Jack is one of the best TH-cam guitar teachers out there. Absolute clarity, combined with deep theoretical knowledge and understanding of the instrument.
Oooooh, Jack, that first diminished chord slide at 0:05 .... Smoooooth, brother! Just seconds in and I was hooked. That was beautifully done! Love it. You da' Man, Jack! 🤩
those chords are so beautiful! I've always understood how to build a diminished chord well enough but how to use them musically has always been a mystery. I think your chord progression finally made it click!
also the realization that diminished chords can serve a similar function as a dominant (b/c they basically are the dominant chord but w/o the root), just less sappy sounding. huge ah-ha moment for me
The chords in that backing track are as beautiful as your lead lines. New Patreon subscriber so I'm gonna grab that backing track and hit the woodshed. Thanks Jack!
You explained that the Bdim7 wants to resolve to the CMaj 7 (i.e. be it's secondary dominant) since 3 of the Bdim7 notes are a half step away from the CMaj7 and thus create a dissonance that wants to be resolved. I'm wondering if instead of the Bdim7, you could also use the Bm7b5 to create tension since it shares 3 notes with Bdim7 and therefore has 2 notes a half step away from the CMaj7? I'm asking for 2 reasons: first, to see if I understand correctly the functionality of the diminished as a secondary dominant and second if the m7b5 could also serve the function of a secondary dominant effectively with just a slightly different color than the dim7. Just for some tonal options. Thanks for explaining if I'm right or off.
As always, an awesome clip, and your explanations are always easier to understand than most! I do have a question about this particular lesson, though. You mentioned that the notes on the diminished chord occur diatonically, but when you play a harmonized scale, you really end up with a half-diminished chord for the B root (in the key of C). I was wondering if you could expand on the ramifications of using one or the other - either here or in a different clip if it's a more detailed explanation. My own approach has been to sometimes use both, so that I get the effect of an A going down to a G# (increasing tension even more) then resolving down to a G; but that doesn't always sound good! Thanks for your incredible videos!
Yes, use both. The half diminished chords are not symmetrical so you cant slide them around the fretboard without changing the fingering. I tend to use the fully diminished chords a lot as a substitute for functioning dominants.
@@JackRuch Thanks very much - yes, it's true that half diminished chords are not symmetrical. Sometimes it's better not to ask too many questions. I remember being at a Mike Stern clinic here in Maryland, and asking a question about something that seemed very silly. As you would expect, he was so incredibly polite about it, but essentially said that my knowledge of theory may not be good enough to understand his explanation, BUT....if it sounds good, use it!
Hi Jack, I always look forward to your videos. I will admit, I've learned more from you than any other teacher/instructional/youtube video. I'm working on your Next Level Rhythm & Soloing instructional (great btw). I do have a question about this video that I can't figure out for the life of me. How do you know when to use these diminished chord slides. As I'm trying to analyze this video, I can't figure when to implement these tips. Thank you so much for all you do Jack, we need more people like you in this community.
It's basically a minor 7th with a flat 5 (min7b5). So the minor third and flat 5th are both a tritone, but then you've got the regular 7th note from the minor scale on top, whereas in a fully diminished chord the 7th is another semitone down from that. Hope that makes sense!
Hey Jack, long-time subscriber.. just wanted to let you know that the audio on your vocal mike is a little heavy on the low end and causes a bit of distortion. It's also slightly heavy on the musical end, as well. A little adjustment will make your presentation clearer and cleaner. Love what you do, and I have several of your courses through Brett Papa! Carry On!
Good lesson but if you would just show the diminished chord voices in a quick tab instead of describing them note by note, finger by finger, it would be way more helpful. Cheers.
At least? A 7 minute long free lesson isn’t enough? Well, G# is a minor 3rd from F. It’s the note that makes it a fully diminished 7th chord. That’s part of the reason why these chords are symmetrical and can be inverted up and down the fretboard. But most importantly, it sounds good.
![5 Easy Ways to Use and Write with Diminished Chords [MUSIC THEORY - CHORD PROGRESSIONS]](http://i.ytimg.com/vi/koulaYcijEE/mqdefault.jpg)
The gaps in my knowledge diminish with each video you make!
Pay attention kids. This is guitar gold!
Jack is one of the best TH-cam guitar teachers out there. Absolute clarity, combined with deep theoretical knowledge and understanding of the instrument.
Bello/Magnifico.🥵🥵🥵🥵🥵🥵😮
wow!...excellent but still have to work hard to copy your demo....thank you
Oooooh, Jack, that first diminished chord slide at 0:05 .... Smoooooth, brother! Just seconds in and I was hooked. That was beautifully done! Love it. You da' Man, Jack! 🤩
Jack grazie per quello che fai...........sublime. Hai tutta la mia ammirazione.
those chords are so beautiful! I've always understood how to build a diminished chord well enough but how to use them musically has always been a mystery. I think your chord progression finally made it click!
also the realization that diminished chords can serve a similar function as a dominant (b/c they basically are the dominant chord but w/o the root), just less sappy sounding. huge ah-ha moment for me
So beautiful! Your fretboard knowledge is amazing!
This is an awesome lesson easily comprehended and I'm able to use this right away. Bravo 👏🎸
A weeks worth of clear practice material for myself in a 7 minute video. Amazing!
thanks ...during my studies for saxophone so many good diminished moves ... big respect
Thanks Jack.
For what ever reason, this video popped something in my head. thank you Sir.
Nice. Reminds me of Hard Times by Ray Charles.
Great lesson besides harmonized major scale diminished chords minor thirds thank you Sir
Beautiful. Love the character of the chords and the melody
Jack , at time stamp 7:42 you mis spoke identifying the note located on 11th fret of A as "G".
You may want to edit so as to maintain your usual hi level teaching and not confuse anyone with those squirrely minor 3rd intervals😅
Subbed after that youtube short using the volume knob with fuzz. Damn bro that was smooth!
Thank you for sharing!
The chords in that backing track are as beautiful as your lead lines. New Patreon subscriber so I'm gonna grab that backing track and hit the woodshed. Thanks Jack!
What a fantastic video have a wonderful day Jack also happy st Patrick's day ❤❤❤❤❤❤😊😊😊😊😊😊
Beautiful chord progression at the end, thank you.
As always, 🤯🤯 after watching another video 🙌
Great lesson! Thanks
I love chords. I just want to make nice, fulfilling music with them. These lessons are what I've been searching for.
great work Jack - very helpful!
Brilliant!!!!!
Man, I wish I could give you multiple thumbs up, Jack.
Outstanding lesson.
Thank you for sharing! 🤘🤠🎸
You explained that the Bdim7 wants to resolve to the CMaj 7 (i.e. be it's secondary dominant) since 3 of the Bdim7 notes are a half step away from the CMaj7 and thus create a dissonance that wants to be resolved. I'm wondering if instead of the Bdim7, you could also use the Bm7b5 to create tension since it shares 3 notes with Bdim7 and therefore has 2 notes a half step away from the CMaj7? I'm asking for 2 reasons: first, to see if I understand correctly the functionality of the diminished as a secondary dominant and second if the m7b5 could also serve the function of a secondary dominant effectively with just a slightly different color than the dim7. Just for some tonal options. Thanks for explaining if I'm right or off.
Love this Jack! Hey, how about a little solo around this chord progression?
I don't know if you realise it, you're a character in the latest, John Grisham novel "The Exchange".
As always, an awesome clip, and your explanations are always easier to understand than most! I do have a question about this particular lesson, though. You mentioned that the notes on the diminished chord occur diatonically, but when you play a harmonized scale, you really end up with a half-diminished chord for the B root (in the key of C).
I was wondering if you could expand on the ramifications of using one or the other - either here or in a different clip if it's a more detailed explanation. My own approach has been to sometimes use both, so that I get the effect of an A going down to a G# (increasing tension even more) then resolving down to a G; but that doesn't always sound good!
Thanks for your incredible videos!
Yes, use both. The half diminished chords are not symmetrical so you cant slide them around the fretboard without changing the fingering. I tend to use the fully diminished chords a lot as a substitute for functioning dominants.
@@JackRuch Thanks very much - yes, it's true that half diminished chords are not symmetrical. Sometimes it's better not to ask too many questions. I remember being at a Mike Stern clinic here in Maryland, and asking a question about something that seemed very silly. As you would expect, he was so incredibly polite about it, but essentially said that my knowledge of theory may not be good enough to understand his explanation, BUT....if it sounds good, use it!
Hi Jack, I always look forward to your videos. I will admit, I've learned more from you than any other teacher/instructional/youtube video. I'm working on your Next Level Rhythm & Soloing instructional (great btw). I do have a question about this video that I can't figure out for the life of me. How do you know when to use these diminished chord slides. As I'm trying to analyze this video, I can't figure when to implement these tips. Thank you so much for all you do Jack, we need more people like you in this community.
Diminished Final? Surely 'Diminished Finished'
Great channel Jack. Thanks. Can you explain what a half diminished chord is?
Hi. Half dim is m7b5. Cm7b5 is c eb gb bb. Whole dim is c eb gb bbb.
Thanks!
It's basically a minor 7th with a flat 5 (min7b5). So the minor third and flat 5th are both a tritone, but then you've got the regular 7th note from the minor scale on top, whereas in a fully diminished chord the 7th is another semitone down from that. Hope that makes sense!
my wife being in one of her "moods" also creates a strong pull back to the tonic if you know what I mean
😂
lolz
Boomers and their “my dumb b*tch wife” jokes are so cringe. It’s not funny or cute.
Glad things are changing with younger dudes
The dominant 5 chord in the key of C is G , not G7.
Diminished! Ignored no more!
Hey Jack, long-time subscriber.. just wanted to let you know that the audio on your vocal mike is a little heavy on the low end and causes a bit of distortion. It's also slightly heavy on the musical end, as well. A little adjustment will make your presentation clearer and cleaner. Love what you do, and I have several of your courses through Brett Papa! Carry On!
Good lesson but if you would just show the diminished chord voices in a quick tab instead of describing them note by note, finger by finger, it would be way more helpful. Cheers.
I think its on purpose to steer us towards thinkin in notes
Cmaj7 / E7 Bdim7 Ddim7 /Am7/ Gm7 C9/
Fmaj7 /F#dim7/ C/G G#dim7 /Am7 / D7/%/ F/G / G7 Bdim7 Ddim7 / ||
The sharp G isn't in the scale.. why do you add the G# when it isn't in the scale.. You should at least explain that part
At least? A 7 minute long free lesson isn’t enough? Well, G# is a minor 3rd from F. It’s the note that makes it a fully diminished 7th chord. That’s part of the reason why these chords are symmetrical and can be inverted up and down the fretboard. But most importantly, it sounds good.