 1 chord.
Nice description of 7th chords but I would like to add this. The dominant chord in the key of F is the C chord, hence it has a Bb as the 7th which means it is the dominant chord with the 7th added to it. Just saying. Also the dominant chord in the C major scale is G and we then get G7 or G dominant with 7th i.e. G B D F. Cheers Brian
That dominant 7th! It brightens and darkens at the same time. Especially on the subdominant (IV) degree: the sixth is bright for the minor third it suggests in the scale - they’re both to be found in a dorian scale in fact, which is essentially a more upbeat minor scale, aeolian nat 6 (mixolydian b3).
Worth noting also: the negative of the 7 chord is the m6 chord, which is tonic to dorian, while the 7 is tonic to mixolydian. These modes are negatives to each other and are integral to the blues, as well as other Afro-American styles. It’s very common to intersperse notes from both with one another as they both create very similar vibes as scales… and indeed the bebop dominant scale incorporates both modes into the same nine-note scale. It’s quintessentially bluesy.
Em7 / A7 / G / D ....... 2-5-4-1........what are the strengths or weaknesses of this sound. Key of D. It's the opening turn around in " Two by Five" on youtube.
For me, I find it useful to see these as different combinations of major and minor 3rds. I still get confused and don't know the names, but at least it's easier to quickly figure out the chord quality. If it has two of the same in a row (e. g. dominant 7 - M3+m3+m3 or minor major 7 - m3+M3+M3), it will sound tense and dissonant, if they are alternating (major 7 - M3+m3+M3 or minor 7 - m3+M3+m3), it will sound consonant. So the same rules with triads, where m3+M3 (minor) and M3+m3 (major) are consonant, while m3+m3 (dim) and M3+M3 (aug) That also removes the confusion about dominant 7, because it's still three thirds, and you don't expect a major or minor 7th interval or a 7th degree of a major scale (or its modes)
Try Pianote FREE for 30-Days: www.pianote.com/affiliate/davidbennett 🎹🎹🎹🎹🎹🎹
Thanx David, I knew the 1st six anyway. Great to learn from You.
Agree
You forgot this --> DimM7
David, this video is so good! It was great to have an amazing music theorist like yourself at our studio. Thank you for sharing your knowledge with us🙌🏼
thanks for this video i showed it to my dog and it didn't seem like he understood but he enjoyed it
Whenever I'm this early I like to remind everyone that this is the best music theory channel on RUclips, thorough, clear, and super stylistic. Couldn't be any better!
Check out Early Music Sources.
open studio jazz is really good too
Just wait. He's only getting started.
8 bit music theory too
If you restrict that to mostly harmonic theory for pop songwriting, I'd agree. If someone wants to learn about microtonal jazz, or maqam, or Indian classical music, etc, there are other options. There isn't much here that's specific to hip-hop, or trap rhythms and so on. OTOH, that allows some space for expansion.
The connection with Pianote kinda shows the pop connection. If someone wanted to focus on jazz or classical or gospel, and so on, they might choose another place, but for pop songs, that seems to be Pianote's big thing.
The setting has changed, and improved, but the quality remains the same. Good for you, David. You have earned and richly deserve the recognition which this video reflects.
Thank you 😊
@@DavidBennettPiano i must mention the audio is out of sync throughout the video. A clapper board could be handy for recordings like this
@@zsoltbocsi7546I don't hear it, are you by any chance on wireless headphones/speakers?
@@zsoltbocsi7546only the distant camera was out of sync, which is pretty forgivable
Broadcast treshold is less than 2 frames. I think it's over five frames. @@unacuentadeyoutube13
David Bennet is by far one of the best music theory teachers I have ever seen.
1. He is articulate and precise about the subject matters he discusses.
2. He uses clear visual diagrams and animation to help explain what you are hearing.
3. The pacing on the videos never drag or feel rushed.
I am a music teacher and find that David’s approach to explaining theory is truly amazing.
Fun fact! In all these 7th chords, if you pick a note of the 12 notes there are and make it one of these 7th chords you'd have a unique combination of notes. However, in the dim7 chords, there are only 3 possible combinations. For example, Cdim7 has the same notes as Ebdim7, Gbdim7 and Adim7. The bass note will show you the actual chord!
this is really helpful, i've been playing piano for many years and only with this video realized that i've been calling major sevenths dominant sevenths and vice versa. great video!
I never knew how the 6th note in a scale could be considered a seventh, until you showed how the diminished fifth changes from where it was to where it goes which drags the 7th down along with it. Made perfect sense when I watched you do that part. Thanks so much!
I'm surprised he didn't mention that the diminished 7th chord has a double flat 7th or bb7, which is still equivalent to a major 6th enharmonically. He kind of did in a simple way though.
@@RandyBakkelund Thank you! That makes perfect sense when put that way. 🤔
Well, it does not. In the case of any C scale, the proper name note names of a Cdim7 chords are : C Eb, Gb, Bbb (That’s B double-flat). For the same reason that you can’t call the diminished 5th « F# » instead of Gb. (That would be a sharp 4th, and make no sense from a theory point of view). Hope this helps.
Aurgh! That is the part where I get lost! I think I understand the rule that makes a diminished triad. But, how on earth does applying certain chord rules to the scale
"So, instead of just adding the diminished 7th, you have to do THIS, and then THAT!... See?😊"
NO! I DIDN'T!
HELP!
Thank you!
@@JeffMountainPicker It doesn't change the scale. Some of the 7th chords are from outside of the scale. There's an alphabetical rule that any 7th chord in C will have to be C with some sort of E (E-flat or E-natural, usually) and some sort of G (G-natural, G-flat, whatever) and some sort of B (B-natural, B-flat, or B-double-flat). So while B-double-flat looks the same as A on a piano, really the proper spelling of it in that diminished 7th chord is B-double-flat due to that rule.
One thing I notice in my recently arrived song book by The Who is that Pete Townshend really loved playing with chords. In "Our Love Was, Is" it starts with a downward progression and then starts plays with mood chords from that. He was young at the time and becoming stronger as a songwriter. I found out that The Who Sell Out was the first album he began composing songs on piano.
Another great example of the use of the Major 7th is Simon and Garfunkel's song "Old Friends" (which may have been inspired by Satie). And a further variation on the main seven types is D7(#9), which you'll recognise from the Beatles' song "You Can't Do That".
Yeah great example! 😊😊
The D7(#9) is also used in Pink Floyd's "Breathe" I think
Thank you SO much for the clearest exposition on why these chords are named the way they are.
I’m glad it was helpful 😊
15:18 - This is altered chord territory. Learning about the altered scale made me understand tritone subs and unlocked an entire new world of harmony for me. I'm in love with altered chords at the moment. Such a strange cool sound.
Welcome to Canada, David! Lovely summary of the different types of 7th chords. Interesting how simply moving one note by one interval can change the whole "feeI" of a chord. Thought for sure you'd sneak in a few extensions to 7th chords as well, like the Hendrix chord (dom7th #9). ;-)
Thanks! Canada is a lovely country! And don’t worry, the Hendrix chord is coming in a future episode!
Some people might be confused at the Cdim7 containing an A - which looks like the 6th degree.The explanation is that the 7th itself is diminished as well as the triad it is added to, so strictly speaking this note is B double flat. In the dim7 starting on Csharp, this note would be Bflat - clearly the seventh degree. Start on D and it would be Cflat.
Awesome video! Something really nice to do and understand these chords, is to think that every 7th chord have 2 triads.
Dominant 7: C E G Bb (E with a 5b [E to Bb is a tritone])
Major 7th: C E G B; have an Em triad in it. That's why the Maj7 chords are so emotional yet melancholic
Minor 7th: C Eb G Bb; have an Eb major chord inside. That's why the Minor 7th chords are kinda sad but insipirationals and bright at the same time.
Minor maj7: C Eb G B; have an Eb(#5), thats why the minor maj7 sounds so tense but with an additional flavour
Dim7: C Eb Gb Bbb; the chord is simmetrical, every note is 1,5 tones away from each other. Thats why the resolutions and the chord itself sounds so tense.
Half diminished: C Eb Gb Bb; the chord have a really tense taste, like the dim7. But the chord is not that strong as the full diminished, because of the minor 7, instead of a diminished 7.
Something great too is to think the half diminished as a sub mediant chord, because they are tense but not THAT tense, so can cause move in the chord progression. The half diminished can used like a dominant chord
Minor major 7th chords have an augmented chord inside them (Eb G B). That's why it feels unstable yet upwardly mobile.
That's fun, categorizing it like that. You could come up with a whole musical divination system this way, even draw tarot-esque cards for the different archetypes found in each chord... perhaps for the basic chords, even multiple cards (archetypes), context dependant. I'll have to whiteboard this like I was trying to track a serial killer. What a splendid idea. I hope I don't forget by morning, but I don't see how. Of course, I never do, at the time. Thanks for the insight.
I long ago noticed that a major 7th is formed from a diatonic major chord with a diatonic minor chord overlaid from the major third, and that a minor 7th is a minor chord and a major summed together, but it can get really hard to recognise them when - in contemporary electronic music - inversions are frequently used, and/or a bass note is played with one instrument and the rest of the chord played with another. e.g. You could have your bass play an A, and a synth play CEG (or EGC, GCE, or even CGE or ECG) and it would still sum up to an A minor 7th, but some transcribers would call it a C major over A. It's very confusing!
Whoa, studio grade David! 👍🏽👍🏽
😀😀😀
As a software developer specializing in the low level details of computing, I appreciate and enjoy your great explanatory videos David. It helps me understand not only how to play, but also why to play.
I was just looking this up the other day, thank you!!!!!
The Minor Major 7th sounds like Zelda tunes when complete a puzzle. The Diminished 7th sounds like the Divine Beasts, with both mystery and oppression linked to it.
Thanks for the video, it's very helpful!
Thank you for making something that was so confusing before into something understandable
Thanks David, this will put an end to many a rehearsal argument.
This is gold for a newbie like me, thank you!
😀😀😀😀
Wow, I am in my sixties and only now have i found someone who can explain this simply! Well done!
The only 7th chords I was familiar with was the major 7th and dominant 7th. Your content has brought me to a much more sophisticated level of play. Thank you!
As a guitar player, I frequent this channel whenever I need clarification on music theory questions
I have been watching your channel for a little over a year now and I just want to say thank you. Your videos have helped me grasp music theory in a much more tangible and useful way than any other channel that I know of. Keep up the good work! Cheers!
Thanks!
watching this two nights before final music theory exam
thank you so much, this helped a ton!!!
Video quality has clearly been leveled up!
Yes but his old setting had more charm. This is fine for a few videos but hopefully he at least sometimes goes back to a warmer background for future efforts. That's my one vote anyway!
Excellent video, thank you, David.
Thank you!
Just wanted to comment that I've been playing music nearly by whole life. I love music theory just as much as honing the skills to play. These videos are possibly my favorites on youtube. I love the real life examples of chord progressions and the explanation of why something is the way it is. I havent commented before so it was high time I do that and say thank you for the supplemental vids!
Thank you! That means a lot 😊
I do have a question. Is there any material (im sure there is) on how to begin analyzing songs? It's one thing to be told whats in a song, what key its in, chord structure etc.
But for instance lets say theres a song I want to analyze. I have the song, im listening to it and im ready with a blank sheet of paper and pencil in hand aaaaand where does one go from there?
How does a person begin the analysis?
Hope that makes sense. Just wanted to get some direction on how to attack the song.
@@DavidBennettPiano
Loved this video! Learned so much new interesting things today! Thanks!
One little thing I would change is to refer to the diminished 7th as a B-double flat or Bbb instead of an A when playing the notes on your keyboard
Love that C min maj 7 sound in the Succession theme song!
Great video! Bummed you didn't mention Major7 #5 because it's such a strange sounding chord and I'd love to know more about how it's often used
I quite like the major 7 with a flat five. Just tried #5 and that's pretty strange too. Nice one!
Great Video
This was a big help. Thanks again.
Thank you!
Welcome to Canada! I watch your channel from Canada so I got excited to hear you are here right now 🎉❤
Hi! 😊😊😊
Thanks for this David. the diminished chords are finally clear to me... thank you!
😊😊😊
Wonderfully clear and concise.❤
I’ve been trying to understand 7th chords for a while now, this video helped a lot
Great!!
The bit before the bridge in “Hey Jude” gives you that semitonal rundown to the dominant seventh.
That was a thorough explanation of 7th chords. Thank you. I like playing in major 7th chords alot especially in 2nd inversion.
You mentioned in your video on diminished chords that a dominant 7 has a diminished triad in the voicing. The same can also be said for the minor major 7 chord having an augmented triad in its voicing.
Another great video David. Much love from victoria bc Canada
Thanks so much 😊😊
I usually go for the degree sign to indicate dim7 chords because they are symmetric, meaning that all notes are a 3rd apart and they are also circular, because if you add another 3rd you get to the octave. This makes sense also for the half-dim symbol, because it is literally almost a dim7, assymetrical and non circular. At least it works for me
I'm in this video and I like it
🥰
It looks like you've got The Wall behind you
"The wall?"
@@wyattstevens8574They’re saying that the wall in the background looks like the cover to Pink Floyd’s album The Wall.
all in all it's,
@@jamess.7811just another brick in the wall
Thank you! As a classically trained violinist I obviously know that all these chords exist... but no one bothers to tell you what it means to say a chord is diminished or dominant or suspended, and none of that is at all intuitive if you're playing chords as arpeggios. So imagine me trying to talk to bassists 😂.
Best explanation ever. Thank you.
You are brilliant, sir!
Thank you!
Thank you for being my music teacher
Great teaching video.. thanks so much, I understand a lot more now!
Thank you! It's always a pleasure to learn from your videos. Cheers
Thanks for mading all those musical theory content. Helped me very much. I love your channel. Don't stop doing videos!
Thank you!
Thank you for explaining the chord symbols in depth. A few of them are quite confusing without knowledge of the standard ways they're notated.
Well done young man , you’re quite articulate.
something that was not mentioned is that the non-classical name for a dominant 7th chord is major minor 7, because it's a major triad with a minor 7th on top.
in written music, they'll usually write C7, but sometimes if they want to be specific, people will write CMm7. specifically writing Mm7 is especially popular in guitar music, because it doesn't follow classical harmony with the dominant being on the 5, they want to specify that yes, this is a major minor 7th, even though it's on the root
7sus4 (or the "dual sus second inversion" if you're feeling spicy) is my favorite 7th chord, especially played in ascending arpeggio. It has such a vast feeling, but more color than a plain sus2 or sus4, a twinge of darkness that keeps it from being overbearingly bright.
Here are each of the scales that each of the 7th chords talked about here occur in naturally as the tonic chord.
Major 7: Major, Lydian, and double harmonic major, Ionian flat 6.
Dominant 7: Mixolydian, Phrygian dominant, Lydian dominant, mixolydian flat 2.
Minor major 7: harmonic minor, double harmonic minor, melodic minor, and Lydian flat 3 (Halloween scale) [a mode of Ionian flat 6].
Minor 7: natural minor, Dorian, Phrygian, Dorian flat 2, and Ukrainian Dorian (Dorian sharp 4).
Half diminished 7 (minor 7 flat 5): locrian, super locrian, and locrian natural (sharp) 6.
Diminished 7: ultra locrian.
Well, welcome to Canada! We're glad you're here.
Thanks! 😃
Studio quality now. We're stepping up the game.
Loved this video but I would have loved to hear one or two examples of each chord from popular music. This video is very packed so totally understand why none were included.
The Cdim7's seventh note is correctly called Bbb (B double flat), not A, which explains why it is a 7 and not a 6.
The minMaj7 chord occurs as the chord created from the 1357 of a melodic minor scale.
The min7b5 chord is the 7th built on the 7th chord of a major scale as well, eg, BDFA in C major.
No news to me here, but I like your videos so why not watch. 😄 Small comment; I think you could have mentioned the 9, 11 and 13 chords too there in the end, as they’re quite common and always contain the dominant 7, which might not be obvious to everyone. Likewise, the maj9 chord contain the maj7 note.
This helped a lot. Thanks!
10:35
This would actually be written as:
C natural
E flat
G flat
B double flat.
Double flats are rare, but this is one of the cases when they can appear. The symbol looks kind of like bb, or two regular flat symbols stuck together.
hi!! THANK YOU so so much for this video, it's easy to watch and i finally understood the difference between all these types hehe 🥳🥳
You’re welcome 😃
The thumbnail is strangely intimidating
Thanks for another wonderful and well-thought out video. I wondered about what that little triangle meant - I assumed it was something complex, but no - just a maj7. Thanks for that! Although I appreciate Pianote supporting you, and it is good to try new things - strangely, I prefer your single-camera, home shot videos.
Excellent background for anyone regardless of instrument.
Best music theory channel on RUclips. Or anywhere else.
Thank you!
Great video as always David!
The dominant on the 5th degree because its the only place you can build a dominant and stay in key is blowing my mind.
C7#5 is often referred as C7b13 too. Same beast. Verry common in Jazz
Hands down the best music instruction I've ever had. Apparently We're all lined up hear to get our next fix. This stuff is either powerful to you or it isn't. Please take my money! No - really.
It’s painful how I took 1 music fundamentals class in college - everything you’re saying makes sense but is also over my head just a bit. Love your insights though bc as a guitar player for 16 years a lot of the riffs you mention definitely come to mind - like a line cliche which you can hear in Eleanor Rigby I believe. Makes me motivated to dive back in and be able to have more to work with in writing material again
I will say, I think the best example of the minor major 7 being used in pop music is in the song “As the World Caves in” by Matt Maltese. The chorus has a beautiful C minor major 7 that uses a plagual cadence resolving to the G.
Great lesson, I've been playing around with 7ths lately so this really helps
Glad it helped!😊😊
Fine. You got me. I had to try and think about how you could wind up with seven 7th chords. I try on my own. I look at your thumbnail and realize you included 8 (with one alternate notation repeat). So I'm here to find out exactly which seven 7th chorfds you chose.
And you cheated. You either included 6 (which I thought of) or 8. Not 7.
Excellent!!!!
Coming from the classical side, I think of chords like what you call "Gm (5b)7" (i.e., g - b♭ - d♭ - f), differently: While you think of it as the "2" in the "2-5-1" chord sequence "Gm - C - F", I think of it as the "4" in the "4-5-1" chord sequence "B♭6 - C - F", where the 4 is the minor subdominant with a 6 on the bottom. In my view, that is more rational than the jazz interpretation with the weird minor fifth. But Jazz people think more practical, and their interpretation may be easier to remember and play on the spot.
It’s not so much rational/practical as it is contextual. Jazz tends to be a very modal style of music, with the individual chords indicating the scope of scales and licks that can be played over it. Whereas in classical the emphasis is more on how harmony lines move within the piece. Naming conventions are tied more closely there to the chord/harmony immediately before and after the chord in question, less isolated.
The diminshed 7th is a really awkward one to spell starting on C (technically the spelling should be C Eb Gb Bbb -- yes, "B double flat"), the reason being that diminished 7ths occur naturally in the harmonic minor scale, starting on the raised 7th note (the "leading tone"), so they will often be called formally as "leading-tone diminished 7th" chords...
Spelling these chords in their actual key makes it much less weird, for example, in the key of C minor, we start the chord on the leading tone of B-natural (raised from the B-flat), and spell the chord B D F Ab... the diminished 7th chord C Eb Gb Bbb technically belongs to the "theoretical" key of Db minor, which would have 8 flats, hence the odd spelling of the chord!
It should probably be noted that the E Major here ( 13:47 ) is from A Harmonic minor and that the 5 chord in a typical minor key is minor.
I see the harmonic minor more often than the natural minor
I interpreted it as a bit of modal interchange from A major.
You are great, it is always nice to remember this
One song that uses seventh chords is the starman theme heard in many Mario games. It’s chord progression is a vamp between the 2 and 1 chords. To be specific, it uses a minor 7 on the 2 chord, and a major 7 on the 1 chord.
THE STEELY DAN MU MAJOR CHORD!!!
Nice description of 7th chords but I would like to add this. The dominant chord in the key of F is the C chord, hence it has a Bb as the 7th which means it is the dominant chord with the 7th added to it. Just saying. Also the dominant chord in the C major scale is G and we then get G7 or G dominant with 7th i.e. G B D F. Cheers Brian
Grateful.
That dominant 7th! It brightens and darkens at the same time. Especially on the subdominant (IV) degree: the sixth is bright for the minor third it suggests in the scale - they’re both to be found in a dorian scale in fact, which is essentially a more upbeat minor scale, aeolian nat 6 (mixolydian b3).
Worth noting also: the negative of the 7 chord is the m6 chord, which is tonic to dorian, while the 7 is tonic to mixolydian. These modes are negatives to each other and are integral to the blues, as well as other Afro-American styles. It’s very common to intersperse notes from both with one another as they both create very similar vibes as scales… and indeed the bebop dominant scale incorporates both modes into the same nine-note scale. It’s quintessentially bluesy.
as a barbershop gal, this video immediately interests me!
Glad it's a video about sevenths
I can't focus on your videos about sickths
😉Jk
Nice. Thanks.
😊😊😊😊
thank you for coming to my Ted talk!
Em7 / A7 / G / D ....... 2-5-4-1........what are the strengths or weaknesses of this sound. Key of D. It's the opening turn around in " Two by Five" on youtube.
Intervals of each note is
Dominent 7 = Major3- Minor3-Minor3
Major 7 = Major3- Minor3-Major3
Minor 7 = Minor3- Major3-Minor3
Minor(Major)7 = Minor3- Major3-Major3
Diminished7 = Minor3- Minor3-Minor3
HalfDiminished7 = Minor3- Minor3-Major3
For me, I find it useful to see these as different combinations of major and minor 3rds. I still get confused and don't know the names, but at least it's easier to quickly figure out the chord quality.
If it has two of the same in a row (e. g. dominant 7 - M3+m3+m3 or minor major 7 - m3+M3+M3), it will sound tense and dissonant, if they are alternating (major 7 - M3+m3+M3 or minor 7 - m3+M3+m3), it will sound consonant. So the same rules with triads, where m3+M3 (minor) and M3+m3 (major) are consonant, while m3+m3 (dim) and M3+M3 (aug)
That also removes the confusion about dominant 7, because it's still three thirds, and you don't expect a major or minor 7th interval or a 7th degree of a major scale (or its modes)
Thank you. Best! :)
Thanks for doing this
I resently wrote song with chord C D# F# A .
I did't even know It has name. Diminished 7th (Dim 7).
Muy interesante su trabajo.
¡Gracias!