@@nunya8624 I don't, but I must admit, the guy with the crazy hair really enjoys pretending there are no alternative possibilities, just has to be aliens, no other possibilities, obviously. He has the right hair for his line of work.
For those of you wondering, yes, I’m working on the Mixolydian video! I think the wait will be worth it - In the meantime, big thank you to the folks at KLOS guitars for hooking me up with this unique and nearly indestructible acoustic guitar. I told them I don’t do ads in my videos and they sent it to me anyway :) Check out the link in the description if you’re interested!
Jake.....we r in gratitude for all your lessons in theory.. ur Metallica scale opened up the Pandora's box... Still waiting for an entire chord progression in metal.... using say...E minor..... plz break it up what would u use for verse...bridge... chorus...verse
Hey Jake nice guitaro, it fits the mood of diminished chords and that music lesson was deep. Also I appreciate the sheet note, you rock man \m/ I know you're into prog rock and probably follow this guy and still wanted to share: th-cam.com/video/Wy0kxwK3N0o/w-d-xo.html
That's all well and cool Jake, but when is the 'how to make 80s synthpop' video coming lol? "Come Back Home" is an absolute masterpiece and im sure everyone would like to see how it came about. Anyway, love your work. Thank you so much for everything that you do, you've inspired to me to learn the guitar (even though I'm a complete beginner) keep up the good work!!
@@SignalsMusicStudio can you make a video on how to get that Polyphia/Manuel Gardner Fernendes/Ichika Nito type sound. Specially Ichika and Manuel. Love that. Almost sounds like a piano.
The vii° isn't as rare as you think. A lot of J-pop and K-pop songs use vii° as essentially as a ii° of vi, as in vii°-V/vi-vi. Another case is the circle of fifths progression, which goes IV-vii°-iii-vi-ii-V-I, my personal favorite progression of all time.
Yes the vii is the vanilla 2 chord in a minor 251. But for non minor resolution I think it's fair to call it a 5 chord or a 2 chord with 6th in the base
Diminished chords are awesome in passing. In the bridge of my current song, I'm in the key of B-flat. At one point, I go: B-flat, B°, C. It's a pretty neat transition. The first two chords in that 3-chord series play for just a quarter of a beat each in a 4/4 time signature. In instances like this, the diminished chord is amazing. :)
Yes! These kinds of patterns are what the video missed. Though in your example it's not a vii if your root note is Bb, I've seen these patterns as bVII vii° I too.
One big counterexample I’d like to mention is when vii° is functioning more like the ii° of the minor ii°-V-i for the relative minor (so in C you have: B°-E-Am). Sounds nitpicky but it’s a change I’m pretty fond of and it shows up fairly often (“Fly Me To The Moon” being a well-known song that uses it), and in a lot of cases (like FMTTM), I just think of it as “vii°” since the “modulation” to the relative minor is so quick (the III7 is the only actual “outside” chord and is there for less than a measure). At the very least, the B° is definitely not interchangeable with G7 in this case, since the chords are functionally completely different in this context.
This is exactly what I’ve been looking for. I love dissonance and this time around playing and writing being able to identify that was a big deal. But utilizing it in a “functional manor” is also an eye opener. THANK YOU!
Im just gonna say. "Theory of Harmony" Arnold Schoenberg. He got the very right answer. You got to think that the symmetry of diminished chords make us think like they belong to a 4 different tonalities. So they are the globetrotter of the chords.
@@bhutang who, Arnold? I like the symmetry of diminished chords which lends them - like augmented chords - an ambiguity which give an opportunity for key change, modal interchange and excursion into more risky harmonic territory. To me the diminished chords are the fun ones.
@@liberateyourslack kinda. He resolved to Cm. Could be D#, F# or G. Personally I don't believe in functional harmony nor modal Harmony. I prefer the Chromatic Scale and think of all posibilities from an atonal point of view
Joe Pass said it well I think. He really only thinks in 3 chords. Maj, Minor and Dominant. Diminished and augmented chords are just altered dominants. Always stuck with me and have applied it since! Great video.
@Shockheadd45 True but Sus chords can also just be thought of as a major chord with a #11 or a minor chord with the 4th in the bass. Or if it's a dominant 7sus chord the same dominant material will work over it too. Sus chords are often easier in theory because you can use a mix of minor, major and dominant material. Harder in practice though!
You have given me so much more insight on how to work with chords in this way. I knew of the idea that the vii chord is the same set of notes as V, but to consider them one and the same is making me really excited to go noodle around with the idea on my piano. Your videos never cease to motivate my music-making and I really can't thank you enough for helping me understand how the music I love works and how I can make my own music through a theoretical lens. I can't remember which video you talked about how there is controversy on whether learning theory stunts creativity, but I agree with you entirely when you said that with theory it opens up your mind to the possibilities within music that may be hard to conceptualize without some method of representation. Your videos help me physicalize the concepts that frankly I was having a harder time understanding in collegiate music theory courses. So again, thank you, and keep up the wonderful work! Stay safe!
One really interesting thing you can do with diminished chords is modulation, since its symmetrical you can go from a b diminished 7 to a C maj or you can also go to any chord a semitone above any of the notes in the chord
Really miss your videos. Would love to watch one called "Beyond". Beyond the 4 chord progression. What comes next? What chords would sound good in the second line, etc... Subscribed in hopes of more videos. Much appreciation.
The V/viiº is out of the key as the natural root is a diminished 5th, so the perfect 5th needs to be borrowed. (F dominant does not resolve to B for example, you need F#). But what you CAN do instead is simply move from IV-viiº as part of a diatonic sequence, rather than think of it as “V of viiº”…in fact running around the circle of 5ths that way is common and beautiful. (Example C-C7-F-Bº-E7-Am-Dm-G7, repeat… if you start that sequence on the F it has that never ending quality)
Among Pop/Rock songs, "Eddie Walker" by Ben Folds Five uses various diminished chords rather effectively. They stand on their own, not as passing chords or leading tones.
Bm3/7 (which is just Bm7b5 without the b5) works super well for writing in locrian (it actually resolves well) and for making the vii° actually useful in the other modes while staying in the key
I definitely understand what you're saying, but couldn't you apply this exact same logic to any chord in major? Like if you wanted to you could even describe the I chord as an incomplete vim7, or the V as an incomplete iiim7. I'm not saying you should, but you could? idk, I think describing the viidim chord as an incomplete voicing of the V7 can definitely help people contextualize it a little better but idk, I think there's beauty to it in its own right that we lose if its fully subsumed by the V. That's just my perspective though.
This is a great question. My answer is that the major and minor triads are stable enough to live on their own, and it's silly to always associate them with one another when they're clearly different things. The vii though isn't stable and "wants" to be heard as the V7. I totally agree there's beauty in viiº7 or even viim7b5 but the triad on its own? I can't make an argument to save it lol. It's just a perspective I'm sharing though, by no means is this an authoritative statement that you can't use viiº
You're not wrong if you look at it purely in description. A 7 chord is two types of triads smashed together sure. But the more important aspect, I think, is how it sounds in context. The sound context of a major one chord just doesn't lend to the idea of an incomplete iiim7 or a rootless vim7, whereas, more often than not the viiø sounds nearly identical to the V7. So, you're not wrong technically speaking, but I don't see how it actually works functionally.
@@SignalsMusicStudio I'm trying to think of counter examples but you definitely have a very strong point. I quite like the sound of a diminished triad but I can't deny that its uses are much more specific and limited then major or minor or even a sus chord. Maybe if the viidim set up the iii a little better that'd be a point in my favour, but it really doesn't, at least not in a way that doesn't sound jarring (which is a totally valid sound to go for but not necessarily what people want in a dominant chain). Idk, in this particular case I'm willing to deal with a little bit of suboptimal design for the sake of tradition. While I'm not usually a music traditionalist, I think in this case its pretty harmless. But I totally get why you wouldn't.
I think that's a bit different, because you need to remember that there are three main triads that are the I, IV and V. You wouldn't want to think the C major chord as a rootless Am7 chord in the key of C major, because the C major chord has a very important function in that key. Bdim on the other hand can be seen as a "substitute" for the G7 chord (you can't really find a use for the vii chord that isn't similar to V7, unless you are using it as the ii chord of the relative minor, but then it is no longer the vii chord), and actually the chords are so similar that you may not even hear a difference between them in a musical context. You could see Em as an incomplete Cmaj7, though. And often, the chord is used in that way - it often functions as some kind of a "tonic prolongation". But even then, I would say the Em chord is more of an independent chord with its own unique identity than the vii chord. Well, there is one use for the vii diminished where it isn't simply a rootless V7, and that's in diatonic circle of fifths sequences (I IV vii iii vi ii V I). But other than that, it really doesn't have its own "identity". In classical it is usually used in first inversion (you really don't see the diminished triad in any other inversion very often, probably because in the position and second inversion it sounds pretty dissonant against the bass note, but in first inversion, the intervals against the bass note are actually consonances - you have a third and a sixth over the bass), and it's common as a passing chord between root position and first inversion I chord. So, if you have a bassline that ascends by steps, for example C D E in the key of C major, it's pretty common to harmonize it with C Bdim/D C/E. But you could just use G7/D instead and the sound wouldn't really change at all. The diminished triad is used as the ii chord in minor keys, though, and I would say that's where it has a bit more unique quality. Bdim/D E7 Am sounds pretty similar to Dm E7 Am, but there is still a noticeable difference between those progressions. But again, you will pretty much never see the chord in root position - it's basically always in first inversion. Only when you add the 7th, does the root position become useful.
If you follow a full circle progression: I-IV-vii dim-iii-vi-ii-V-I you will see a basic vii dim followed by a iii chord which in that context is tonic functioning. And is how it is described as functioning outside of fully dim 7th form. To prepare and resolve the tritone dissonance. Love the videos Jake. Keep them coming!
I agree with most of this. My only problem is with half diminished. I've never heard a half diminished chord resolving down as a dominant chord. It usually functions as the ii of a minor key, that is: ii7b5 - v7b9 - imin7. I know this video focused on major key, but I feel it deserves that distinction as the voice leading is so strong.
I definitely agree that vii dim7 is totally it's own thing and I have seen it used in a lot of ways, even just using it as a dominant instead of passing, I still see all these things done with it, some more often in minor, but the chord as a whole I see equally often in major and minor. i -> vii dim7 -> i - I only really see this diminished tonic vamp in minor V7 -> vii dim7 -> i or I - This I see equally often in major and minor as a dominant extension vii dim7 -> V7 -> i or I - Maybe a bit more common in major, but I see it in both, and I have done it by simply dropping the chordal seventh a half step vii dim7/V -> V7 -> i or I - Equally often in major and minor vii dim7/V -> vii dim7 -> i or I - A bit more often in minor, but I see it quite often in major as well And note, that's just when the dim7 chord is in a dominant function. A passing dim7 is totally different and is also equally common in major and minor. Half diminished on the other hand? The only time I've ever seen it used in minor is during a modulation to major in which case it's better viewed in the context of the major scale, even if minor precedes it.
10:28 It's horrifying, it's really ugly, not good. I'll flat out say that is not a good sound. Felt that way my whole life, but never said it out loud. You brave soul lol
The problem I think with this interpretation of the 7 chord is the bass. If the bass plays a g it turns into a G7 chord. If it plays a B it reinforced the diminished feel, still resolving to 1 but in that awful diminished sounding way. So you have to choose another note in the chord, which would distract from the dominant function unless it’s an F which results in the chord more likely feeling like a Lydian triad that happens to have a 6 instead of a 3
Major chord: happy Minor chord: sad Diminished chord: ugly Sounds functional enough. Sometimes you want to communicate ugliness with a song. Can you imagine if someone told you "you look the way a diminished chord sounds"? Savage.
The reason there are no rules or traditions for what to do with the viiº is because the people who came up with the rules and traditions considered it an upper extension of the V7
Modern Pop Music musician : Let's write a song Diminished Chord : *exist Modern Pop Music musician : we don't do that here Metal musician : interesting
Yeah, but then it's no longer the vii chord - it is the ii chord. But you do also see vii triads in classical - it's a common passing chord between the root position and first inversion I chords. For example C Bdim/D C/E or C/E Bdim/D C are pretty common progressions. And it's always in first inversion.
@@songfulmusicofsongs its a basic 4-5-1 progression. it appears in all western music but in jazz, the D minor is given a B in the bass to make it the 5 chord in the key of the next chord. thinking about the iiø chord as a iv/2 is helpful sometimes
@@SignalsMusicStudio Your voice is WAY better than the original guy. I really DO hope you do voice work, as you've definitely got the pipes. :) 🤙 ..if I knew an agent.... but I don't.
The viiº is used like crazy in bach’s music … meaning the triad version that you can’t seem to find practical use of. Perhaps the viiº7 and m7b5 as GUITAR shapes are more practical and that’s why you don’t notice them?
i legit said out loud "OOOOOOOOOOOOOOOOOOHHHHHHHHH I see" at the 7:00 this is so eye opening now I understand so many things I processed unconsciously this is amazing thank you !
Hello! I was wondering what you think of the Royal Road, a super common progression in Japanese music. It’s IVmaj7 - V7 - iiimin7 - vimin7 I’d love to know ways to play with this progression and spice it up since a lot of people say it’s really flexible, but I can’t seem to find any tutorials on how to work with it. Thank you!
Once again, a Signals video that takes something that’s supposedly complicated and explains it in simple, easy-to-understand terms. I’d never thought of the vii chord as a V7 with no root, but it makes perfect sense. Well done!
Nice. I have always known the 7th degree to be most useful for walking down: 1, 5/7, 6. Which is the inverse of the 7/5 you mentioned at the top. So I've always roughly equated it with the five, too, if subconsciously.
I was listening to the new Muse song that came out last week ('Won't Stand Down') and was figuring out that chromatically rising chord progression in the chorus, and ended up here. Matt Bellamy is just filling in the non-diatonic gaps to create a chromatically-ascending sequence. In Bm it goes: G-G#dim7-A-A#dim7-Bm. I will be stealing this trick of just using dim7 chords to fill in the 'holes' between diatonic chords! Check it out, its very Muse!
IMO you should never consider a fully diminshed 7th at the 7 position of major and a half diminished diatonic 7th interchangeable. They come from different eras and serve different functions. I agree with you that a naked triad in the 7th position is ambiguous because it's literally an inverted V7 chord. The secret lies in the 7th of the vii chord, making it half diminished. You will quickly find a lot of uses and familiar applications if you begin to treat the vii chord and its 7th (Bm7b5 in C major) the same way you treat any other chord. Invert it, and extend it with tensions. You mentioned the half dim. on the 7th is the same as a V9 chord. The problem is, the theory for the vii chord was developed before "9 chords" were a thing. You can also spell the vii half diminshed as a ii minor 6, but again, minor 6 wasn't a thing back then. Play this progression and you'll hear the vii chord used in its classical context. You could call it "G9/F," and you could call it "Dm6/F," But those are paths of greater resistance and functionally misleading. The vii chord here is simply a vii7-64 inversion, just like every other chord. You can hear a V chord in the same progression, and you'll hear they have very different sounds and different functions. play them all quarter notes, left-right=bass-treble: C E G C E - B F G D - C G C E - G E G C - **F D A B** - E C G C - F D A D - G F G B - C E G C That progression would be C, G7/B, C, C/G, Bm7-5/F, C/E, Dm/F, G7, C. This has an inverted 2 chord, a V7 chord, and a SECOND inversion vii7 chord. That instance of the F D A B is Bm7-5/F. Again, you could call it a "Dm6/F" or a "G9/Fomitroot" but I'm sure you'll agree those are both paths of greater resistance and those kinds of chords/theory did not exist. Think of the diminised 7th in a baroque chorale context and they will make more sense to you. I'm not trying to single you out. This is a widespread stereotype, and in my opinion there is widespread misunderstanding about the vii chord and how it was used in classical harmony.
The diatonic diminished isn't really useful, but passing diminished chords are. Like Co7 to C, for example. (Even though I guess you could think of it as B7b9 going to C, or V resolving to bVI)
Yo, Jake! This is really valuable! There's a song from the Shantae 1/2 Genie Hero soundtrack, Counterfeit Mermaids, that uses (sparingly) diminished chords (like m7b5) in passing and they sound great, but they also stand out as a result, create feelings of despair. I'd have to listen closer, but I'm sure the composer - also called Jake (Kaufman) - uses them diatonically (but can't remember if he borrowed them from other keys... Pretty sure if was diatonic!)
Every time I tried to learn some functional harmony I just felt like every time the seventh chord was just omitted, as if everyone was chanting "we don't talk about the seventh chord, we don't talk about the seventh chord, we don't talk about [redacted], we don't..." In unison.
Lol I used to love the history channel USED TO. Then they moved from history to the pawn shop conspiracy channel. Kids these days didn't get to grow up with a REAL history channel.
you can use the half diminished (B D F A) chord rather than the bA, for a fuller sound, take out the F altogether (no longer diminished but still a vii), put it in first inversion. Also, using the vii/ chord establishes key which can be used to neat effect. Try C - Cdim - Emin/B. It acts like a I vii/iii iii second inversion, sounds great! But also, let's say you want to use a mode other than Major or Minor, but want to establish key without using a Major chord to do it. say you're in Dorian: and you've got i IV v and don't want to turn the v to a V (or use VII). Sharp the VII (seventh and second of the scale) for the chord and you've got viiDim
Almost 18K views in less than 24 Hrs 😳 You deserve all $ and notoriety you get Jake. Im working on a concept album in the House music genre. Needed to freshen up on my music theory knowledge. None of the information products out there geared toward us DJs or keyboardists can even compare to your style of teaching.
I actually kind of figured this out early on while compensating for inexperience. Not wanting to play certain harder V7 chords, I worked out that playing a V, and then popping into a diminished vii, would effectively combine to make a V7 overall in effect for the progression… like one might arpeggiate certain other chords just to make them sound nicer. And then it dawned on me that the V7 was basically just a V and a diminished vii swirled together… You start to notice these relationships between a lot of chords, and a lot of ambiguities with them. For example, if I choose to alter an F6 to a vamp between an F major and a D minor, have I actually changed the chord, or am I just in a sense arpeggiating it with several smaller triads?When you hear a frequent shift between F and Dm in a song, could you sometimes interpret that as an F6 or Dm7? I do find that very often, the chord progression itself will tend to go on as if it was.
1.) I disagree that dim 7 is an ugly sound. 2.) A i°7 chord is derived diatonically from the altered dominant bb7 mode. This is an awesome chord to use before resolving to a I major or minor, especially if the melody is in the sixth. So for example, you could be in a loop of 3625s and before you're ready do resolve you throw a i diminished 7 in the before 1 major 7.
I use it in some of my progressions, alas it is quite hard. I make indie music but I like the elements of jazz and some non-jazz artists with unusual chord progressions, particularly Elliott Smith, Nick Drake, Amy Winehouse and even some Rex Orange County and new Tyler, The Creator material (basically neo-soul stuff too). Here’s something I’ve been messing around with- Am7-Bdim7-Cmaj7-Cmaj7-Bm7-Fmaj7-Dm7 chromatic slide to Cm7-Cm7 Gbmaj7 (non-diatonic but it can work)-then back to either Am7 or Cmaj7 to round it off.
Interesting. I'm new to guitar and i can't play half diminished properly. So i used to play triads. Like BDF. And i too noticed that it has the same notes as G7. But i think this only works when the voicing of the chords are close enough.
I have a chord series that goes: vi, ii, V, I vi, ii, V, I vii°, IV, V, I I tried substituting the vii° with V7, but I think it is better the way it is, since the melody is playing the vii note and also has a lifting feeling while still incomplete. I don't think vii necessarily has to go to the tonic all the time either. vii° is like V7 only less stable, less jazzy, and more ominous. Cycling from i to vii° over and over again has a vampire church feel. It is nice.
i don't even remember the last time i actually sat through a full 60 second intro like that. that was pretty incredible. really hyped me up for whatever the hell this video is gonna be about
To me, I always view diminished chords as seperate entities (both full and half) from scales. Idk why, but to me I've always just used them as passing chords, so I've developed this idea that knowing them in the context of the scale their in doesn't really matter unless you're in a minor scale or one of its varients, because functionality is different in said mode(s)
ukulele players often play a dim7 whilst simply calling it a diminished. I’m guilty of that. but!… plain old diminished chords can often just sound like ass on the uke, and we don’t have the strings needed to just throw an “x” note in as the bass. plus, of course, the dim7 repeats every three frets, making it awfully handy to throw in when you’re trying to sound all fancy and jazzy. I’m guilty of *that* too.
I'm not that familiar with this kind of thinking - so is a D# diminished in E major a vii° chord? If yes I did use one on its own in one of my pieces and it worked pretty well to give a 'spicy' feeling I thought. I have trouble seeing why it would not be as much of a chord as the six others - it makes it feel lonely. xDD
If you wanted to have real tension from a chord to a tonic, using only triads made from the scale, you would have to have a viidim. Maybe its the opposite, V7 is a viidim disguised with a strong root (the Vth note is prevalent in the tonic as an overtone). In my very humble opinion, adding the 7th to the V, making a 4 note chord is a way to make the resolution to I stronger but not overwhelming. I play fado de coimbra where the viidim js used quite often and cannot be replaced by a V7.
Lots of ways to use diminished chords. In jazz, they’re indispensable. Even in simple music, you can use diminished triads as upper structure substitutes for secondary dominants. Furthermore, when you do that, you can play a half diminished OR fully diminished seventh chord instead. Also, in the context of a minor ii-V-I, it’s the very chord you want.
Suggestions for more series’ 1. Complete Riffing With Modes Series: Heavy Mixolydian Irish Rock || Jazzy Minor || Disconnected Locrian 2. Harmonic Minor Modal Songwriting Series 3. Do more Q + A ‘ s 4. Jazz for Beginners 5. Beginner Guitar Course 6. Double Harmonic Major Modal Songwriting series 7: Guitar Tips & Tricks series
That hilarious parody intro got a thumbs-up from me, before you even got into the theory lesson! Jake, you have such a wonderful way of describing the quality of harmony. I love the way you presented this, and your graphics are perfection!
I haven't finished the intro and I already hit the like harden than a drunken daddy after being fired and having one-to-many angry juices. DAMN those intros are getting better
Holy shit. That intro alone was worth clicking on this video. That was so funny that I'm making a second account to give you another like as soon as I finish watching.
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![[Full Episode] The Restaurant War Thailand ศึกพ่อค้าซ่าแม่ค้าแซ่บ Episode 2 | 29 ก.ย. 67](http://i.ytimg.com/vi/r3lfLNH6Ke4/mqdefault.jpg)
By far this was your best intro
Prove me wrong
my video on harmonized diminished sevenths is my favorite
+Signals Music Studio Link? Because this was hard to beat!
5 7 9 11 [5 7 2 4]
7 9 11 [7 2 4]
????
I love the intro (and thumbnail) on the Picardy third a lot.
That intro alone makes this video a 10/10
I love ancient aliens, this intro was great.
@@nunya8624 I don't, but I must admit, the guy with the crazy hair really enjoys pretending there are no alternative possibilities, just has to be aliens, no other possibilities, obviously. He has the right hair for his line of work.
"I'm not anti-diminished," some of my best friends are diminished.
I'm pretty diminished - I'm only 5 foot 6. 😁
@@tonybates7870 This deserved more likes
1 day into quarantine: blues lesson go brrrr
1 month into quarantine: do diminished chords really exist? 🤔🤔🤔🤔🤔
Ahahaha
Wondering what he'll come up with for 2 month quarantine video.
NOOOO YOU CANT JUST IGNORE THE DIMINISHED SEVEN CHIRDERINOOO
HAHAHAHA.... TOO MUCH.
Too funny
The vii° chord is just the V7 chord without the root note!
Haha tritone go breeee
For those of you wondering, yes, I’m working on the Mixolydian video! I think the wait will be worth it - In the meantime, big thank you to the folks at KLOS guitars for hooking me up with this unique and nearly indestructible acoustic guitar. I told them I don’t do ads in my videos and they sent it to me anyway :) Check out the link in the description if you’re interested!
Sick guitar!
on the edge of my seat! this is great cuz I just started working on a mix rock song. You rock!
I thought it might be your death metal acoustic guitar.
Jake.....we r in gratitude for all your lessons in theory.. ur Metallica scale opened up the Pandora's box... Still waiting for an entire chord progression in metal.... using say...E minor..... plz break it up what would u use for verse...bridge... chorus...verse
Hey Jake nice guitaro, it fits the mood of diminished chords and that music lesson was deep.
Also I appreciate the sheet note, you rock man \m/
I know you're into prog rock and probably follow this guy and still wanted to share:
th-cam.com/video/Wy0kxwK3N0o/w-d-xo.html
HEY !!! Everyone...lets all become Patrons and give him some well deserved compensation. He's worked so hard for us, lets give back.
That's all well and cool Jake, but when is the 'how to make 80s synthpop' video coming lol? "Come Back Home" is an absolute masterpiece and im sure everyone would like to see how it came about. Anyway, love your work. Thank you so much for everything that you do, you've inspired to me to learn the guitar (even though I'm a complete beginner) keep up the good work!!
lol glad there's fans of that song! The mixolydian video will be very 80s, so prepare your torn denim
@@SignalsMusicStudio can you make a video on how to get that Polyphia/Manuel Gardner Fernendes/Ichika Nito type sound.
Specially Ichika and Manuel. Love that. Almost sounds like a piano.
@@SignalsMusicStudio already wearing make-up!!!!
The vii° isn't as rare as you think. A lot of J-pop and K-pop songs use vii° as essentially as a ii° of vi, as in vii°-V/vi-vi. Another case is the circle of fifths progression, which goes IV-vii°-iii-vi-ii-V-I, my personal favorite progression of all time.
Yes the vii is the vanilla 2 chord in a minor 251. But for non minor resolution I think it's fair to call it a 5 chord or a 2 chord with 6th in the base
Diminished chords are awesome in passing. In the bridge of my current song, I'm in the key of B-flat. At one point, I go: B-flat, B°, C. It's a pretty neat transition. The first two chords in that 3-chord series play for just a quarter of a beat each in a 4/4 time signature. In instances like this, the diminished chord is amazing. :)
Yes! These kinds of patterns are what the video missed. Though in your example it's not a vii if your root note is Bb, I've seen these patterns as bVII vii° I too.
That's because B° is a rootless G7 chord, which is the V of C.
@@pieceustogether yeah, Bdim is just vii°/II in Bb
Writing a song entirely consisting of dim7 chords and screaming is my favorite activity
Love it
Dillinger Escape Plan has entered the chat
I gotta say, you‘re a bit mean to vii°
What if this chord teams up with locrian and attacks you one day
One big counterexample I’d like to mention is when vii° is functioning more like the ii° of the minor ii°-V-i for the relative minor (so in C you have: B°-E-Am). Sounds nitpicky but it’s a change I’m pretty fond of and it shows up fairly often (“Fly Me To The Moon” being a well-known song that uses it), and in a lot of cases (like FMTTM), I just think of it as “vii°” since the “modulation” to the relative minor is so quick (the III7 is the only actual “outside” chord and is there for less than a measure). At the very least, the B° is definitely not interchangeable with G7 in this case, since the chords are functionally completely different in this context.
This is exactly what I’ve been looking for. I love dissonance and this time around playing and writing being able to identify that was a big deal. But utilizing it in a “functional manor” is also an eye opener. THANK YOU!
Jake when asked about major: (Obi-Wan Kenobi Voice) *Six chords, our our speciality.*
the 7 chord tonicizes the iii chord for Phrygian
Im just gonna say.
"Theory of Harmony"
Arnold Schoenberg.
He got the very right answer.
You got to think that the symmetry of diminished chords make us think like they belong to a 4 different tonalities.
So they are the globetrotter of the chords.
He has a video on how the diminished 7th chord can lead you to 8 tonalities
@@bhutang who, Arnold? I like the symmetry of diminished chords which lends them - like augmented chords - an ambiguity which give an opportunity for key change, modal interchange and excursion into more risky harmonic territory. To me the diminished chords are the fun ones.
You mean like at 8:15?
@@liberateyourslack kinda. He resolved to Cm.
Could be D#, F# or G.
Personally I don't believe in functional harmony nor modal Harmony. I prefer the Chromatic Scale and think of all posibilities from an atonal point of view
Sinatra was a crooner. He did a version of Dancing in the Dark with 3 DIM chords.
Joe Pass said it well I think. He really only thinks in 3 chords. Maj, Minor and Dominant. Diminished and augmented chords are just altered dominants. Always stuck with me and have applied it since! Great video.
Yeah that really makes sense to think of. Major, minor, dominant, and some color tones.
Agree, You also have to know inversions tho.
@Shockheadd45 True but Sus chords can also just be thought of as a major chord with a #11 or a minor chord with the 4th in the bass. Or if it's a dominant 7sus chord the same dominant material will work over it too. Sus chords are often easier in theory because you can use a mix of minor, major and dominant material. Harder in practice though!
There are no tonic minor chords in a major key. So in a major key I think major or dominant and a minor key I think minor or altered dominant
I love how the production quality keeps improving
I like diminished 7ths but demented 8ths are what really rock.
Can you do an ‘Augmented reality’ video too! Seriously, great content!
You have given me so much more insight on how to work with chords in this way. I knew of the idea that the vii chord is the same set of notes as V, but to consider them one and the same is making me really excited to go noodle around with the idea on my piano. Your videos never cease to motivate my music-making and I really can't thank you enough for helping me understand how the music I love works and how I can make my own music through a theoretical lens. I can't remember which video you talked about how there is controversy on whether learning theory stunts creativity, but I agree with you entirely when you said that with theory it opens up your mind to the possibilities within music that may be hard to conceptualize without some method of representation. Your videos help me physicalize the concepts that frankly I was having a harder time understanding in collegiate music theory courses. So again, thank you, and keep up the wonderful work! Stay safe!
Insta-like. The intro is absolute genius :'D.
One really interesting thing you can do with diminished chords is modulation, since its symmetrical you can go from a b diminished 7 to a C maj or you can also go to any chord a semitone above any of the notes in the chord
Really miss your videos. Would love to watch one called "Beyond". Beyond the 4 chord progression. What comes next? What chords would sound good in the second line, etc... Subscribed in hopes of more videos. Much appreciation.
if their functions are interchangeable, can we use a V of vii transition to the vii instead of a V of V to the vii?
The V/viiº is out of the key as the natural root is a diminished 5th, so the perfect 5th needs to be borrowed. (F dominant does not resolve to B for example, you need F#). But what you CAN do instead is simply move from IV-viiº as part of a diatonic sequence, rather than think of it as “V of viiº”…in fact running around the circle of 5ths that way is common and beautiful. (Example C-C7-F-Bº-E7-Am-Dm-G7, repeat… if you start that sequence on the F it has that never ending quality)
Among Pop/Rock songs, "Eddie Walker" by Ben Folds Five uses various diminished chords rather effectively. They stand on their own, not as passing chords or leading tones.
Bm3/7 (which is just Bm7b5 without the b5) works super well for writing in locrian (it actually resolves well) and for making the vii° actually useful in the other modes while staying in the key
I definitely understand what you're saying, but couldn't you apply this exact same logic to any chord in major? Like if you wanted to you could even describe the I chord as an incomplete vim7, or the V as an incomplete iiim7. I'm not saying you should, but you could? idk, I think describing the viidim chord as an incomplete voicing of the V7 can definitely help people contextualize it a little better but idk, I think there's beauty to it in its own right that we lose if its fully subsumed by the V. That's just my perspective though.
Couldn't have said it any better, wanna see what Jake thinks about this!
This is a great question. My answer is that the major and minor triads are stable enough to live on their own, and it's silly to always associate them with one another when they're clearly different things. The vii though isn't stable and "wants" to be heard as the V7. I totally agree there's beauty in viiº7 or even viim7b5 but the triad on its own? I can't make an argument to save it lol. It's just a perspective I'm sharing though, by no means is this an authoritative statement that you can't use viiº
You're not wrong if you look at it purely in description. A 7 chord is two types of triads smashed together sure. But the more important aspect, I think, is how it sounds in context. The sound context of a major one chord just doesn't lend to the idea of an incomplete iiim7 or a rootless vim7, whereas, more often than not the viiø sounds nearly identical to the V7.
So, you're not wrong technically speaking, but I don't see how it actually works functionally.
@@SignalsMusicStudio I'm trying to think of counter examples but you definitely have a very strong point. I quite like the sound of a diminished triad but I can't deny that its uses are much more specific and limited then major or minor or even a sus chord. Maybe if the viidim set up the iii a little better that'd be a point in my favour, but it really doesn't, at least not in a way that doesn't sound jarring (which is a totally valid sound to go for but not necessarily what people want in a dominant chain).
Idk, in this particular case I'm willing to deal with a little bit of suboptimal design for the sake of tradition. While I'm not usually a music traditionalist, I think in this case its pretty harmless. But I totally get why you wouldn't.
I think that's a bit different, because you need to remember that there are three main triads that are the I, IV and V. You wouldn't want to think the C major chord as a rootless Am7 chord in the key of C major, because the C major chord has a very important function in that key. Bdim on the other hand can be seen as a "substitute" for the G7 chord (you can't really find a use for the vii chord that isn't similar to V7, unless you are using it as the ii chord of the relative minor, but then it is no longer the vii chord), and actually the chords are so similar that you may not even hear a difference between them in a musical context.
You could see Em as an incomplete Cmaj7, though. And often, the chord is used in that way - it often functions as some kind of a "tonic prolongation". But even then, I would say the Em chord is more of an independent chord with its own unique identity than the vii chord. Well, there is one use for the vii diminished where it isn't simply a rootless V7, and that's in diatonic circle of fifths sequences (I IV vii iii vi ii V I). But other than that, it really doesn't have its own "identity".
In classical it is usually used in first inversion (you really don't see the diminished triad in any other inversion very often, probably because in the position and second inversion it sounds pretty dissonant against the bass note, but in first inversion, the intervals against the bass note are actually consonances - you have a third and a sixth over the bass), and it's common as a passing chord between root position and first inversion I chord. So, if you have a bassline that ascends by steps, for example C D E in the key of C major, it's pretty common to harmonize it with C Bdim/D C/E. But you could just use G7/D instead and the sound wouldn't really change at all.
The diminished triad is used as the ii chord in minor keys, though, and I would say that's where it has a bit more unique quality. Bdim/D E7 Am sounds pretty similar to Dm E7 Am, but there is still a noticeable difference between those progressions. But again, you will pretty much never see the chord in root position - it's basically always in first inversion. Only when you add the 7th, does the root position become useful.
What the heck? You took a science video explaining the existence of the Planet 9? Best intro yet.
If you follow a full circle progression: I-IV-vii dim-iii-vi-ii-V-I you will see a basic vii dim followed by a iii chord which in that context is tonic functioning. And is how it is described as functioning outside of fully dim 7th form. To prepare and resolve the tritone dissonance. Love the videos Jake. Keep them coming!
고백 by 4men uses this progression.
I agree with most of this. My only problem is with half diminished. I've never heard a half diminished chord resolving down as a dominant chord. It usually functions as the ii of a minor key, that is: ii7b5 - v7b9 - imin7. I know this video focused on major key, but I feel it deserves that distinction as the voice leading is so strong.
I definitely agree that vii dim7 is totally it's own thing and I have seen it used in a lot of ways, even just using it as a dominant instead of passing, I still see all these things done with it, some more often in minor, but the chord as a whole I see equally often in major and minor.
i -> vii dim7 -> i - I only really see this diminished tonic vamp in minor
V7 -> vii dim7 -> i or I - This I see equally often in major and minor as a dominant extension
vii dim7 -> V7 -> i or I - Maybe a bit more common in major, but I see it in both, and I have done it by simply dropping the chordal seventh a half step
vii dim7/V -> V7 -> i or I - Equally often in major and minor
vii dim7/V -> vii dim7 -> i or I - A bit more often in minor, but I see it quite often in major as well
And note, that's just when the dim7 chord is in a dominant function. A passing dim7 is totally different and is also equally common in major and minor.
Half diminished on the other hand? The only time I've ever seen it used in minor is during a modulation to major in which case it's better viewed in the context of the major scale, even if minor precedes it.
That intro was gold, Jake :D great lesson as always, of course!
10:28 It's horrifying, it's really ugly, not good. I'll flat out say that is not a good sound.
Felt that way my whole life, but never said it out loud. You brave soul lol
vii°7 - I (Bdim7 - C) just sounds awesome
The problem I think with this interpretation of the 7 chord is the bass. If the bass plays a g it turns into a G7 chord. If it plays a B it reinforced the diminished feel, still resolving to 1 but in that awful diminished sounding way. So you have to choose another note in the chord, which would distract from the dominant function unless it’s an F which results in the chord more likely feeling like a Lydian triad that happens to have a 6 instead of a 3
How does this work in say going from the vii chord to the iii and substitute the minor iii for a major III???
Major chord: happy
Minor chord: sad
Diminished chord: ugly
Sounds functional enough. Sometimes you want to communicate ugliness with a song.
Can you imagine if someone told you "you look the way a diminished chord sounds"? Savage.
Augmented chord: let's not even go there...
The reason there are no rules or traditions for what to do with the viiº is because the people who came up with the rules and traditions considered it an upper extension of the V7
The prop head with the headphones and glasses reminds me of Adam Neely
couldn't agree more!
Modern Pop Music musician : Let's write a song
Diminished Chord : *exist
Modern Pop Music musician : we don't do that here
Metal musician : interesting
Neoclassical metal musicians: i° ii° iii° iv° v° vi° vii°
K-pop and J-pop musicians: Occasionally I - vii° - V/vi - vi
In classical music we usually find the vii° in first inversion with two thirds in minor cadences ii°6 V7 i
Yeah, but then it's no longer the vii chord - it is the ii chord. But you do also see vii triads in classical - it's a common passing chord between the root position and first inversion I chords. For example C Bdim/D C/E or C/E Bdim/D C are pretty common progressions. And it's always in first inversion.
I thought it was a typical jazz thingie...
@@songfulmusicofsongs its a basic 4-5-1 progression. it appears in all western music but in jazz, the D minor is given a B in the bass to make it the 5 chord in the key of the next chord. thinking about the iiø chord as a iv/2 is helpful sometimes
I use them a lot, dropping the bottom note a semitone, so going from a Bdim to Bb for example.
bVII has NOTHING to do with vii°.
I love your cinematic intros, so well edited
all the footage is ripped from Ancient Aliens, but I did make my own music and overdub that one dude's voice
@@SignalsMusicStudio
Your voice is WAY better than the original guy. I really DO hope you do voice work, as you've definitely got the pipes. :) 🤙 ..if I knew an agent.... but I don't.
The viiº is used like crazy in bach’s music … meaning the triad version that you can’t seem to find practical use of. Perhaps the viiº7 and m7b5 as GUITAR shapes are more practical and that’s why you don’t notice them?
i legit said out loud "OOOOOOOOOOOOOOOOOOHHHHHHHHH I see" at the 7:00 this is so eye opening now I understand so many things I processed unconsciously this is amazing thank you !
The diminished 7th always reminds me of jazz musicians and how they always get back "home" using it.
this is the same shit he had recognizing pluto as planet.
Hello! I was wondering what you think of the Royal Road, a super common progression in Japanese music. It’s
IVmaj7 - V7 - iiimin7 - vimin7
I’d love to know ways to play with this progression and spice it up since a lot of people say it’s really flexible, but I can’t seem to find any tutorials on how to work with it. Thank you!
IVmaj7 - V7 - iii7 - vi7
IVmaj7 - V7 - iii7 - vi7 - ii7 - V7 - I
IVmaj7 - viiø7 - iii7 - vi7 - ii7 - V7 - I
Once again, a Signals video that takes something that’s supposedly complicated and explains it in simple, easy-to-understand terms. I’d never thought of the vii chord as a V7 with no root, but it makes perfect sense. Well done!
7:20 finally cutting the 7th some slack
1. Tonic
2. Supertonic
3. Mediant
4. Subdominant
5. Dominant
6. Superdominant
7. Submediant
8. Leading Tone
9(1). Tonic
1. Tonic (1)
2. Leading Supertone (#1/b2)
3. Supertonic (2)
4. Leading Midtone (#2/b3)
5. Mediant (3)
6. Subdominant (4)
7. Leading Dominant (#4/b5)
8. Dominant (5)
9. Leading Superdominant (#5/b6)
10. Superdominant (6)
11. Leading Submediant (#6/b7)
12. Submediant (7)
13. Subtonic (#7/b8)
14. Leading Tone (8)
15. Tonic (9/1)
So what your saying is, "the reason I'm single is that I'm a vii and will always resolve to be I?
Man, I barely watched the video and I can tell you this is pure gold. Congratulations.
My mind was blown when I realized that I could play an fmajd5 as a diatonic tritone sub for C major.
where have you been at man i need more videos
Love your channel bro, even though I'm a drummer I'd like to THINK!!!! i'm learning something
Haha.. vii° finally got you.
Nice. I have always known the 7th degree to be most useful for walking down: 1, 5/7, 6. Which is the inverse of the 7/5 you mentioned at the top. So I've always roughly equated it with the five, too, if subconsciously.
You really just called the vii dim chord horrifying 😂
That intro was epic lol
Dude, your best intro yet. That was hilarious.
In modern music, Muse is really the king of using diminshed chords. Matt Bellamys uses them all the time.
I was listening to the new Muse song that came out last week ('Won't Stand Down') and was figuring out that chromatically rising chord progression in the chorus, and ended up here. Matt Bellamy is just filling in the non-diatonic gaps to create a chromatically-ascending sequence. In Bm it goes: G-G#dim7-A-A#dim7-Bm. I will be stealing this trick of just using dim7 chords to fill in the 'holes' between diatonic chords! Check it out, its very Muse!
IMO you should never consider a fully diminshed 7th at the 7 position of major and a half diminished diatonic 7th interchangeable. They come from different eras and serve different functions.
I agree with you that a naked triad in the 7th position is ambiguous because it's literally an inverted V7 chord. The secret lies in the 7th of the vii chord, making it half diminished.
You will quickly find a lot of uses and familiar applications if you begin to treat the vii chord and its 7th (Bm7b5 in C major) the same way you treat any other chord. Invert it, and extend it with tensions.
You mentioned the half dim. on the 7th is the same as a V9 chord. The problem is, the theory for the vii chord was developed before "9 chords" were a thing. You can also spell the vii half diminshed as a ii minor 6, but again, minor 6 wasn't a thing back then.
Play this progression and you'll hear the vii chord used in its classical context. You could call it "G9/F," and you could call it "Dm6/F," But those are paths of greater resistance and functionally misleading. The vii chord here is simply a vii7-64 inversion, just like every other chord. You can hear a V chord in the same progression, and you'll hear they have very different sounds and different functions.
play them all quarter notes, left-right=bass-treble:
C E G C E - B F G D - C G C E - G E G C - **F D A B** - E C G C - F D A D - G F G B - C E G C
That progression would be C, G7/B, C, C/G, Bm7-5/F, C/E, Dm/F, G7, C.
This has an inverted 2 chord, a V7 chord, and a SECOND inversion vii7 chord. That instance of the F D A B is Bm7-5/F. Again, you could call it a "Dm6/F" or a "G9/Fomitroot" but I'm sure you'll agree those are both paths of greater resistance and those kinds of chords/theory did not exist.
Think of the diminised 7th in a baroque chorale context and they will make more sense to you. I'm not trying to single you out. This is a widespread stereotype, and in my opinion there is widespread misunderstanding about the vii chord and how it was used in classical harmony.
The diatonic diminished isn't really useful, but passing diminished chords are. Like Co7 to C, for example. (Even though I guess you could think of it as B7b9 going to C, or V resolving to bVI)
How long did it take you to get fluid with your chord changes on the fretboard. BE HONEST. Thanks for your amazing tutorials.
Yo, Jake! This is really valuable! There's a song from the Shantae 1/2 Genie Hero soundtrack, Counterfeit Mermaids, that uses (sparingly) diminished chords (like m7b5) in passing and they sound great, but they also stand out as a result, create feelings of despair. I'd have to listen closer, but I'm sure the composer - also called Jake (Kaufman) - uses them diatonically (but can't remember if he borrowed them from other keys... Pretty sure if was diatonic!)
Every time I tried to learn some functional harmony I just felt like every time the seventh chord was just omitted, as if everyone was chanting "we don't talk about the seventh chord, we don't talk about the seventh chord, we don't talk about [redacted], we don't..." In unison.
Me during into: "What? Ha ha".
Me during rest of video; "WhaaaAAt?" -grabs guitar and starts writing a new song immediately!
This is possibly one of the best video intros I've seen. Great work as usual, Jake!
The VII chord is actually semidiminished.
The diminished chord is the VII chord in the Minor harmonic camp.
Lol I used to love the history channel USED TO. Then they moved from history to the pawn shop conspiracy channel. Kids these days didn't get to grow up with a REAL history channel.
you can use the half diminished (B D F A) chord rather than the bA, for a fuller sound, take out the F altogether (no longer diminished but still a vii), put it in first inversion.
Also, using the vii/ chord establishes key which can be used to neat effect. Try C - Cdim - Emin/B. It acts like a I vii/iii iii second inversion, sounds great!
But also, let's say you want to use a mode other than Major or Minor, but want to establish key without using a Major chord to do it. say you're in Dorian: and you've got i IV v and don't want to turn the v to a V (or use VII). Sharp the VII (seventh and second of the scale) for the chord and you've got viiDim
Ancient Astronaut say Yes! Lol. Omg man! I been tuning in to your videos for awhile, but this intro sealed it! Subbed! Cheers man!
Almost 18K views in less than 24 Hrs 😳 You deserve all $ and notoriety you get Jake. Im working on a concept album in the House music genre. Needed to freshen up on my music theory knowledge. None of the information products out there geared toward us DJs or keyboardists can even compare to your style of teaching.
I actually kind of figured this out early on while compensating for inexperience. Not wanting to play certain harder V7 chords, I worked out that playing a V, and then popping into a diminished vii, would effectively combine to make a V7 overall in effect for the progression… like one might arpeggiate certain other chords just to make them sound nicer. And then it dawned on me that the V7 was basically just a V and a diminished vii swirled together…
You start to notice these relationships between a lot of chords, and a lot of ambiguities with them. For example, if I choose to alter an F6 to a vamp between an F major and a D minor, have I actually changed the chord, or am I just in a sense arpeggiating it with several smaller triads?When you hear a frequent shift between F and Dm in a song, could you sometimes interpret that as an F6 or Dm7? I do find that very often, the chord progression itself will tend to go on as if it was.
B D F Ab feels more like
B D F G#
Which is like an E chord
E G# B D F which is an E7,b9 chord.
Dominant of the relative minor chord
1.) I disagree that dim 7 is an ugly sound.
2.) A i°7 chord is derived diatonically from the altered dominant bb7 mode. This is an awesome chord to use before resolving to a I major or minor, especially if the melody is in the sixth. So for example, you could be in a loop of 3625s and before you're ready do resolve you throw a i diminished 7 in the before 1 major 7.
If you really think this about the diminished chord, you might want to learn some jazz. It will open up a whole new world for you.
I use it in some of my progressions, alas it is quite hard. I make indie music but I like the elements of jazz and some non-jazz artists with unusual chord progressions, particularly Elliott Smith, Nick Drake, Amy Winehouse and even some Rex Orange County and new Tyler, The Creator material (basically neo-soul stuff too). Here’s something I’ve been messing around with- Am7-Bdim7-Cmaj7-Cmaj7-Bm7-Fmaj7-Dm7 chromatic slide to Cm7-Cm7 Gbmaj7 (non-diatonic but it can work)-then back to either Am7 or Cmaj7 to round it off.
Interesting. I'm new to guitar and i can't play half diminished properly. So i used to play triads. Like BDF. And i too noticed that it has the same notes as G7. But i think this only works when the voicing of the chords are close enough.
That was an amazing edit. But yeh there no full-diminished chord, only half-diminished.
I have a chord series that goes:
vi, ii, V, I
vi, ii, V, I
vii°, IV, V, I
I tried substituting the vii° with V7, but I think it is better the way it is, since the melody is playing the vii note and also has a lifting feeling while still incomplete. I don't think vii necessarily has to go to the tonic all the time either.
vii° is like V7 only less stable, less jazzy, and more ominous.
Cycling from i to vii° over and over again has a vampire church feel. It is nice.
i don't even remember the last time i actually sat through a full 60 second intro like that. that was pretty incredible. really hyped me up for whatever the hell this video is gonna be about
To me, I always view diminished chords as seperate entities (both full and half) from scales. Idk why, but to me I've always just used them as passing chords, so I've developed this idea that knowing them in the context of the scale their in doesn't really matter unless you're in a minor scale or one of its varients, because functionality is different in said mode(s)
ukulele players often play a dim7 whilst simply calling it a diminished. I’m guilty of that. but!… plain old diminished chords can often just sound like ass on the uke, and we don’t have the strings needed to just throw an “x” note in as the bass.
plus, of course, the dim7 repeats every three frets, making it awfully handy to throw in when you’re trying to sound all fancy and jazzy. I’m guilty of *that* too.
I'm not that familiar with this kind of thinking - so is a D# diminished in E major a vii° chord? If yes I did use one on its own in one of my pieces and it worked pretty well to give a 'spicy' feeling I thought. I have trouble seeing why it would not be as much of a chord as the six others - it makes it feel lonely. xDD
If you wanted to have real tension from a chord to a tonic, using only triads made from the scale, you would have to have a viidim. Maybe its the opposite, V7 is a viidim disguised with a strong root (the Vth note is prevalent in the tonic as an overtone). In my very humble opinion, adding the 7th to the V, making a 4 note chord is a way to make the resolution to I stronger but not overwhelming. I play fado de coimbra where the viidim js used quite often and cannot be replaced by a V7.
Lots of ways to use diminished chords. In jazz, they’re indispensable. Even in simple music, you can use diminished triads as upper structure substitutes for secondary dominants. Furthermore, when you do that, you can play a half diminished OR fully diminished seventh chord instead. Also, in the context of a minor ii-V-I, it’s the very chord you want.
Suggestions for more series’
1. Complete Riffing With Modes Series: Heavy Mixolydian Irish Rock || Jazzy Minor || Disconnected Locrian
2. Harmonic Minor Modal Songwriting Series
3. Do more Q + A ‘ s
4. Jazz for Beginners
5. Beginner Guitar Course
6. Double Harmonic Major Modal Songwriting series
7: Guitar Tips & Tricks series
That hilarious parody intro got a thumbs-up from me, before you even got into the theory lesson! Jake, you have such a wonderful way of describing the quality of harmony. I love the way you presented this, and your graphics are perfection!
Random thought: That seven chord as first played reminded me of a train horn.
Grant
You might want to see if most train-horns, and other "emergency vehicle" horns, aren't tuned to some discordant tritone-containing chord. 🤙
The vii7b5 becomes ii7b5 in a relative minor context and is constantly used in ii-5-i progressions.
I haven't finished the intro and I already hit the like harden than a drunken daddy after being fired and having one-to-many angry juices. DAMN those intros are getting better
Holy shit. That intro alone was worth clicking on this video. That was so funny that I'm making a second account to give you another like as soon as I finish watching.
Couldn't you just use this argument to say that a IV chord is really a ii chord? I mean, all it's missing is the bass note, right?
This was actually really helpful and the intro was hilarious. Thanks!
Check out My Love by Wings for use of Bdim7.