Thank you so much! You've added the critical part to the explanation that was missing from Jacob Colier's video, specifically the fact that the modified diminished chord becomes the dominant chord of another key. Makes so much sense.
I think of this in 2 ways... 1) 4-way Leading Tone: A diminished chord naturally occurs as the vii° chord of the major or harmonic minor scale. Its root is the leading tone, which wants to resolve up a semitone to the tonic (e.g. in C major, B goes up to C). Since dim chords are symmetrical (all minor 3rds) and thus ambiguous, you can treat any note of a dim chord as the leading tone to a major or minor chord/key. For example, using "Cdim7" like in the vid, you get the following options: 1. C → Db or Dbm 2. Eb → E or Em (technically Fb, but enharmonics save lives!) 3. Gb → G or Gm (Abb) 4. Bbb → Bb or Bbm (Cbb) 2) Dominant Chord Substitution: Dim chords are part of dominant 7 chords (e.g. Bdim, is part of G7: G-B-D-F), thus dim chords can be used as substitutes for dominant chords. So a dim7 is actually part of a 7(b9) chord, which naturally occurs as the V chord in the harmonic minor scale (e.g. G7(b9) is the V of C harmonic minor). Additionally, as the bass note, by playing a 5th below any of the notes of a dim7, you get different 7(b9) chords! For example, Bdim7 (B-D-F-Ab)... - E7(b9): E-G#-B-D-F - G7(b9): G-B-D-F-Ab - Bb7(b9): Bb-D-F-Ab-Cb - Db7(b9): Db-F-Ab-Cb-Ebb
There's so many ways to think of this type of movement and that really opens a lot of doors to new worlds of sonic possibilities. Me personally I tend to go the Dominant Chord Substitution route of the motion is happening harmonically but if I use this trick on the melody then I defiantly use the four way leading tone mindset
In the fact the relationship is correct but in my experience it's better and more logical thinking to resolve to tonic (I Maj) One half step up : C dim7 to Db , D# dim7 to E, F#dim7 to G, A#dim7 to B. Thinking a diminished 7 chord built on the 3 of a dominant 7 chord that Is the "sensibile" (seventh degree of Major scale).
That's also a good way to see it. I always saw it the way that Jacob first described it and it makes the most sense to me but I enjoy seeings alternate takes and ways to analyze these, after all it is Music Theory and not Music Law
It's helpful to know both. I think the way Jacob described it made me realize that by dropping any note a half step in the diminshed chord created a dominant chord to launch me to root which was a fifth down or a fourth up from the note that was flattened. Cdim > flatten the c to b and now you have a B7 chord to get you to Emaj. Cdim > flatten the Eb to D to create a D7 to get to Gmaj. Ect etc...
Major ah Ha! When Jacob explained it, I too felt like he left out something. I didn’t understand the logic in getting from the dims to those chords and why. After you explained the intended goal and the rules to get to that goal, I now understand it. Thank you for seeing the need for this video!
I already thought you explained it pretty good when you came in and said this is still unclear, I am going to explain it better! And indeed, adding the last part made it even better. Thanks a lot!
great video thanks Richard note (to me): Diminished chord can become one of 4 new chords by altering one of the 4 notes. This note can be used to modulate by having it as the V of an authentic cadence (V-I)
A lot of this is still over my head, but I did recently (like, two days ago) start to understand secondary dominants, so your second explanation made a lot of sense to me! Thank you so much ♥
I'm glad you were able to understand the video and learn something from it! I've been thinking about making a video about secondary dominants because I've met a lot of people who have had trouble understanding the concept or may need reinforcement to understand the concept
Thanks Richard. I am mainly a guitar player but also enjoy keyboards. Your descriptions of diminished harmony’s and their uses are very useful for me. I’ll check out you other offerings.
Nice1! You explained it so nicely. When I saw Jacob talking about this I got so excited to try it but it left me a bit confused. Thank you for taking the time to explain to us normies 🙏
Ha! Excellent! I enjoyed the outfit change at the end! Your technical understanding is more advanced than mine but I've enjoyed playing with this idea of the diminished chord as a gateway elsewhere, so I'll explore the fully diminished chord (beyond the triad explorations I've been doing). Thanks for the vid.
always interesting to see another way to think about the same idea. the way i always see it is that a diminished chord resolves well up one half step, and this works for both major and minor. given that a diminished chord is symmetrical for all 4 of its inversion, that means one diminished chord can have the same cadence resolution to 8 different key centers, 4 major and 4 minor. Now given that there are only 3 diminished chords when you ignore inversion, and each of the three has its own set of 8 resolutions, that means with only 3 chords, you have access to 24 key centers, all 12 major, and all 12 minor. So, with only 3 leading chords, you can pivot to any and every major and minor key, and all you have to worry about is how to get to which of the 3 dim chords you want, and what voicing inversions to use. diminished chords are cool, and also you can sound like Dracula playing a pipe organ when you extend a diminished arpeggio over multiple octaves, thanks to the movie trope of Bach's Toccata
That's a lot of really great information that I wish I put into this video...hindsight is 20/20 I suppose. Maybe I'll make a RUclips Short that goes over this info. It just goes to show you how powerful diminished chords are as a sonic pathway
@@RichardAshbyMusic there will always be different ways to approach concepts you are already familiar with. its not realistic to account for every perspective at once. best we can do is take them as they come and interpret new perspectives within our own paradigm. you should do a video on accidentals. why sometimes we might want to play a note that is out of key in a specific chord. maybe a chord that is normally minor in a given key signature can have more impact if you raise the 3rd to be a major triad for just that one chord in the progression, then add the minor flat 7th back in and its spicy now. whats up with that? Flamenco does that with the last chord in the andalusian cadence sometimes, why does it sound so good? music theory is all about describing why things work after theyve already been done, and maybe the information gained from that can inform future songwriting decisions. theres always a lot of different ways to describe the same thing.
I like this modulation, I'll just have to keep working on ways to get to the full diminished chord that I actually like the sound of, so I can make use of it.
I’m right in the boat with you! It’s one thing to have knowledge and another to be able to use it in the real world but with enough tinkering anything is possible
B-tripple flat, theory is fun. And for any guitarists, a diminished chord automatically inverts itself every four frets as you go up the neck. Also, it will resolve nicely to any major chord one fret higher than any of the notes in the diminished chord.
Guitar is a relatively simple instrument on which to learn a dozen or so chords then move their finger positions up and down the neck to change keys and sing along. It's a difficult instrument to master because most notes (of one pitch) can be played in various places - positions and strings. For example the pitch of middle C (C4) can be played in at least 5 different places along the neck - 6 places if the neck has extra frets. @@RichardAshbyMusic
I still don't understand how lowering any one of the notes in the diminished chord *takes you to* the next chord. For instance, when you lower the C to B (to move to E Maj) - you're also changing to two other notes (the E and the Ab). Why does this happen? Why those notes? Why doesn't the Cdim become BMaj by just leaving the Eb and The Gb alone? I'm just not seeing the pattern.
Sorry, I think I get it after listening a little closer to your explanation towards the end: The lowering of any note by a semitone creates a Dominant 7th chord of another key, then you move to that key's tonic chord. I think it would be more helpful to those newer to theory to explain this step while showing the fingering on the keyboard at the beginning. In the end though, your video explained this to me, so, thanks :)
Thanks for the suggestion, I'm glad you eventually got the concept and I'll try harder to make sure my explanations make more sense and are more cohesive :)
Ahhhhh thank you I was also confused by this at first but now I get it I think: - Start with dimished. - Lower 1 note of the dimished chord by a semitone (e.g the C note to B) - This gives B Dominant - Which is the 5th/dominant chord in the key of E major - So landing on the Emajor chord after the B dominant releases tension and pulls to key of E Great video btw :)
Can someone explain my newbie head how C diminished at the start here is "in the key of C" and not the 7th degree of C sharp major key ? Really confused me from the start, cause otherwise the whole video point is astonishingly clear and motivates to explore ! Thanks !
Saying "in the key of C" was mostly just to make things easier for a readability aspect. A C diminished chord is just an easy option to read compared to other diminished chords, and this example was made conceptually in a vacuum and not in the context of any key signature. I apologize for any confusion
@@RichardAshbyMusic And because the diminished 7th chord is a stack of minor thirds, and adding another minor third gets you back to the tonic, the diminished 7th chord in each of the keys of C, Eb, Gb, and Bb (=A) contains exactly the same notes (just with a different one notionally at the bottom). So wherever you can go harmonically from C dim. 7th, you can do the same three (or six or nine) half steps higher, from the *same* starting notes, so ending in a key three (or six or nine) half steps higher. There are really only three diminished 7th chords: the ones on C, C# (orDb), and D. The one on Eb is the same as the one on C; the one on G is the same as the one on C#; etc. Each of these three chords is a crossroads or revolving door between four of the twelve keys.
works with minor 7ths too!! except u gotta take down two notes a semitone each move the 2nd n 3rd note down a semitone (b3 n b5) n u got a minor 7th chord, as if the highest note in the diminished was the v to the i move the bottom two notes down a semitone (1 & b3) and u got another minor 7th, just this time the second highest note in the diminished chord (b5) is the root v to i move the bottom and top notes (1 & bb7) down a semitone n you got a maj 6th which is an inversion of a min 7, this time the second lowest note (b3) being the v to the i of the minor 7th and the last one! the top two notes (b5 & bb7) down a semitone and this one is even better than the other three imo since the root note is already in the bottom position as if it were a v to the i of the minor 7th. this is confusing but i'll write it out n put it on my channel or something later, and i want to do this with major chords later, thank you for opening the can of worms this was fun
Why does the (for instance) c lowered a half step take us to E? And not something else? And how do we know what it takes us to? Do we just have to memorize it or is there some theory behind it?
The C lowered a half step changes the chord from a C dim to a B7, a B major chord with a flat 7th. These are known as dominant chords and are most commonly used as a final chord before resolving to the tonic of the key they're dominant in. So by changing the C dim to a dominant chord we can then smoothly slide into the key that the new chord is the dominant of (for B major 7 that would be the key of E). As long as you have a good grasp on the concept of what notes are dominant in any given key, the concept of diminished chord modulations will come easily :) I hope this helped!
You say move one note down and then end up moving multiple notes? Im confused as to how that diminished becomes a E major for example, the c goes to a b and the e flat to e and the other notes as well
What he actually does is moving one note half step down, let's say (C to B) while keeping the rest of the notes as they're. This gives us a B dominant seventh chord (B, D#, F# & A). Now forget about the key of C that we started in initially and ask yourself, in which key does this chord fall in? it's the 5th of E major scale! That why he then plays an E major right after. If you're still confused, the next example should clear up all the confusion "I hope" : Imagine you're in the Key of C and you play 7th chords ONLY. So the 2nd chord in the scale of C major would be Dmin7 "D, F, A & C", now play the 5th chord which is Gmaj. If you we want to make it 7th without going out of the C major scale then the 7th would be an F instead of F# which is called "G dominant 7" This example applies to ALL major scales, the 5th will always be a dominant 7. Give it a try on all 12 keys. Think of it as a way to transition from C major to E major. A gate to change key smoothly. NOTE: You gotta be familiar with the famous II, V, I Jazz concept so that this make sense to you. Hope this helps! Cheers
many people have actually used this concept Jacob Collier is just the name most people would recognize that used it. I haven't heard that piece though, so thanks for introducing me to it!
Absoutely! But most people in this age who may be unfamiliar with music history would recognize it from Jacob Collier and the videos he made about it so I chose to include his name in the title
Really good explanation! Diminished chord is the nescafe of music : instant drama! Just put it anywhere to get an instant dread or surprise feeling. Though, unlike nescafe, it tastes like the real thing, so my analogy is not that good after all…
Still didn't understand most of it, but that transition (@ 4:11) caught me off-guard hahaha. I'll have to experiment more with it before I can truly apply it.
This technique has been around for a really long time, but for most people in this day and age Jacob Collier is the person they would recognize it from rather than Barry Harris
Another way to say that is: Lower any note of a dim.7 chord and the lowered note becomes the root of a dom.7 chord. One diminished chord = four dom.7 chords.
oh no ! i didnt mean to come across that way 😅 @@RichardAshbyMusic ik yall know more than me, i just like 19 specifically, it's surprisingly a lot like 12 edo!
Bach used it, Barry Harris coned the "family of four" concept, and Jacob Collier made a few videos talking about it. That's the fun part about music is that no matter what style or interpretation you play you can use the same tools and reinterpret them into whatever we need! I just used Jacob Collier's name because that's probably how most people would have found the idea
@RichardAshbyMusic you are a fast thinker and that's great as long people keep up and are able to process the wonderful information. The hard thing with good information delivered a bit fast is that watching again does not help much. But to be honest, you made me implement the techniques in practice.
C fully diminished would take you to Fb major, not E, you'd need B# fully diminished to go to E. But that would be neat to compose a song with a verse in C major and the chorus in Fb major.
Thank you so much! You've added the critical part to the explanation that was missing from Jacob Colier's video, specifically the fact that the modified diminished chord becomes the dominant chord of another key. Makes so much sense.
Once I figured that out it felt like I understood the whole universe
You added the critical part that is missing from most of Jacob’s explanations, which is the actual explanation part
I think of this in 2 ways...
1) 4-way Leading Tone:
A diminished chord naturally occurs as the vii° chord of the major or harmonic minor scale. Its root is the leading tone, which wants to resolve up a semitone to the tonic (e.g. in C major, B goes up to C). Since dim chords are symmetrical (all minor 3rds) and thus ambiguous, you can treat any note of a dim chord as the leading tone to a major or minor chord/key.
For example, using "Cdim7" like in the vid, you get the following options:
1. C → Db or Dbm
2. Eb → E or Em (technically Fb, but enharmonics save lives!)
3. Gb → G or Gm (Abb)
4. Bbb → Bb or Bbm (Cbb)
2) Dominant Chord Substitution:
Dim chords are part of dominant 7 chords (e.g. Bdim, is part of G7: G-B-D-F), thus dim chords can be used as substitutes for dominant chords.
So a dim7 is actually part of a 7(b9) chord, which naturally occurs as the V chord in the harmonic minor scale (e.g. G7(b9) is the V of C harmonic minor).
Additionally, as the bass note, by playing a 5th below any of the notes of a dim7, you get different 7(b9) chords!
For example, Bdim7 (B-D-F-Ab)...
- E7(b9): E-G#-B-D-F
- G7(b9): G-B-D-F-Ab
- Bb7(b9): Bb-D-F-Ab-Cb
- Db7(b9): Db-F-Ab-Cb-Ebb
There's so many ways to think of this type of movement and that really opens a lot of doors to new worlds of sonic possibilities. Me personally I tend to go the Dominant Chord Substitution route of the motion is happening harmonically but if I use this trick on the melody then I defiantly use the four way leading tone mindset
In the fact the relationship is correct but in my experience it's better and more logical thinking to resolve to tonic (I Maj) One half step up : C dim7 to Db , D# dim7 to E, F#dim7 to G, A#dim7 to B. Thinking a diminished 7 chord built on the 3 of a dominant 7 chord that Is the "sensibile" (seventh degree of Major scale).
That's also a good way to see it. I always saw it the way that Jacob first described it and it makes the most sense to me but I enjoy seeings alternate takes and ways to analyze these, after all it is Music Theory and not Music Law
It's helpful to know both. I think the way Jacob described it made me realize that by dropping any note a half step in the diminshed chord created a dominant chord to launch me to root which was a fifth down or a fourth up from the note that was flattened. Cdim > flatten the c to b and now you have a B7 chord to get you to Emaj. Cdim > flatten the Eb to D to create a D7 to get to Gmaj. Ect etc...
Major ah Ha! When Jacob explained it, I too felt like he left out something. I didn’t understand the logic in getting from the dims to those chords and why. After you explained the intended goal and the rules to get to that goal, I now understand it. Thank you for seeing the need for this video!
I'm glad I was able to help!
I already thought you explained it pretty good when you came in and said this is still unclear, I am going to explain it better! And indeed, adding the last part made it even better. Thanks a lot!
Im glad you were able to find value in the video! Thanks for watching :)
great video thanks Richard
note (to me):
Diminished chord can become one of 4 new chords by altering one of the 4 notes. This note can be used to modulate by having it as the V of an authentic cadence (V-I)
Thank you very much!
A lot of this is still over my head, but I did recently (like, two days ago) start to understand secondary dominants, so your second explanation made a lot of sense to me! Thank you so much ♥
I'm glad you were able to understand the video and learn something from it! I've been thinking about making a video about secondary dominants because I've met a lot of people who have had trouble understanding the concept or may need reinforcement to understand the concept
Man this is great. i hope to see more like this from you. Probably breaking another Jacob's
I'd love to do more topics. Lemme know if you have any ideas for me!
Thanks Richard. I am mainly a guitar player but also enjoy keyboards. Your descriptions of diminished harmony’s and their uses are very useful for me. I’ll check out you other offerings.
I'm glad you enjoyed the video!
I love you approach. I have tried to explain dim chords to folks with varying degrees of success and I think you nailed it. thanks
They can be hard to define honestly. I'm glad that I was able to demonstrate the concept properly
Thank you Jacob. That was enlightening. Happy holidays to you.
Correction...Thank you Richard....
HA! I'm glad you enjoyed the video, and happy holidays to you as well!
Nice1! You explained it so nicely. When I saw Jacob talking about this I got so excited to try it but it left me a bit confused. Thank you for taking the time to explain to us normies 🙏
I'm Glad it was helpful!
So glad this popped up right after the Jacob Collier video because you answered all my questions and more! Great video and thanks
I'm glad it helped! Thanks for watching :)
Ha! Excellent! I enjoyed the outfit change at the end! Your technical understanding is more advanced than mine but I've enjoyed playing with this idea of the diminished chord as a gateway elsewhere, so I'll explore the fully diminished chord (beyond the triad explorations I've been doing). Thanks for the vid.
Im glad I was able to help your understanding better :)
always interesting to see another way to think about the same idea.
the way i always see it is that a diminished chord resolves well up one half step, and this works for both major and minor. given that a diminished chord is symmetrical for all 4 of its inversion, that means one diminished chord can have the same cadence resolution to 8 different key centers, 4 major and 4 minor.
Now given that there are only 3 diminished chords when you ignore inversion, and each of the three has its own set of 8 resolutions, that means with only 3 chords, you have access to 24 key centers, all 12 major, and all 12 minor.
So, with only 3 leading chords, you can pivot to any and every major and minor key, and all you have to worry about is how to get to which of the 3 dim chords you want, and what voicing inversions to use.
diminished chords are cool, and also you can sound like Dracula playing a pipe organ when you extend a diminished arpeggio over multiple octaves, thanks to the movie trope of Bach's Toccata
That's a lot of really great information that I wish I put into this video...hindsight is 20/20 I suppose. Maybe I'll make a RUclips Short that goes over this info. It just goes to show you how powerful diminished chords are as a sonic pathway
@@RichardAshbyMusic there will always be different ways to approach concepts you are already familiar with. its not realistic to account for every perspective at once. best we can do is take them as they come and interpret new perspectives within our own paradigm.
you should do a video on accidentals. why sometimes we might want to play a note that is out of key in a specific chord. maybe a chord that is normally minor in a given key signature can have more impact if you raise the 3rd to be a major triad for just that one chord in the progression, then add the minor flat 7th back in and its spicy now. whats up with that? Flamenco does that with the last chord in the andalusian cadence sometimes, why does it sound so good?
music theory is all about describing why things work after theyve already been done, and maybe the information gained from that can inform future songwriting decisions. theres always a lot of different ways to describe the same thing.
Thank you! You have added a vital component to his great video that left me interested but confused
I had the same feeling so I'm glad I was able to help others understand this technique better :)
Could you help me understand overtone series cause they seem pretty cool!
thanks a lot. The end of the video where you explain it again was the most helpful:)
Glad it helped! I appreciate the feedback as well :)
I like this modulation, I'll just have to keep working on ways to get to the full diminished chord that I actually like the sound of, so I can make use of it.
I’m right in the boat with you! It’s one thing to have knowledge and another to be able to use it in the real world but with enough tinkering anything is possible
B-tripple flat, theory is fun. And for any guitarists, a diminished chord automatically inverts itself every four frets as you go up the neck. Also, it will resolve nicely to any major chord one fret higher than any of the notes in the diminished chord.
Guitar theory really fascinates me as someone who is only really familiar with winds
Guitar is a relatively simple instrument on which to learn a dozen or so chords then move their finger positions up and down the neck to change keys and sing along. It's a difficult instrument to master because most notes (of one pitch) can be played in various places - positions and strings. For example the pitch of middle C (C4) can be played in at least 5 different places along the neck - 6 places if the neck has extra frets.
@@RichardAshbyMusic
great explanation, thanks.
Glad it was helpful!
I still don't understand how lowering any one of the notes in the diminished chord *takes you to* the next chord. For instance, when you lower the C to B (to move to E Maj) - you're also changing to two other notes (the E and the Ab). Why does this happen? Why those notes? Why doesn't the Cdim become BMaj by just leaving the Eb and The Gb alone? I'm just not seeing the pattern.
Sorry, I think I get it after listening a little closer to your explanation towards the end: The lowering of any note by a semitone creates a Dominant 7th chord of another key, then you move to that key's tonic chord. I think it would be more helpful to those newer to theory to explain this step while showing the fingering on the keyboard at the beginning. In the end though, your video explained this to me, so, thanks :)
Thanks for the suggestion, I'm glad you eventually got the concept and I'll try harder to make sure my explanations make more sense and are more cohesive :)
Ahhhhh thank you I was also confused by this at first but now I get it I think:
- Start with dimished.
- Lower 1 note of the dimished chord by a semitone (e.g the C note to B)
- This gives B Dominant
- Which is the 5th/dominant chord in the key of E major
- So landing on the Emajor chord after the B dominant releases tension and pulls to key of E
Great video btw :)
Could you talk about secondary dominant
I absolutely can! I'll add it to my list of topics for my next set of videos
Great clear description thankyou
Glad it was helpful!
Can someone explain my newbie head how C diminished at the start here is "in the key of C" and not the 7th degree of C sharp major key ? Really confused me from the start, cause otherwise the whole video point is astonishingly clear and motivates to explore ! Thanks !
Saying "in the key of C" was mostly just to make things easier for a readability aspect. A C diminished chord is just an easy option to read compared to other diminished chords, and this example was made conceptually in a vacuum and not in the context of any key signature. I apologize for any confusion
@@RichardAshbyMusic so nice from you to clarify, thanks ! Really great video I think about it and experiment everyday since I saw it
@@RichardAshbyMusic And because the diminished 7th chord is a stack of minor thirds, and adding another minor third gets you back to the tonic, the diminished 7th chord in each of the keys of C, Eb, Gb, and Bb (=A) contains exactly the same notes (just with a different one notionally at the bottom). So wherever you can go harmonically from C dim. 7th, you can do the same three (or six or nine) half steps higher, from the *same* starting notes, so ending in a key three (or six or nine) half steps higher. There are really only three diminished 7th chords: the ones on C, C# (orDb), and D. The one on Eb is the same as the one on C; the one on G is the same as the one on C#; etc. Each of these three chords is a crossroads or revolving door between four of the twelve keys.
4:44 u explained that really well
works with minor 7ths too!! except u gotta take down two notes a semitone each
move the 2nd n 3rd note down a semitone (b3 n b5) n u got a minor 7th chord, as if the highest note in the diminished was the v to the i
move the bottom two notes down a semitone (1 & b3) and u got another minor 7th, just this time the second highest note in the diminished chord (b5) is the root v to i
move the bottom and top notes (1 & bb7) down a semitone n you got a maj 6th which is an inversion of a min 7, this time the second lowest note (b3) being the v to the i of the minor 7th
and the last one!
the top two notes (b5 & bb7) down a semitone and this one is even better than the other three imo since the root note is already in the bottom position as if it were a v to the i of the minor 7th. this is confusing but i'll write it out n put it on my channel or something later, and i want to do this with major chords later, thank you for opening the can of worms this was fun
Why does the (for instance) c lowered a half step take us to E? And not something else? And how do we know what it takes us to? Do we just have to memorize it or is there some theory behind it?
The C lowered a half step changes the chord from a C dim to a B7, a B major chord with a flat 7th. These are known as dominant chords and are most commonly used as a final chord before resolving to the tonic of the key they're dominant in. So by changing the C dim to a dominant chord we can then smoothly slide into the key that the new chord is the dominant of (for B major 7 that would be the key of E). As long as you have a good grasp on the concept of what notes are dominant in any given key, the concept of diminished chord modulations will come easily :) I hope this helped!
Great tutorial, great explanation, thank you for this!
I'm really glad it was helpful!
Thanks Richard, I'll try it right now, peace
No problem! I hope it goes well :)
You say move one note down and then end up moving multiple notes? Im confused as to how that diminished becomes a E major for example, the c goes to a b and the e flat to e and the other notes as well
What he actually does is moving one note half step down, let's say (C to B) while keeping the rest of the notes as they're. This gives us a B dominant seventh chord (B, D#, F# & A).
Now forget about the key of C that we started in initially and ask yourself, in which key does this chord fall in? it's the 5th of E major scale! That why he then plays an E major right after.
If you're still confused, the next example should clear up all the confusion "I hope" :
Imagine you're in the Key of C and you play 7th chords ONLY. So the 2nd chord in the scale of C major would be Dmin7 "D, F, A & C", now play the 5th chord which is Gmaj. If you we want to make it 7th without going out of the C major scale then the 7th would be an F instead of F# which is called "G dominant 7"
This example applies to ALL major scales, the 5th will always be a dominant 7. Give it a try on all 12 keys.
Think of it as a way to transition from C major to E major. A gate to change key smoothly.
NOTE: You gotta be familiar with the famous II, V, I Jazz concept so that this make sense to you.
Hope this helps!
Cheers
@@omarelmotawakkel49 wow really cleared it up for me, thank you man!
@@emretoner8282 my pleasure
Real 👍🏾 nice
Thanks :)
Richard Wagner did the diminished chord modulation in the overture to Tristan & Isolde, for example: ruclips.net/video/zZreeVzaOEo/видео.html
many people have actually used this concept Jacob Collier is just the name most people would recognize that used it. I haven't heard that piece though, so thanks for introducing me to it!
Thank you! Very helpful.
I'm glad I could help you!
Thank you!!
No problem! Glad I could help
Bro, this kind of modulation is been going around since Beethoven's time... (not to discredit Jacob Collier at all.. who is a real master of harmony)
Absoutely! But most people in this age who may be unfamiliar with music history would recognize it from Jacob Collier and the videos he made about it so I chose to include his name in the title
Really good explanation!
Diminished chord is the nescafe of music : instant drama! Just put it anywhere to get an instant dread or surprise feeling.
Though, unlike nescafe, it tastes like the real thing, so my analogy is not that good after all…
I don't even drink coffee so the analogy makes perfect sense to me lol :)
Barry harris is the guy for this
Wow I never knew this! I was first introduced to this concept from Jacob Collier but Harris must be where he got the concept from
Very well done! 😍
Thank you!! 😊
The chord at 3:49 sounds like the beggining of Chopin's Revolutionary Etude. Or maybe I'm hallucinating :D
This is beautiful ❤
Thank you very much!
Appreciate it man
No problem!
Still didn't understand most of it, but that transition (@ 4:11) caught me off-guard hahaha. I'll have to experiment more with it before I can truly apply it.
With practice you can learn and understand anything!
Thank you so much Brother..
You are most welcome
very helpful, thanks bro
No problem!
Very useful!
Glad it was helpful!
Great video thanks.
Glad you liked it!
Brilliant !!!
Thanks very much!
thanks
No problem!
This is The Barry Harris Technique, using secondary Dominates to modulate from a diminished chord
This technique has been around for a really long time, but for most people in this day and age Jacob Collier is the person they would recognize it from rather than Barry Harris
Another way to say that is: Lower any note of a dim.7 chord and the lowered note becomes the root of a dom.7 chord. One diminished chord = four dom.7 chords.
Yep you’ve got it! It’s a much simpler way to explain it as long as you know what all those terms mean :)
Maybe this was explained and I’m just too dumb to comprehend it but why does dropping the C to a B lead you E major?
Dropping the C to a B makes the chord a B Dominant 7 chord which is the V7 of E major allowing for a strong transition into that chord/key
I was lost after the words Diminished Chord Modulation in the title.
That's how I was before I sat down at the piano to figure it out lol but you can learn anything if you give it enough time
GOAT GOAT GOAT thank you so much
Happy to help!
good video
Glad you enjoyed!
Nice.
Thanks!
❤
this, but 19 edo (i'm tryna write 18 different 4 chord cadences to modulate into each possible key)
More power to you , I don't know if my ears or math skills are good enough for microtonal harmony just yet lol
oh no ! i didnt mean to come across that way 😅 @@RichardAshbyMusic
ik yall know more than me, i just like 19 specifically, it's surprisingly a lot like 12 edo!
No example in a song?, that's crazy
I'll have to remember to add examples in the next one!
I feel like I went back in time and it's the 1950's.. Before NWA and stuff
B Triple Flat? 🤔
Gotta love those music theory rules making things harder to understand 😂
Thank You. My future reference
No problem :)
i love u
damn dude thank you and the algorithm is scary
You're welcome!
This is hardly Jaco Collier's modulation. Bach even used it!!!
Bach used it, Barry Harris coned the "family of four" concept, and Jacob Collier made a few videos talking about it. That's the fun part about music is that no matter what style or interpretation you play you can use the same tools and reinterpret them into whatever we need! I just used Jacob Collier's name because that's probably how most people would have found the idea
@@RichardAshbyMusic Cool cool. ;-)
Thanks man, this is actually a concept by
Barry Harris I believe
😅
That second explanation would have made more sense but you kinda rushed it like a pro (lol Rick Beato does that too)
Noted. I ll try to be a bit slower in the future. I have a tendency to talk fast so I guess it seeped into the video lol
@RichardAshbyMusic you are a fast thinker and that's great as long people keep up and are able to process the wonderful information. The hard thing with good information delivered a bit fast is that watching again does not help much. But to be honest, you made me implement the techniques in practice.
Barry Harris harmony
Yep! He came up with the concept originally to my knowledge
This looks familiar :P
C fully diminished would take you to Fb major, not E, you'd need B# fully diminished to go to E. But that would be neat to compose a song with a verse in C major and the chorus in Fb major.
you can call this: dim - V - I ;)
absolutely you can!
標題誤導！
U are so cute
excellent video, thanks a lot
Glad you liked it!