This video was very informative and I love the overlap of writing on the board, talking through the theory and adding the chord sounds where needed. It flows smoothly and was very easy to follow. One of your best videos yet!
@Marys Line1969 that's such a bizarre thing. I wouldn't be able to tell you for so many reasons.. First I don't have perfect pitch. 2nd that's a specific and terrible song. I can say it's repetitive and sounds like it's just one chord center... It's a minor.. Pick a chord in minor up and down till you find one.. Arpegiate that chord and it's ending will likely be on your B or E string. Painful song.
It's used in "Still got the blues" and "Parisienne Walkways" by Gary Moore. After that chord goes an E7 to finish with Am (in Still got the blues) and A (in Parisienne Walkways).
You are an excellent teacher! Your enthusiasm and love for the subject matter is infectious. Clearly explaining and demonstrating the concepts makes it a complete package.
Another use for the diminished that I like is using it as a chromatic approach chord. Basically, you take the chord you want to get to, and you play a dimished chord either one half step above or below that chord. Ie, instead of playing A Bm, you could try A Bb dim Bm, or A Cdim Bm.
Some nice stuff here. Although substituting Bm7b5 for Dm in the Am-F-Dm-E7 progression is just a kind of exotic parallel minor chord to the relative major chord (B) of the original Dm, it wasn't until I watched your video that i realised that the substitution also creates a ii-V7-i cadence. Very nice. Thanks for this.
These really help a bass player now where they can go with the bottom end. Love these videos. Makes me want to play along with the bass. Having lots of fun... Have a fantastic day..!!
Well explained. A hint for would-be guitar chord soloists and ambitious rhythm players: Someone with deep understanding (skilled ears) can slide a 4 note form of this chord (on 4 middle strings) up and down as substitutes for nearly ANY chord. For instance, It's also a minor 6th (A-C-Eb-G, an A half diminished, is also C-Eb-G-A, a minor 6h). Fun to mess with.
Ok so i guess m7(b5) is about adding the 13th tension, meaning that the current mode in the music should have the tension in the first place. Natural modes only have two of such modes: aeolian and dorian, which produces Am and Dm in the key of A minor. These can be used to produce interesting taste, and smooth out the bass line.
The half diminished chord is the two chord of a 2-5-1 in the minor. It is seldom used diatonically in the major. It was used most often up to the fifties in the American popular songs and was abandoned mostly in modern pop music and Rock. In the American Songbook a repertoire now referred to as Jazz standards you'll see the minor 2-5-1 sequence everywhere
Ive started recording and writing over quarentine, ive been playing my whole life... I love all your music theory videos they have propelled my playing and writing so much
Thanks for this video! It's really helpful I am unemployed and have really no money for lessons. I am trying to learn guitar as a means of a creative outlet. If I could afford your class I would do it in a heartbeat! It sounds like what I am looking for! Kudos for providing such substantive and well-thought content!! Thank you!
Thank you for making these videos! I'm teaching myself music theory and chords on the piano at the moment, and these videos give me some real practical things to try with what I'm learning. The fact that it's for guitar is interesting as well, as it forces me to use different inversions to get the effects you demonstrate. You have a great voice, too.
I like your videos a lot. Lots of good practical ideas. At 2:53 you say the Aminor scale has the same notes and chords as Cmajor scale. You then write out an E7 chord, which clearly is not a chord in the scale of Cmajor as it has a Gsharp note. Think you need to explain this. And which minor scale you're referring to, and maybe why Amin7 would be the incorrect 4 note chord for Aminor in this scale. Cheers.
3:15 This chord progression is used in the Beatles' "You Never Give Me Your Money" under the line "And in the middle of the Celebration, you break down"
Lovely sound. Great video as always. By the way, I am from South America and here (also in Central and Caribbean America) we use this chord quite often.
Another cool use of m7b5 is changing the ii chord (or the relative iv if you're in minor) to a m7b5 instead of just a regular m7. So in C, you can change Dm7 to Dm7b5. It gives it kind of a minor plagal feel. What's more, is you can even expand it by treating the root note as a major third and therefore create a "dominant" so to speak. So your Dm7b5 becomes Bb9. Here's a turnaround I created based on this idea Original cadence: Dm9 - Dm9 - G9 - G9 - Cmaj9 Turnaround: Dm9 - Bb9 - G7b9 - Db7b9 - Cmaj9 It's a very colorful turnaround using very little movement leaving the bass to put it all in context.
@@Kyubiwan Yeah that's basically a backdoor II-V-I. AbM7 here is a sub chord substituting for Fm9. You could even go down to a Db lydian chord there, but that might be pushing it too far
No me había dado cuenta jaja, tuve que ver de vuelta el video. El sentido de la armonía que tenía Spinetta era de otro mundo (aparte de durazno, un ejemplo notable es el de Ruido de magia)
Wow.....excellence....a beautiful learning experience....really subtle musical moves.....which add a bit of pansche to your song writting skills.. .....especially if your just starting out and your trying to get a grip of trying to understand music theory and how its applied....
I think this chord is more common with piano players than guitar. When I first started writing music, I was on piano and knew nothing about chord progressions or even what chords were proper. I just hit the keys that sounded right to my ears and I had a nasty habit of staying on the white keys. Trying to relearn some of those old songs now on guitar and I'm seeing the Bdim chord quite a bit.
Half diminished works in so many ways: as the #4 in a major key, any minor third substitute of a dominant chord, as a b7 of an altered dominant, as a 2 chord in major resolving down a whole step, as a natural 6 sub of a tonic minor sound, dominant 9 in first inversion, and there are countless voice leading situations where you can end up with a -7b5.
I once wrote a piece where one section was a repeating Edim to Gdim, with a written solo in the E diminished scale. The other guitarist in our band freaked out.
Very forgotten indeed. I was reading a sheet about 4 weeks ago and I admit it.... I had to verify the half-diminished symbol. It had been that long. Thank you.
A total Eureka moment!! Thank you! I mentioned this on your variant video, but in case you don't get the notification and because its relevant to both videos: Could you make one that works through ALL the intervals of a major and minor key and that uses interval formula to understand how each interval's chords can be thought of as 2 things for example G11 could played as F/G. There must be a relationship between certain variants of chord intervals in a key being able to be named also as another chord (so just to explain, something like in your half diminished video: that in a minor key the iv/"ii note" is the same as the vii half dim, or in a major key the 5th variants could be replaced by the viio which could also be thought of as the iii/"vii note") ..I hope this makes sense but I haven't found any videos to explain this clearly and show any formula that is always the same for the various chords in any key. I don't even know the term for what I'm describing! I also think I'm getting confused with this idea and using chords to voice lead. Perhaps one video could lead to another?? Thanks from one Tom to another!
I was wondering if you could give your take on progressive rock chord progressions if you haven't already, especially triad voicings that mimic piano lines.
I would like a tutorial on arpeggios and how to get them to fit with a melody. I am not talking about metal arpeggios but acoustic open chord guitar arpeggios such as what Izzy Stradlin plays in "Don't Cry" by Guns N Roses and especially his fast arpeggio in "Think about You" Piano players will often leave out the third note in arpeggios. For example they might play Root Fifth Octave of a chord instead of Root Third Fifth. Also how do you get your arpeggio to fit rhythmically with your melody especially on faster arpeggios. For me simply playing Root Third Fifth and down again in a chord arpeggio isn't working. I need to know more about Note choice and the rhythms used to fit the arpeggio in the song. Hope this makes sense.
Best description ever! You got the dark corner of the diatonic chord series and owned it! LOL Easier way: A dim. chord can be a minor chord with the root dropped a diminished interval (minor 3rd)
You’re a dude and I’m learning a lot from you. The format of your videos is excellent and fun! Thank you. I have one question that I would be interested to know your perspective about. What ways do you like playing diminished chords, and what voicings do you choose for various contexts? When is is good to omit the 7th from a diminished chord and why would you use a fully diminished 7th chord?
well I can tell you that in classical music or choral music you would use a diminished chord for a cadence (before the V7-I). So in C major you may want to go somethign like F diminished 7th G7 C. Note that there are no diminished 7th chords in a key. I think you can use diminished 7th chords if you are classically composing to build tension, but if you are composing rock/pop maybe you can just use your intuition to tell you when to use them. also if you omit the 7th from a diminished 7th chord you get a diminished triad ( a minor chord with a flat 5). interestingly, the voicing of the chord will determine which diminished 7th chord it is, as all of the notes in a diminished 7th chord have the same diminished 7th chord as one another. thats a bad explanation but Its hard to put into words !
@@MusicTheoryForGuitar you are correct in the video. But the first graphic shows diatonic triads, and you play the last chord as a m7b5 chord. I was just clarifying to viewers that in the major diatonic the last chord is diminished.
Some musicologists say that "half diminished" is a misnomer and that the chord is more like a "two thirds diminished", and if you look at the intervals you can see why. Half diminished is a lot easier to say than two thirds diminished or minor 7 flat 5, though.
I think the dim chord is used more like a passing chord to put between two chords one step apart for a chromatic chord transition: (Cmaj7-C#dim-Dm-D#dim-Em). Not as a standalone chord so much. The ø chord is more of a standalone chord as it is a chord in both major (viiø)and minor (iiø) scales.
If you are going to use Triadic chords, don't all of a sudden at B half diminished. chord. What you should have said was B diminished chord which is B,D,F. Again, if you are working with triads don't confuse people. Triads in the Key of C are, C,Dm,Em, F, G, Am, B diminished. If you deal with 7th chords then , and only then is it C Maj7, Dm7,Em7, F Maj7, G7, Am7, B half diminished 7
I don't think you should have the title and description auto-translated, those results often contain crucial mistakes that can totally distort the meaning and lead to confusion.
@@vitorbalbino5394 Well, it can work but often it doesn't, I'd say it's still too much of a risk to use these automated things without being able to check the outcome. Actually there's a little mistake here, 'key' is translated to a key, as on a keyboard, that's a different word in German and it can also mean button, so it could make for slight confusion. That's not too bad ...but I've seen worse.
![CRAZY Dominant Chords A La Jacob Collier [Music Theory]](http://i.ytimg.com/vi/sSesMppKaNg/mqdefault.jpg)
![Most Aspiring Songwriters Don't Know How To Use This Chord [But They Should]](/img/1.gif)
sweet, m7b5 is xminor7 with descending bass note, tommaso you are so refreshing to hear the way you simplify things!!!!!
Great sounding progressions. There is also the minor 251, eg. Bm7b5, E7, Am.
This is the most common usage of the half-diminished I've seen, so it's good to highlight this in particular.
This video was very informative and I love the overlap of writing on the board, talking through the theory and adding the chord sounds where needed. It flows smoothly and was very easy to follow. One of your best videos yet!
I totally agree!!
Absolutely - great didactics 👍🏻
David: *plays half diminished chord*
Lord: “This pleases me”
Nah. I was playing a Cadd9 then went to Gsus2 with an Em. Gsus come again?
David Murray Holland D aug ... 🐶
@@bassman9261995 Gsus.. Jesus. D augmented? Idgi. Joke or serious? Wait I think I got it. derp me. 😊
@Marys Line1969 that's such a bizarre thing. I wouldn't be able to tell you for so many reasons.. First I don't have perfect pitch. 2nd that's a specific and terrible song. I can say it's repetitive and sounds like it's just one chord center... It's a minor.. Pick a chord in minor up and down till you find one.. Arpegiate that chord and it's ending will likely be on your B or E string. Painful song.
David: Considers IV, V, something minor, maybe something major after that.
It's used in "Still got the blues" and "Parisienne Walkways" by Gary Moore. After that chord goes an E7 to finish with Am (in Still got the blues) and A (in Parisienne Walkways).
Your teaching style is relaxed, enjoyable and musically inspiring! Count me in!
You are an excellent teacher! Your enthusiasm and love for the subject matter is infectious. Clearly explaining and demonstrating the concepts makes it a complete package.
Another use for the diminished that I like is using it as a chromatic approach chord. Basically, you take the chord you want to get to, and you play a dimished chord either one half step above or below that chord. Ie, instead of playing A Bm, you could try A Bb dim Bm, or A Cdim Bm.
Some nice stuff here. Although substituting Bm7b5 for Dm in the Am-F-Dm-E7 progression is just a kind of exotic parallel minor chord to the relative major chord (B) of the original Dm, it wasn't until I watched your video that i realised that the substitution also creates a ii-V7-i cadence. Very nice. Thanks for this.
@@Kyubiwan aka, a circle progression.
These really help a bass player now where they can go with the bottom end. Love these videos. Makes me want to play along with the bass. Having lots of fun... Have a fantastic day..!!
Well explained. A hint for would-be guitar chord soloists and ambitious rhythm players: Someone with deep understanding (skilled ears) can slide a 4 note form of this chord (on 4 middle strings) up and down as substitutes for nearly ANY chord. For instance, It's also a minor 6th (A-C-Eb-G, an A half diminished, is also C-Eb-G-A, a minor 6h). Fun to mess with.
Ok so i guess m7(b5) is about adding the 13th tension, meaning that the current mode in the music should have the tension in the first place.
Natural modes only have two of such modes: aeolian and dorian, which produces Am and Dm in the key of A minor.
These can be used to produce interesting taste, and smooth out the bass line.
The half diminished chord is the two chord of a 2-5-1 in the minor. It is seldom used diatonically in the major. It was used most often up to the fifties in the American popular songs and was abandoned mostly in modern pop music and Rock. In the American Songbook a repertoire now referred to as Jazz standards you'll see the minor 2-5-1 sequence everywhere
Thank you very much for the work you do!
I’ve been playing all much of today.
Wow, this is great! I just discovered your channel, and I've seen around five videos so far. Every one of them has been gold!
I'm in love with your channel. Haven't been able to play guitar in a while and this is definitely helping me to not freak out
Your pedagogical technique is impeccable!!!!
Ive started recording and writing over quarentine, ive been playing my whole life... I love all your music theory videos they have propelled my playing and writing so much
Thanks for this video! It's really helpful
I am unemployed and have really no money for lessons.
I am trying to learn guitar as a means of a creative outlet.
If I could afford your class I would do it in a heartbeat! It sounds like what I am looking for!
Kudos for providing such substantive and well-thought content!! Thank you!
Thank you for making these videos! I'm teaching myself music theory and chords on the piano at the moment, and these videos give me some real practical things to try with what I'm learning. The fact that it's for guitar is interesting as well, as it forces me to use different inversions to get the effects you demonstrate.
You have a great voice, too.
I like your videos a lot. Lots of good practical ideas. At 2:53 you say the Aminor scale has the same notes and chords as Cmajor scale. You then write out an E7 chord, which clearly is not a chord in the scale of Cmajor as it has a Gsharp note. Think you need to explain this. And which minor scale you're referring to, and maybe why Amin7 would be the incorrect 4 note chord for Aminor in this scale. Cheers.
The most beautiful and practically useful music and guitar lessons are on this channel!! Thank you :)
Thanks For Your Guitar Theories.
3:15 This chord progression is used in the Beatles' "You Never Give Me Your Money" under the line "And in the middle of the Celebration, you break down"
Good ear
1:56 Happiness Is A Warm Gun
Lovely sound. Great video as always. By the way, I am from South America and here (also in Central and Caribbean America) we use this chord quite often.
Another cool use of m7b5 is changing the ii chord (or the relative iv if you're in minor) to a m7b5 instead of just a regular m7. So in C, you can change Dm7 to Dm7b5. It gives it kind of a minor plagal feel. What's more, is you can even expand it by treating the root note as a major third and therefore create a "dominant" so to speak. So your Dm7b5 becomes Bb9. Here's a turnaround I created based on this idea
Original cadence:
Dm9 - Dm9 - G9 - G9 - Cmaj9
Turnaround:
Dm9 - Bb9 - G7b9 - Db7b9 - Cmaj9
It's a very colorful turnaround using very little movement leaving the bass to put it all in context.
@@Kyubiwan Yeah that's basically a backdoor II-V-I. AbM7 here is a sub chord substituting for Fm9. You could even go down to a Db lydian chord there, but that might be pushing it too far
5:12 that is the chord progression of "Durazno sangrando" an argentinian song by Luis Alberto Spinetta. Great video!!
Durazino ans not Durazno
Love that durazno! And of course the song.
@@appolinaireyapo1190 ?
No me había dado cuenta jaja, tuve que ver de vuelta el video. El sentido de la armonía que tenía Spinetta era de otro mundo (aparte de durazno, un ejemplo notable es el de Ruido de magia)
@@brum-lt2zt
Sí. estoy de acuerdo contigo
Wow.....excellence....a beautiful learning experience....really subtle musical moves.....which add a bit of pansche to your song writting skills.. .....especially if your just starting out and your trying to get a grip of trying to understand music theory and how its applied....
Awesome - as a rock and folk player that stupid m7/b5 chord has irritated me for years. Now I understand thanks. The penny has dropped finally!
I use dim and half dim chords a lot to the point I dont find them nor a bit strange, i actually try to put a dim (/half dim) chord everywhere I can
Very Cool - just last weekend i wrote a song where the progression of the verse uses B-7b5 to Em !!!
Great video!!!
I watched another video on this subject and actually went away knowing less!!
I love how you explain all this in a really simple way! Thanks
I think this chord is more common with piano players than guitar. When I first started writing music, I was on piano and knew nothing about chord progressions or even what chords were proper. I just hit the keys that sounded right to my ears and I had a nasty habit of staying on the white keys. Trying to relearn some of those old songs now on guitar and I'm seeing the Bdim chord quite a bit.
Beatnick: the same thing happened to me, stayed on all white keys and found that bdim chord haha
Those are some great substitution possibilities that inspire me to try experimenting.
Remarkable class! So useful, thanks so much.
Half diminished works in so many ways: as the #4 in a major key, any minor third substitute of a dominant chord, as a b7 of an altered dominant, as a 2 chord in major resolving down a whole step, as a natural 6 sub of a tonic minor sound, dominant 9 in first inversion, and there are countless voice leading situations where you can end up with a -7b5.
Super explanations! I play piano, not guitar but these videos are hugely helpful.
1:12 I absolutely love how you say these notes in _chord speak:_ GBD, as if it's all one word. Not: G, B, D.
That just made my day, lols. ^-^
Aylbdr Madison its the only time he actually pronounces the B as a B
I once wrote a piece where one section was a repeating Edim to Gdim, with a written solo in the E diminished scale. The other guitarist in our band freaked out.
Very forgotten indeed. I was reading a sheet about 4 weeks ago and I admit it.... I had to verify the half-diminished symbol. It had been that long. Thank you.
@@Kyubiwan would you please recommend a song to check out? I'm completely void of the genre, thank you 👍
오렌지캬라멜 - 아잉♡
(Orange Caramel - A-ing♡)
This exactly what I needed! Thank you!
A total Eureka moment!! Thank you!
I mentioned this on your variant video, but in case you don't get the notification and because its relevant to both videos:
Could you make one that works through ALL the intervals of a major and minor key and that uses interval formula to understand how each interval's chords can be thought of as 2 things for example G11 could played as F/G.
There must be a relationship between certain variants of chord intervals in a key being able to be named also as another chord (so just to explain, something like in your half diminished video: that in a minor key the iv/"ii note" is the same as the vii half dim, or in a major key the 5th variants could be replaced by the viio which could also be thought of as the iii/"vii note")
..I hope this makes sense but I haven't found any videos to explain this clearly and show any formula that is always the same for the various chords in any key. I don't even know the term for what I'm describing! I also think I'm getting confused with this idea and using chords to voice lead. Perhaps one video could lead to another??
Thanks from one Tom to another!
Good thing I’ve always been using it. Thanks for the video 🤟🏻
I was wondering if you could give your take on progressive rock chord progressions if you haven't already, especially triad voicings that mimic piano lines.
I would like a tutorial on arpeggios and how to get them to fit with a melody. I am not talking about metal arpeggios but acoustic open chord guitar arpeggios such as what Izzy Stradlin plays in "Don't Cry" by Guns N Roses and especially his fast arpeggio in "Think about You" Piano players will often leave out the third note in arpeggios. For example they might play Root Fifth Octave of a chord instead of Root Third Fifth. Also how do you get your arpeggio to fit rhythmically with your melody especially on faster arpeggios. For me simply playing Root Third Fifth and down again in a chord arpeggio isn't working. I need to know more about Note choice and the rhythms used to fit the arpeggio in the song. Hope this makes sense.
Love these lessons! Would love a funk guitar theory lesson if there is such a thing.
This was a beautiful lesson.. God bless.. Enjoooyyyy..
That was great wot you just did!
Thank you for the simple clarity and practical examples.
This was great...thanks for sharing Tommaso...
Best description ever! You got the dark corner of the diatonic chord series and owned it! LOL
Easier way: A dim. chord can be a minor chord with the root dropped a diminished interval (minor 3rd)
I'm really enjoying and learning a lot from your video's.
How can E7 or E major chord exist in a progression in the key of A Aeolian (A minor)
Can someone explain coz it’s a mystery and confusing to me
Sure: ruclips.net/video/J_YEAifF9rc/видео.html
You’re a dude and I’m learning a lot from you. The format of your videos is excellent and fun! Thank you. I have one question that I would be interested to know your perspective about. What ways do you like playing diminished chords, and what voicings do you choose for various contexts? When is is good to omit the 7th from a diminished chord and why would you use a fully diminished 7th chord?
well I can tell you that in classical music or choral music you would use a diminished chord for a cadence (before the V7-I). So in C major you may want to go somethign like F diminished 7th G7 C. Note that there are no diminished 7th chords in a key. I think you can use diminished 7th chords if you are classically composing to build tension, but if you are composing rock/pop maybe you can just use your intuition to tell you when to use them.
also if you omit the 7th from a diminished 7th chord you get a diminished triad ( a minor chord with a flat 5). interestingly, the voicing of the chord will determine which diminished 7th chord it is, as all of the notes in a diminished 7th chord have the same diminished 7th chord as one another. thats a bad explanation but Its hard to put into words !
B-D-F is a diminished chord (triad) not half diminished. B-D-F-A is half diminished or m7b5 and B-D-F-Ab is a diminished 7th chord.
That is correct. Sanity check: am I saying something different in the video?
@@MusicTheoryForGuitar you are correct in the video. But the first graphic shows diatonic triads, and you play the last chord as a m7b5 chord. I was just clarifying to viewers that in the major diatonic the last chord is diminished.
Some musicologists say that "half diminished" is a misnomer and that the chord is more like a "two thirds diminished", and if you look at the intervals you can see why. Half diminished is a lot easier to say than two thirds diminished or minor 7 flat 5, though.
@Guitar Lessons with Lefty You're mixing up 7th chords with triads. Bdim is B - D - F, Bdim7 is B - D - F - Ab and Bm7b5 is B - D - F - A.
@Guitar Lessons with Lefty is it to late for me to go to Berkley?🤓
Great video! That are some sweet progressions :)
COUNTERPOINT LESSSONS PLEASE....PLEASE ...PLEASE..PLEASE
I love your videos and your teaching style!
C,Am,Em = tonics
F,Dm = subdominants
G7,Bo = dominants
Just have the guitarist to play Dm and the bassist to play a low B. That way, it'll do fine.
Great video. I use half-diminished chords a lot. They're hidden in plain sight, and are incredibly useful chords.
Following the iim7b5 with a G7(b13) sounds *spicy*
How have I never seen this channel?!?!
Excellent material....Best
Thank you so much for these videos
Always great stuff! Thank you!
Beautiful!
It is used in Gospel music frequently. 7 3 6. The 7 is a half Diminished Chord.
Great explanation and examples thank you
Freaking cool! Thanks you!
from 5.13 - 5.23 is the same chord prog. as "baby, im gona leave you" by led zep.
Also "durazno sangrando" by Invisible
Bm7,5b=G9(without fund. and=Dm6 .
What's confusing here is that you've completely glossed over the Bdim triad and moved right on into half dim.
I think the dim chord is used more like a passing chord to put between two chords one step apart for a chromatic chord transition: (Cmaj7-C#dim-Dm-D#dim-Em). Not as a standalone chord so much. The ø chord is more of a standalone chord as it is a chord in both major (viiø)and minor (iiø) scales.
If you are going to use Triadic chords, don't all of a sudden at B half diminished. chord. What you should have said was B diminished chord which is B,D,F. Again, if you are working with triads don't confuse people. Triads in the Key of C are, C,Dm,Em, F, G, Am, B diminished. If you deal with 7th chords then , and only then is it C Maj7, Dm7,Em7, F Maj7, G7, Am7, B half diminished 7
I guess it's because dim triads sound way too awkward so the OP just moved right into the half dim.
Excellent!
Thank you for this!
I didnt forget that chord i like it
Yesss! This is the freakin' best!
I've recently written a song on guitar: I think I've used a half diminished chord....I like it.....
Thanks for the video!
I don't think you should have the title and description auto-translated, those results often contain crucial mistakes that can totally distort the meaning and lead to confusion.
In portuguese worked! Where you from?
@@vitorbalbino5394
Well, it can work but often it doesn't, I'd say it's still too much of a risk to use these automated things without being able to check the outcome.
Actually there's a little mistake here, 'key' is translated to a key, as on a keyboard, that's a different word in German and it can also mean button, so it could make for slight confusion.
That's not too bad ...but I've seen worse.
É um acorde comum na Bossa Nova 😉🇧🇷🇧🇷🇧🇷
Grazie from Brasil, teacher!
Am/F is in a song from Verdena - Balanite.
But they are playing with halfstep down, so
G#m/E, or?
That's the same as Ema7
VEEEEEEEERY GOOOOOOOOD..........THANK YOU
great video
I have what may seem like a dumb question. A sharp and a flat are both half steps, right? So why is it always F sharp and never G flat?
Wow. Nice. Very useful.
The bass line also determines the success of the progression too
Can we get your cords course in book form? Lenny
What about the diminished triad?
Dim triads are not as common as the m7b5.
Nice
That was pretty cool
Thought this was going to be pure clickbait, but its true. We often pretend the Bm7b5 doesn't really exist
Check out Bob Dylan’s “Trying to get to Heaven” for the Am/f# used really well.
In wich musical style forgotten?
best on youtube
REALLY QUITE GOOD!
Hi how long is the course and how much
Maybe stupid question but, what are the numbers on the lines? I have no idea, and also don't know how to search on that.
It's guitar tablature. The lines are stings. The numbers indicate the number of the fret on that string.