Dope lesson. After playing with you....you can also use it to go to the 1. From your example....in the key of Eb if we were on the 5 chord. Bb in the bass. In the right hand can be the Ab DimMaj7.
I use it in that way. Basically I play it in root position from the 3 of something or the b7 of something in the right hand as a dominant chord. When you play it from the 3 it acts as #9. When you play it from the b7 it acts as a 13b9
I recognise “that sound” as a G7b9 with functions and applications in following “key contexts” as 5-1 in major key, 5-1minor or 3Dom -6 minor at a fundamental level. Emphasis-am hearing a Dominant flat nine “sound”
@@SeanWilsonPiano am referring to the DimMaj7 chord -if you play G and (b7) F in left hand and you play the Ab DimMaj7 on top the resulting sound is also a G7b9 and in context of C maj may function as 5-1
@@joem6966 exactly, to me Dom and Dim are functionally similar, although in this vid I wanted to emphasize the half-step which is how I like to use Dim.. great points
Your findings and teachings are phenomenal. Side note: has anyone told you your serene way of teaching reminds them of Bob Ross the painter? Lol. So calm and serene but yet full of info. Great job. Keep up the good work.
MY fav passing chord. I wrote about it a lot on FB. I use it on the 4 to approach a 6 chord. For example, to approach an Amin7 chord [and its subsidiaries], I could do this: F#dimMaj7 > FdimMaj7 > Amin7, like a 2-5-1 ish move. Nice lessons. Thanks a lot, Doc!
I feel that going to a d minor, c sharp diminished, plus the A major, is the appropriate name. You already have a c sharp in the a major chord- this is a conspicuous note in the key of d minor , as being the leading tone.
Awessomme. Only one thing tho that it’s probably to late to fix but at the Cdim+Abmaj it should say it goes to a Dbminor7 . Not a serious issue. Just showing you we pay attention!!😂😂
@@JBecky1990 I group everything into 4 chords, plus diminished and suspended. So 95% of the chords I use has one of these names. Once you know the basic 4 types of chords, you name the type of chord then you name the tension (or extensions). So b9, that is a dominant chord, the b9 is the specific tension is uses. Bm7, that is a minor chord, the 7 is the extension. Ab13, that's nothing cause you didn't name the type of chord it is. Theory is not something you understand only mentally tho, you have to get on the keyboard, and make sure you can correctly identify the types of chords by playing their basic form.
It looks and sounds like you are doing great things here, but the enharmonic misspellings are very grievous and make following and, more importantly understanding what is happening completely obscured. I only play and work in Pythagorean tuning where sharps are different pitches than flats and double flats and sharps are distinct from natural notes, so when the program you are using spells the notes and chords as something completely different than what you are talking about it is extremely occluded, especially moving as quickly as you are. It is really worth editing the video to correct the software's spelling errors. This is why I tell everyone to play in Pythagorean tuning, it is what is true intonation. And it is how we conceive of and write music. AbDimMaj7 chord is spelled Ab, Cb, Ebb, G. The interval from Ebb up to G is an augmented 3rd, a dissonance. It is NOT a perfect fourth which is a consonance (or would be, in this context). I understand on your equal tempered piano they are the same pitch, but if you stop thinking of it as an augmented third, which is a tense "wolf" interval, the melodic and harmonic direction is completely occluded from ones understanding. That is why you said you play a G major chord in the right hand with G, B , and D, but G Cb and Ebb makes it very clear to the understanding that the G is the 7th of the chord the Cb is the third and the Ebb is the fifth and it is not a G major chord. If anything it would be a Cb minor #5 chord in the right hand. Even if you only play in equal temperament (which I strongly advise against, even in ensembles use Pythagorean tuning), then spelling of notes and chords is still very important. If you want a system of 12 equal tempered pitches, look into dodeka notation, it is just as nonsensical as the jarbled mess of incoherent and mislabeled notes on the screen in this video. But that system is not widely used because it is incoherent like what we see on screen here. Music is 7 notes altered up and down by sharps and flats, and even if you play in a fake temperament that make F# and Gb, the same pitch, conceptually if you think about them as the same pitch, understanding of the music at a deep level is never gained, and the music theory become all the more confusing to understand, all of the beauty is lost to the understanding of what you are hearing, or what the temperament is tricking your brain into hearing. Using an electric keyboard as you are, changing to Pythagorean tuning should not be too difficult. And in terms of the wolf interval which appears in 12 tone Pythagorean, placing it out of the way is best if you must use only 12 notes per octave, but seeking out a new keyboard with a different layout is best. The Wicki-Hayden layout I think you will find works even better than the standard piano layout and it lets you play in tune, and extend to 17 notes or more notes per octave. If you look up on TH-cam, the Melodicade MX. This is in that Wick-Hayden layout with 17 notes per octave, but the man in the video has it in equal temperament. but that instrument and layout would be perfect for what I am saying. If you added more keys on both sides you could even go to more distant keys all while being in tune. 53 notes per octave in the Pythagorean tuning is best. I know in this world, musical instrument are made for lost people to make evil music, but if you ask God and search and seek to make good music that is in tune and with understanding and you are saved according to God's words in the King James Bible, I am confident that he will show you and provide.
Thank you for this video! And I love your comment, that every note should be intentional! :)
Glad it was helpful!
Bless this man, seriously! You just unlocked so many songs in my head that used this! You’re doing God’s work my friend.
It was this moment I realized how much I don't know. This is amazing to me.
Appreciate it man!! Thanks for the comment
I'm definitely adding this chord into my vocabulary 🔥🔥🔥🙌🏾🙌🏾
could you explain better how it is formed because I am Brazilian and did not understand very well
@ It's easy
for instance U wanna play Cdim M7
LH- R + 6th + Min 3rd
RH- Ab triad
(major triad 2 whole steps below C that is Ab major triad)
G7b9
Another brilliant video - thanks 🙌🏾.
Some cold stuff! 🔥🔥🔥🔥🔥
so beautiful thank you for that
Contemporary diminished seventh chords. Thank you for sharing this. So beautiful that lesson.
This is great!
This was absolutely amazing, great pacing and brilliantly looped back into actual use. Thank you much good sir
I appreciate these chords Man 👊🏽
Your blessed....and humble.
Dope lesson. After playing with you....you can also use it to go to the 1. From your example....in the key of Eb if we were on the 5 chord. Bb in the bass. In the right hand can be the Ab DimMaj7.
I use it in that way. Basically I play it in root position from the 3 of something or the b7 of something in the right hand as a dominant chord. When you play it from the 3 it acts as #9. When you play it from the b7 it acts as a 13b9
Thanks for Sharing. GOD BLESS YOU ALWAYS.😇😇😇😇
Dope lesson, you can move them as passing 3 half steps up an target minor
Thanks Sean ❤️
Phenomenal sounds 😭
I recognise “that sound” as a G7b9 with functions and applications in following “key contexts” as 5-1 in major key, 5-1minor or 3Dom -6 minor at a fundamental level.
Emphasis-am hearing a Dominant flat nine “sound”
which chord are you referring.. the one I initially used?
@@SeanWilsonPiano am referring to the DimMaj7 chord -if you play G and (b7) F in left hand and you play the Ab DimMaj7 on top the resulting sound is also a G7b9 and in context of C maj may function as 5-1
@@joem6966 exactly, to me Dom and Dim are functionally similar, although in this vid I wanted to emphasize the half-step which is how I like to use Dim.. great points
@@SeanWilsonPiano great! More perspectives more options
i loveyou so much and may God bless you keep it up you are the best
That’s nice using it on organ
Yes
Your findings and teachings are phenomenal. Side note: has anyone told you your serene way of teaching reminds them of Bob Ross the painter? Lol. So calm and serene but yet full of info. Great job. Keep up the good work.
not really no one's ever said that lol, sort of boring for TH-cam but I gotta be me doc
@@SeanWilsonPiano not boring... perfect for the ones truely searching...
MY fav passing chord. I wrote about it a lot on FB.
I use it on the 4 to approach a 6 chord. For example, to approach an Amin7 chord [and its subsidiaries], I could do this: F#dimMaj7 > FdimMaj7 > Amin7, like a 2-5-1 ish move.
Nice lessons. Thanks a lot, Doc!
Wow that’s a dope one man, nice!
Wow🔥🔥🔥
...my left hand can't do those spreads...but my brain is definitely inspired!
It’s funny that I already voice that chord every chance I get. I just never knew how to explain it until now.
Oh okay diminished major 7 too dey bee waa
What are other possible resolutions of that chord in theory? Thnx, bro. Nice vid❤
Ooh wee!
Sir wat type of piano are you using and wat z de price there in ur country
At 4:03.. 🙏.. 🧡
It's so funny. I really like the way you're playing piano. So l wanna learn piano. How can I do ? I'm Tresor Nkele from D.R.C, Kinshasa
I feel that going to a d minor, c sharp diminished, plus the A major, is the appropriate name. You already have a c sharp in the a major chord- this is a conspicuous note in the key of d minor , as being the leading tone.
Great, very harmonic
Pls what scale are you deriving the changes from?
Initially sounds like a derivative of Bb 7b913, if the root is Bb, thanks
Which changes? Did you see the link in the description. I describe it there
@@SeanWilsonPiano I appreciate sir, nuff respect
Are diminished chord same as suspended notes?
Can you explain pls?
Gat it.. it sounds awesome sir
Am going to try it out sean.. thank you so much
@@kennykeysug3733
did I understand that this is a diminished chord over a correct major?
@@kennykeysug3733
I don't speak english anymore I wanted to learn I speak Portuguese from Brazil
É um acorde diminuto na mão esquerda e o acorde maior na direita
@ yes it is
Dope video you are very skilled!!🔥 would I as an organ player be able to get away with these voicings or is it too muddy?
You can definitely do these on the Hammond. Just play the bottom note with the pedal
@@SeanWilsonPiano thank you!
What's the root note for the bass player on that chord?
As always, very resourceful 🙌🔥..but for some us with small fingers, your left hand chords are quite a stretch 😂😂
In just about all of these DimMaj7 chords you can just leave of the bottom note
@@SeanWilsonPiano aaah..thank you sir..
@@SeanWilsonPiano aaah..thank you sir..
Awessomme. Only one thing tho that it’s probably to late to fix but at the Cdim+Abmaj it should say it goes to a Dbminor7 . Not a serious issue. Just showing you we pay attention!!😂😂
Wow man, nice catch... thanks for watching with that level of detail bro
Broo which typ of piano are u using and wats de price there in USA
Sound like nord stage 3
I just got done with theory 2 and I'm confused about how you go about naming chords. Ex. Bm7 or Ab 13. Is that apart of theory also?
Hey, I don’t understand your question
I mean how are you able to name chords and say this is a dimmajor7 or a flat 9. Is that a certain level of theory to be able to name your chords?
@@JBecky1990 I group everything into 4 chords, plus diminished and suspended. So 95% of the chords I use has one of these names. Once you know the basic 4 types of chords, you name the type of chord then you name the tension (or extensions). So b9, that is a dominant chord, the b9 is the specific tension is uses. Bm7, that is a minor chord, the 7 is the extension. Ab13, that's nothing cause you didn't name the type of chord it is. Theory is not something you understand only mentally tho, you have to get on the keyboard, and make sure you can correctly identify the types of chords by playing their basic form.
@@SeanWilsonPiano Thanks for the knowledge... You're the man Sean💪🏾
Bruh... what did you do to your hands to be able to hit that spread diminished triad so easily???? You cut the webbing or something??? Lol
😂😂😂😂
It's quite easy....just practice
Can we say that this chord is the most tense of all possible?
This very tense, that's for sure!
I will be glad if you do same video in the key of C wholly.
I play in C F F# and G 😋😋😋 kind struggle to transpose it to those keys
It looks and sounds like you are doing great things here, but the enharmonic misspellings are very grievous and make following and, more importantly understanding what is happening completely obscured. I only play and work in Pythagorean tuning where sharps are different pitches than flats and double flats and sharps are distinct from natural notes, so when the program you are using spells the notes and chords as something completely different than what you are talking about it is extremely occluded, especially moving as quickly as you are. It is really worth editing the video to correct the software's spelling errors.
This is why I tell everyone to play in Pythagorean tuning, it is what is true intonation. And it is how we conceive of and write music. AbDimMaj7 chord is spelled Ab, Cb, Ebb, G. The interval from Ebb up to G is an augmented 3rd, a dissonance. It is NOT a perfect fourth which is a consonance (or would be, in this context).
I understand on your equal tempered piano they are the same pitch, but if you stop thinking of it as an augmented third, which is a tense "wolf" interval, the melodic and harmonic direction is completely occluded from ones understanding. That is why you said you play a G major chord in the right hand with G, B , and D, but G Cb and Ebb makes it very clear to the understanding that the G is the 7th of the chord the Cb is the third and the Ebb is the fifth and it is not a G major chord. If anything it would be a Cb minor #5 chord in the right hand.
Even if you only play in equal temperament (which I strongly advise against, even in ensembles use Pythagorean tuning), then spelling of notes and chords is still very important. If you want a system of 12 equal tempered pitches, look into dodeka notation, it is just as nonsensical as the jarbled mess of incoherent and mislabeled notes on the screen in this video. But that system is not widely used because it is incoherent like what we see on screen here. Music is 7 notes altered up and down by sharps and flats, and even if you play in a fake temperament that make F# and Gb, the same pitch, conceptually if you think about them as the same pitch, understanding of the music at a deep level is never gained, and the music theory become all the more confusing to understand, all of the beauty is lost to the understanding of what you are hearing, or what the temperament is tricking your brain into hearing.
Using an electric keyboard as you are, changing to Pythagorean tuning should not be too difficult. And in terms of the wolf interval which appears in 12 tone Pythagorean, placing it out of the way is best if you must use only 12 notes per octave, but seeking out a new keyboard with a different layout is best. The Wicki-Hayden layout I think you will find works even better than the standard piano layout and it lets you play in tune, and extend to 17 notes or more notes per octave.
If you look up on TH-cam, the Melodicade MX. This is in that Wick-Hayden layout with 17 notes per octave, but the man in the video has it in equal temperament. but that instrument and layout would be perfect for what I am saying. If you added more keys on both sides you could even go to more distant keys all while being in tune. 53 notes per octave in the Pythagorean tuning is best.
I know in this world, musical instrument are made for lost people to make evil music, but if you ask God and search and seek to make good music that is in tune and with understanding and you are saved according to God's words in the King James Bible, I am confident that he will show you and provide.