Is the last chord a diminished chord? ✅5 Jazz Guitar Tips That Will Save You Years Of Practice 😎 ruclips.net/video/dFkTgbUXxME/видео.html ✅How Chord Melody Will Help You Master Important Skills😎 ruclips.net/video/ryBxYdKQ7AY/видео.html
Thank You. It took me 44 minutes to digest this. (I had to play along) I had been subbing out the subdominant for a diminished chord. Have to try the dominant now. Thank you.
I have noticed that Rock guitar players usually evolve into jazz and now I understand why. Because if one desires to progress. Jazz and bebop in their complexity are the next level... After all jazz and bebop next to classical music is one of the highest forms of music available ...
Great lesson, a lot to digest in this. The great Joe Pass says use the diminished chord of the chord you're leaving or the chord you're going to as a passing chord, which tends to work well both harmonically and melodically
I've been learning guitar for 2 years now. I know you are well regarded as an incredible jazz guitar instructor around the RUclips sphere. It's always nice to come back to learn from. Last time I saw your video, I was so clueless. But things are starting to make sense now. Anyways, I'm back and still not quite at the level I want to be to understand your lessons. I feel like watching your videos is like boarding a rocket ship. I'm still riding a canoe. Anyways, thanks for all you do. Take fantastic care of yourself.
I used to have questions about the latter two diminished chords but you answered them perfectly. my teacher would always say use the diminished scale over diminished chords but I noticed in some scenarios they resolve differently (like you mentioned). thanks for clarifying this
Excellent video Jens - these ways of thinking about diminished chords as extensions of other chords and as the intermediary sounds from moving voices is very helpful. The discussion also kind of shows how we can become victims of the limitations of our own systems of language and semantics when we try to define and name the things that happen in the middle of a transition - whether it be in music, mathematics, or a chemical reaction.
The subdominant diminished is an epiphany for me. I always understood the dominant diminished and was confused when those two variations of the subdominant diminished popped up. Thank you for the insight.
This is how I see it: F#dim7 C/G is a substitution for D7b9 Gsus (classical musicians would call this one a cadential 6 4 chord). This way, F#dim7 can be treated as a secondary dominant. For this chord I would use the 5th mode of G harmonic minor, but G harmonic major would work as well of course. Ebdim7 (going to Dm7) is for me actually more a D#dim7, especially when it comes right after Em7. In that case it would be a substitute for B7b9, a secondary dominant that doesn’t resolve, but goes to the IIm7 instead. An example for this would be the beginning of Stella by Starlight: Em7b5 A7 Cm7 (in the key od Bb: IIm7b5/III V7/III IIm7). So, being a substitute for the V7/III, which in the key of C is B7b9, I would play the 5th mode of E harmonic minor over it. This is how I deal with it. I know there are other ways, but those are definitely the ones that work best for me.
Nice Video! I use the harmonic minor mode over a #IVdim, when the diatonic subdominant would be IVmaj7 and the harmonic major mode in a blues, where the subdominant is IV7.
Hey Jens,do you think you can make more videos on the works on Jim Hall? I think his style is great for people getting into jazz and would love to hear you approach towards that.
I already made 3 or 4, and the interest is not really there so, I most likely won't frame it as being about him if I do. It is pretty frustrating to spend several days on a video that most of my audience don't want to watch. I hope you understand :) These are the ones I already made: ruclips.net/video/813JEzwrLqY/видео.html
I like to think of the F#° as an inversion of Eb°, so it appears as the dominant for the Em7 (wich is a I chord, as the Cmaj7 or Am7) and thus the E minor harmonic scale does makes sense once again.
@@JensLarsen You mean Em, Eb°, Dm ecc.? If I don't go wrong, You said in a earlier vid (as here): "Dont' use synthesis scales; use instead E harmonic minor" which is different but it works 🙂
0:40 G diminished scale or transpose the minor seven Fm7 up to Gm7 and move everything accordingly? But wouldn't I need to resolve it to FM7, in which case I would need to think about it much more to transpose it, unless perhaps it is a burrowed chord? I might need to find a transition chord. Sometimes, single note lines work better. I'm curious about how many different ways I could get back to Gm. The thing is, that part of the song is classical.
I was playing around with dim 7 voicings on Summertime yesterday, and realised that playing Dm7-D#°-E7 alt was using the #4 diminished in A minor. I figured it out after understanding that it wasn't functioning as a dominant. I would never have got it if I hadn't seen your videos on minor and diminished subdominants.
I am particularly interested in this topic lately. Fascinating, versatile chord and sound. This helps a lot. You didn’t mention using a major seventh as a tension on the diminished chord. I’ve been getting into that sound lately. Is that something you like to use?
@@JensLarsen True- but I'm thinking NOT as a true German6th but "acting" or should I say, functioning as a Subdominant to the cadential 6/4 (tritone of D7) with no Ab root...
@@dr.brianjudedelimaphd743 Ok, but why explain it with something that doesn't really fit the notes and is somewhat complicated compared to the simple voice-leading that is already there? To me, it seems like you are only making it more complicated, plus that your analysis won't work for other examples where the tonic chord does not have the 5th in the bass like I remember You or You Do Something to me. Of course, if you should do what works for you, but I don't think I am going to agree with you 🙂
Great as always. Question. How do you approach the diminished on the first degree. Usually resolving to the first degree major. For example G diminished to G major. Would that be. Subdominant? Like a IV-I cadens?
Hi Tony! 🙂 To me that is just a #IVdim inversion, so I treat it as C#dim/G Resolving to G. That is also what you see reharmonized as a minor II V from the #IV very often, think "I Remember You" or "You Do Something To Me". Most of the time the 7th of the scale is in the melody. I suspect the composers were trying not to have a super obvious dominant chord there, but, that is of course a guess. Does that help?
Hi Jens! Thanks for another great video. Just to clarify, the subdominant diminished chord can resolve to either another subdominant chord or a dominant chord? That F sharp diminished seems to be resolving to a C in second inversion which is acting like a V chord?
If you look at songs then it often does not resolve to something that is a suspension of the V chord, so in those cases I it doesn't sound like a secondary dominant for the V. Think rhythm changes, 12 bar blues, I remember you etc
There's a lot of information in this video. Do you publish your notes or, at least, the musical examples you use? If so, could you post a link to them? Thanks, Kevin
Usually I use Diminished chords derived from the b6 of a Major Scale, the b9 of a dominant, or the Major 7 of a minor chord. Is the Major 7 resolution to a Major Chord derived from the "backdoor dominant" thought of as a b9?
The "mysterious dim chord" is functioning as a b3 diminished. Approaching C6 from a half step above is the same as approaching Am7 from a half step above and the first chord, Cmaj7(9) is the same as G6 so we essentially have G6, Bbdim to Am7. That is b3 dim. The voice leading is a bonus but it works without it. (Call me a contrarian, but I also don't believe in major 6, I only believe in minor 7, ha ha just kidding)
Hi Jens. Thanks for yet another greatly informative video lesson. I have been puzzled for a long time as to how to view/play over the chord progression D/F# Gdim Am7 ( The first 3 chords in the song "Wave") What would you suggest?
@@JensLarsen Thanks Jens. I will certainly try that out. Am I right in thinking that this use of a dim chord falls into yet another category? If so I wonder how you figure out the best scale choice. ( I don't want to take up more of your time if the explanation is long and complicated.)
@@conalh6173 it is not a different category, it is a dominant diminished in D major, the key of the song. You could make it complicated by seeing it as a Pivot chord used as a part of a modulation to G major. A Pivot chord has a function in both keys, and this one is dominant in D major and subdominant in G major. But calling it dominant diminished is the easiest 😁 Does that help?
It does help although initially it added to my confusion which in turn compelled me to watch your video again. I(mistakenly) was thinking in terms of the dim chord acting as a secondary dominant. In this case it doesn't as E7 is the dom. of Am and Bbdim is not a substitute for E7. Early in the video you mention how b dim. is the dominant dim. in the key of C. How do you then decide what scale to play over it? Sorry for being a pest and dwelling on this but it has been causing me confusion for so long.
Does that mean that the Dm7 - C#/Dbdim 7 - Cm7 - F7 changes in "Someday My Prince Will Come" are essentially: D harmonic minor then going to the ii-V in Bb? If so, then what is the function of the Edim7 in the last 6 bars? I usually know what to do when I see a diminshed chord in a progression but sometimes they can throw me.
If you spell it with a D# instead of Eb, the subdominant diminished could actually be on the raised second degree in the major scale. That way one could better understand the voice leading logic when it is being resolved to the tonic in major: f# to g, d# to e. It is more of a voice leading chord to my mind than it is functional, although intensifies the subdominant a little further, so yes, still subdominant. Interestingly though, in minor it would not work like that with that spelling, the #2 would go to b3?? So here I would think #4 6 1 3d spelling. Splitting hairs here, sorry, I'm classically trained, and harmony is kind of a paasion to me. I enjoyed the video though, as always. Cheers
Yes, you can spell it like that as well, but you then sacrifice the voice-leading when it resolves to the subdominant, both are common. I also don't think there are a lot of examples of #IV dim chords in minor?
Epiphone joe pass, and have it set up by the best luthier you know. I bought minę and it was Total shit, when my luthier set it ut it became my favourite guitar. It retails for 600bucks new i think
It's so tempting for guitarists to look for solutions by buying more guitars / amps / pedals / whatever. I can't quite blame you for thinking that - because that's what a lot of people do. In the end it just means you'll still be in the same place but with more gear. I was taught - the guitar is a hunk of wood with strings on it. That's all it is. No one else cares about that - but you (I've been guilty of that too). The Music / Guitar Playing comes from within you. Learn what the notes are, how they work together and apply them to guitar. - ANY old guitar. That's what Jens teaches. That's what I still learn. I wish I had a dollar for every guitar (owner) I've met or taught who went out and bought another guitar, amp - whatever because they weren't happy with their playing. The answers are within us. That is the hardest thing for me to convince other guitar players to practice. The peer pressure / BS regarding guitars and Music is strong - and it doesn't make anyone play any better. Hope this helps ? I wish you good luck and Karma. It will save you a lot of money. People even like my playing on a kid's fifty dollar 3/4 size nylon string folk guitar. ☯🤘
In the last section "the mysterious diminished chord", the first sections dim chord is graphed and notated different from each other, and both are different from what you play in the example. It's supposed to be diminished like you play, yeah? It's the only anomaly I noticed; hopefully not pedantic.
These chords wear cardigans and are played on Sundays in hot forgotten backwaters, in rooms dominated by brash furnature and loud embarassing tablecloths.
I've decided to rely on a few other guitar teachers on RUclips and discontinue visiting this one. There's no question that Larsen knows a ton of music theory. But his obsession with "jump" cuts ruins the content of his vids, for me, anyhow. I visit 3 other guitar teachers who NEVER use jump cuts and the vids are much better, easier to watch and absorb. Nothing against Larsen. His format's just not conducive to my learning. Not my cup of tea.
Is the last chord a diminished chord?
✅5 Jazz Guitar Tips That Will Save You Years Of Practice 😎
ruclips.net/video/dFkTgbUXxME/видео.html
✅How Chord Melody Will Help You Master Important Skills😎
ruclips.net/video/ryBxYdKQ7AY/видео.html
Como posso adquirir esses materiais?
Very Interesting and great graphics. This is Next Level teaching........
Thank You. It took me 44 minutes to digest this. (I had to play along) I had been subbing out the subdominant for a diminished chord. Have to try the dominant now. Thank you.
I have noticed that Rock guitar players usually evolve into jazz and now I understand why. Because if one desires to progress. Jazz and bebop in their complexity are the next level... After all jazz and bebop next to classical music is one of the highest forms of music available ...
I'm so glad I found your channel. Your lessons are disgustingly good.
Great lesson, a lot to digest in this. The great Joe Pass says use the diminished chord of the chord you're leaving or the chord you're going to as a passing chord, which tends to work well both harmonically and melodically
Wow so much information! This is going to take a while to unpack these gems 💎
Go for it!
I've been learning guitar for 2 years now. I know you are well regarded as an incredible jazz guitar instructor around the RUclips sphere. It's always nice to come back to learn from. Last time I saw your video, I was so clueless. But things are starting to make sense now. Anyways, I'm back and still not quite at the level I want to be to understand your lessons. I feel like watching your videos is like boarding a rocket ship. I'm still riding a canoe. Anyways, thanks for all you do. Take fantastic care of yourself.
I used to have questions about the latter two diminished chords but you answered them perfectly. my teacher would always say use the diminished scale over diminished chords but I noticed in some scenarios they resolve differently (like you mentioned). thanks for clarifying this
The diminished realm (👽) is such an interesting and confusing place and you really explain it in a unique and empirical way. Great video once again! ✨
Glad you think so!
Obrigado pela aula. Estou aprendendo bastante.
Excellent video Jens - these ways of thinking about diminished chords as extensions of other chords and as the intermediary sounds from moving voices is very helpful. The discussion also kind of shows how we can become victims of the limitations of our own systems of language and semantics when we try to define and name the things that happen in the middle of a transition - whether it be in music, mathematics, or a chemical reaction.
Thanks Gregory! :)
Again a very interesting and inspiring lesson Jens, thanks a lot for these !
Glad you enjoyed it!
Great video! Giving a lot of insights on diminished chords and their functionality in contemporary chord progressions!
Glad it was useful 🙂
Great Jens! The dim chord is my favorite nerd device and I am always interested in the way other players think and organise their use.
Great to hear!
One of the most valuable lessons!!!
Thank you, Jan!
I'm not sure what you are explaining but you explained it superbly.
Haha! Thank you! (I think... 😂)
Great lesson Jens. Nice to hear the theory behind the "diminished chord chromatic passing tone trick" as I used to call it.
Ippooiuyy98ayfel3e liii
Thanks
Thank you very much! I really appreciate the support!
The subdominant diminished is an epiphany for me. I always understood the dominant diminished and was confused when those two variations of the subdominant diminished popped up. Thank you for the insight.
Glad it was useful :)
Super lesson ! :)
Thanks Jens... good explantion.
Glad it was helpful!
This is how I see it:
F#dim7 C/G is a substitution for D7b9 Gsus (classical musicians would call this one a cadential 6 4 chord).
This way, F#dim7 can be treated as a secondary dominant.
For this chord I would use the 5th mode of G harmonic minor, but G harmonic major would work as well of course.
Ebdim7 (going to Dm7) is for me actually more a D#dim7, especially when it comes right after Em7. In that case it would be a substitute for B7b9, a secondary dominant that doesn’t resolve, but goes to the IIm7 instead.
An example for this would be the beginning of Stella by Starlight: Em7b5 A7 Cm7 (in the key od Bb: IIm7b5/III V7/III IIm7).
So, being a substitute for the V7/III, which in the key of C is B7b9, I would play the 5th mode of E harmonic minor over it.
This is how I deal with it. I know there are other ways, but those are definitely the ones that work best for me.
Aprender que nem tudo é acorde é essencial para entender a harmonia das musicas. Prelúdio 4, op 28, do Chopin é um exemplo clássico disso.
Raríssimo comentário em português :o
O Jens é o cara, eu simplesmente AMO ESTE HOMEM 😭😭
that is cool Jens! thx
Nice Video! I use the harmonic minor mode over a #IVdim, when the diatonic subdominant would be IVmaj7 and the harmonic major mode in a blues, where the subdominant is IV7.
solid choices 🙂
I can't wait to try this!
Hey Jens,do you think you can make more videos on the works on Jim Hall? I think his style is great for people getting into jazz and would love to hear you approach towards that.
I already made 3 or 4, and the interest is not really there so, I most likely won't frame it as being about him if I do. It is pretty frustrating to spend several days on a video that most of my audience don't want to watch. I hope you understand :)
These are the ones I already made: ruclips.net/video/813JEzwrLqY/видео.html
The F# dim move one note and you get the F7 possible substitution
Good stuff Jens 👌👍🎶🎶🎸
To me, not a very good one since the whole point is to have the F# 🙂
I like to think of the F#° as an inversion of Eb°, so it appears as the dominant for the Em7 (wich is a I chord, as the Cmaj7 or Am7) and thus the E minor harmonic scale does makes sense once again.
How do you then relate that to when it resolves down to another subdominant? since that is more common.
@@JensLarsen You mean Em, Eb°, Dm ecc.? If I don't go wrong, You said in a earlier vid (as here): "Dont' use synthesis scales; use instead E harmonic minor" which is different but it works 🙂
@@antsonc I meant, how do you explain that, it is not a dominant for Em then. The scale is not everything 🙂
@@JensLarsen Sincerely, I still don't know how to explain, but You told is like a subdominant to another subdominant, right?
@@antsonc yes. No worries, I was just curious
0:40 G diminished scale or transpose the minor seven Fm7 up to Gm7 and move everything accordingly? But wouldn't I need to resolve it to FM7, in which case I would need to think about it much more to transpose it, unless perhaps it is a burrowed chord? I might need to find a transition chord. Sometimes, single note lines work better. I'm curious about how many different ways I could get back to Gm. The thing is, that part of the song is classical.
I was playing around with dim 7 voicings on Summertime yesterday, and realised that playing Dm7-D#°-E7 alt was using the #4 diminished in A minor. I figured it out after understanding that it wasn't functioning as a dominant. I would never have got it if I hadn't seen your videos on minor and diminished subdominants.
Actually it could be analysed as a secondary dominant B7, come to think of it. Whatever, it sounds good.
That is a dominant, not a #IV since it resolves to E not to Dm or Am
Great video, thanks.
Glad you liked it!
Excellent as always, thank you Jens.
Jens "Is the last chord a diminished chord?"
Freud "Sometimes, a cigar is just a cigar.” 😁
😁 But what does that mean in this context?
So the chord at the end is actually a cigar 😵
@@JensLarsen I mean, sometimes a diminished chord is still just a diminished chord; who knows what Freud meant. 😉
@@binface9 🙂
I am particularly interested in this topic lately. Fascinating, versatile chord and sound. This helps a lot. You didn’t mention using a major seventh as a tension on the diminished chord. I’ve been getting into that sound lately. Is that something you like to use?
Usually the maj7th is an extension on the inversion of a #IV and it is in fact the not I talk about 😁 check I Remember You or You do Something To Me.
@@JensLarsen Thanks!
The F to F# diminished is Ab 7 acting as a German 6th moving to a cadential 6/4 starting on G
No, because there is no Ab
@@JensLarsen True- but I'm thinking NOT as a true German6th but "acting" or should I say, functioning as a Subdominant to the cadential 6/4 (tritone of D7) with no Ab root...
@@dr.brianjudedelimaphd743 Ok, but why explain it with something that doesn't really fit the notes and is somewhat complicated compared to the simple voice-leading that is already there?
To me, it seems like you are only making it more complicated, plus that your analysis won't work for other examples where the tonic chord does not have the 5th in the bass like I remember You or You Do Something to me.
Of course, if you should do what works for you, but I don't think I am going to agree with you 🙂
Great as always. Question. How do you approach the diminished on the first degree. Usually resolving to the first degree major. For example G diminished to G major. Would that be. Subdominant? Like a IV-I cadens?
Hi Tony! 🙂 To me that is just a #IVdim inversion, so I treat it as C#dim/G Resolving to G. That is also what you see reharmonized as a minor II V from the #IV very often, think "I Remember You" or "You Do Something To Me". Most of the time the 7th of the scale is in the melody. I suspect the composers were trying not to have a super obvious dominant chord there, but, that is of course a guess.
Does that help?
Hi Jens!
Thanks for another great video. Just to clarify, the subdominant diminished chord can resolve to either another subdominant chord or a dominant chord? That F sharp diminished seems to be resolving to a C in second inversion which is acting like a V chord?
If you look at songs then it often does not resolve to something that is a suspension of the V chord, so in those cases I it doesn't sound like a secondary dominant for the V. Think rhythm changes, 12 bar blues, I remember you etc
One of my favorite quotations from Barry Harris is "I don't play chords; I play movements."
Exactly :)
There's a lot of information in this video. Do you publish your notes or, at least, the musical examples you use? If so, could you post a link to them?
Thanks,
Kevin
Check the link to the article on my website. It is already in the video description :)
@@JensLarsen Found it. Many thanks.
Usually I use Diminished chords derived from the b6 of a Major Scale, the b9 of a dominant, or the Major 7 of a minor chord. Is the Major 7 resolution to a Major Chord derived from the "backdoor dominant" thought of as a b9?
No, it isn't.
hey great video..the f#dim7 at 3:33 …the 7 is diminished as well correct? thanks!
Yes, correct
Nec plus ultra in music education. A Great Dane on 2 legs.
In your first exemple..what scale you can play on the C#dim ? Thank you
2:22
The "mysterious dim chord" is functioning as a b3 diminished. Approaching C6 from a half step above is the same as approaching Am7 from a half step above and the first chord, Cmaj7(9) is the same as G6 so we essentially have G6, Bbdim to Am7. That is b3 dim. The voice leading is a bonus but it works without it. (Call me a contrarian, but I also don't believe in major 6, I only believe in minor 7, ha ha just kidding)
You are listening with your eyes 👀 😁
Hi Jens. Thanks for yet another greatly informative video lesson.
I have been puzzled for a long time as to how to view/play over the chord progression D/F# Gdim Am7 ( The first 3 chords in the song "Wave")
What would you suggest?
I know it as Dmaj7 Bbdim Am7, but essentially it is the same thing. Probably go with D major, D harmonic minor and G major.
@@JensLarsen Thanks Jens. I will certainly try that out.
Am I right in thinking that this use of a dim chord falls into yet another category? If so I wonder how you figure out the best scale choice.
( I don't want to take up more of your time if the explanation is long and complicated.)
@@conalh6173 it is not a different category, it is a dominant diminished in D major, the key of the song.
You could make it complicated by seeing it as a Pivot chord used as a part of a modulation to G major. A Pivot chord has a function in both keys, and this one is dominant in D major and subdominant in G major.
But calling it dominant diminished is the easiest 😁
Does that help?
It does help although initially it added to my confusion which in turn compelled me to watch your video again.
I(mistakenly) was thinking in terms of the dim chord acting as a secondary dominant. In this case it doesn't as E7 is the dom. of Am and Bbdim is not a substitute for E7.
Early in the video you mention how b dim. is the dominant dim. in the key of C. How do you then decide what scale to play over it?
Sorry for being a pest and dwelling on this but it has been causing me confusion for so long.
No need to reply Jens. I think I've got it now. You work it out the same way as you did for the #4 dim.. Thank you for all your help.
Hungarian minor: C D Eb F# G A B. For #4 diminished.
That is also G harmonic major, as I mention in the video, right?
Does that mean that the Dm7 - C#/Dbdim 7 - Cm7 - F7 changes in "Someday My Prince Will Come" are essentially: D harmonic minor then going to the ii-V in Bb? If so, then what is the function of the Edim7 in the last 6 bars? I usually know what to do when I see a diminshed chord in a progression but sometimes they can throw me.
No, because the song is in Bb major, so the Dm7 chord is also played with Bb major. In fact, there is no Dm7 in D harmonic minor 🙂
@@JensLarsen I get that and yes, there is no Dm7 in harmonic minor. But I’m still not clear on what function the Dm7-Dbdim7 is supposed to be.
@@christopherjones1649 Dm7 is the III chord , that is tonic and, as I say in the video, Dbdim is subdominant
@@JensLarsen great thanks.
Thanks for the amazing lesson, in the Cmaj7 C7 Fmaj7 F#dim Cmaj7 progression, can F#7b9 be used in place of C7 to get a chromatic bass line?
Yes, but C7/E probably is a strong bassline
@@JensLarsen thanks a lot, that sounds really nice 🙂
If you spell it with a D# instead of Eb, the subdominant diminished could actually be on the raised second degree in the major scale. That way one could better understand the voice leading logic when it is being resolved to the tonic in major: f# to g, d# to e. It is more of a voice leading chord to my mind than it is functional, although intensifies the subdominant a little further, so yes, still subdominant. Interestingly though, in minor it would not work like that with that spelling, the #2 would go to b3?? So here I would think #4 6 1 3d spelling. Splitting hairs here, sorry, I'm classically trained, and harmony is kind of a paasion to me. I enjoyed the video though, as always. Cheers
Yes, you can spell it like that as well, but you then sacrifice the voice-leading when it resolves to the subdominant, both are common.
I also don't think there are a lot of examples of #IV dim chords in minor?
Nice u made this one for me 😂
Yeah I did 😁 (among others)
@@JensLarsen your the best 👌 Lars Jenson
I just currently started playing jazz, I have a strat and tele, should I get a hallow body for jazz? Any suggestions under 1000
Epiphone joe pass, and have it set up by the best luthier you know. I bought minę and it was Total shit, when my luthier set it ut it became my favourite guitar. It retails for 600bucks new i think
You don't need to have a hollowbody or semi-hollow. The strat or the tele can do pretty well: ruclips.net/video/-XXTNv5W3GE/видео.html
It's so tempting for guitarists to look for solutions by buying more guitars / amps / pedals / whatever. I can't quite blame you for thinking that - because that's what a lot of people do. In the end it just means you'll still be in the same place but with more gear. I was taught - the guitar is a hunk of wood with strings on it. That's all it is. No one else cares about that - but you (I've been guilty of that too). The Music / Guitar Playing comes from within you. Learn what the notes are, how they work together and apply them to guitar. - ANY old guitar. That's what Jens teaches. That's what I still learn. I wish I had a dollar for every guitar (owner) I've met or taught who went out and bought another guitar, amp - whatever because they weren't happy with their playing. The answers are within us. That is the hardest thing for me to convince other guitar players to practice. The peer pressure / BS regarding guitars and Music is strong - and it doesn't make anyone play any better. Hope this helps ? I wish you good luck and Karma. It will save you a lot of money. People even like my playing on a kid's fifty dollar 3/4 size nylon string folk guitar. ☯🤘
Plenty of jazzers play Tele's too. Mike Stern and Bill Frisell for instance.
Isn't sharp 4 diminished usually called tonic diminished?
No, since tonic is a function and the diminished is clearly not tonic 🙂
In the last section "the mysterious diminished chord", the first sections dim chord is graphed and notated different from each other, and both are different from what you play in the example. It's supposed to be diminished like you play, yeah? It's the only anomaly I noticed; hopefully not pedantic.
JUst a typo, don't worry about :)
Nice of him to play in C. Guit. always make you play in E. I hate that.
These chords wear cardigans and are played on Sundays in hot forgotten backwaters, in rooms dominated by brash furnature and loud embarassing tablecloths.
I don't think I have ever had a loud tablecloth in the audience, but I am not 100% sure 😁
Yes, one has to search in strange places for good music.
I'm thinking someone that uses these chords would be able to spell furniture. ; )
@@jitsroller ahhh the 'ol: [The entire premise of your assertion is void because it contained a spelling mistake] maneuver. Very cunning indeed.
🙏❤️🎼🎶🎵🎸✌️🍀👌🇮🇱
I've decided to rely on a few other guitar teachers on RUclips and discontinue visiting this one. There's no question that Larsen knows a ton of music theory. But his obsession with "jump" cuts ruins the content of his vids, for me, anyhow. I visit 3 other guitar teachers who NEVER use jump cuts and the vids are much better, easier to watch and absorb. Nothing against Larsen. His format's just not conducive to my learning. Not my cup of tea.
Great Don! You do what works for you, then I'll do what works for me.
It's what I call head music you need to use your brain 🧠 to understand and be able to play it and not just anyone can do that 🤣...
Aye, all your videos, are kinda the same man, when will you do something else, I don't know, bungee jumping, or how to make a video