This is my first viewing of this channel, and I am mightily impressed. I subscribed straight away, and hope to understand later. I think that I'll need to watch this channel in the same way that I watch Rick Beato's channel, that is with a notebook and pen, lots of stopping and rewinding, guitar at hand, and then watching it again all the way through without pausing it at all. Thank you very much for this channel Jens.
HI Jens, hope you're well and staying safe. I don't say this enough but your lessons have been incredibly helpful to me in making progress in my jazz playing. I truly appreciate all your great content. Thanks.
Superb lesson! I’m trying desperately to keep up with Jazz studies. I had discovered some months ago that a min 6 is also a m7b5. I used the trick on musicals. Wherever I see m6, I sub to a m7b5 so I’m only thinking same shapes. But thanks Jens for the other ways to use this chord. Brilliant!!
This video helps bring to light the concept of the unlimited potential of the tritone. If you've got a chord with a tritone in it, it's essentially dominant, and the world can be all yours with it. Thanks!
you are an excellent teacher. I am a long time professional guitarist and teacher. Thank you for opening the door to improvisation over common jazz chord changes.
Jens, I am amazed at how many views you get on what are some very difficult concepts. You are clearly doing something right, and fulfilling a need with your channel. Great job! 👍
@@JensLarsen You're right of course, but I never would have guessed that there were anywhere near this many. 28K+ views on a video about half diminished chords? Wow!
@@JensLarsen The intonation of your guitar is perfect, is there some device like the "Buzz Feiten system" on it or you've got the best guitar tech in the world ?
Awesome lessons sir! As a young jazz learner all your videos are very precious tools, i've been watching your vids for a few weeks and already feel the upgrade in my playing and knowledges! Keep it up :) (i'm french, excuse my english)
With the knowledge you share in your videos; you have helped me see the interconnectivity of tonality and how improvised music can become like a fluid motion. I really appreciate you sharing your deep understanding of how music moves.
This is excellent. I know much of this, but I’ve learned it haphazardly over many years. Your systematic approach helps pull it all together and extends it beyond what I’ve learned so far. I’d recommend that any players overwhelmed with the pace and amount of info in this video first watch the whole video to get the gist of it, then work on it in small chunks at a time. There is enough info here to spend days on it.
Playing thinking of seventh chords with different roots in the base is like taking the concept of slash chords to another level,stepping it up a notch!Great intrllectual concepts.but my brain gets overwhelmed by all this thinking and vosualizing if I dont follow write thes interval transformations down on paper.Great lesson
Thank you for this.....it adds to my studies of the minor 7b5 as seen on the Circle of 5ths and as applied to the F, D, Ab, & B dominant 7th chords which are all tritones of each other as seen on the Circle located opposite each other.
Coming from gypsy jazz, my reference would be rather minor6 chords and thinking for instance Cm6 and Ebm6 on a minor 2 5 in G Great lesson as always ! I Will try it on maj7#11 chords !
The Most Important Scale Exercise In Jazz th-cam.com/video/2Ze22BNftAA/w-d-xo.html A jazz solo will usually follow the chord progression that it is played over, the most important way that you do that is by using arpeggios over the chords. You are probably already practice arpeggios, but chances you can do it in a better way than what you are doing now, and that is what I want to talk about in this video. Content: 0:00 Intro 0:57 #1 Basics: Half diminished Chord construction and Voicings 2:08 #2 Basic use in a minor II V I 3:35 Two things! 4:33 #3 Dominant 6:56 #4 Altered Dominant 9:22 #5 Lydian Chords 11:13 Like the video? Check out my Patreon page.
As Scrap Book said on another video, it's great to use these substitutions linearly. My favorite was a sub that a saxophonist taught me a couple of months ago. Play the Half Diminished a whole step lower than the root of the dominant as an upper structure. For instance, for a C7--you'd play a Bbm7b5. That would give you Bb Db E Ab. If you think of it in relation to the C7, that's b7, b9, 3rd, b13. So, yes--as you said, altered. But it gets you to that altered sound quickly, and helps target that pesky b13th.
I like to use 1. the root of the m7b5 arpeggio on the Root of the altered dominant , followed by 2. the root of the m7b5 arpeggio on the b7 of the altered dominant. Or reverse the order. This gives the root and guide tones of the altered dominant plus all the altered notes. Can think of these two consecutive m7b5 chords as from the melodic minor a semitone above the root of the altered dominant. Its also a simple movement along the neck of course.
An old jazzer bit my head off when I called it a "half diminished" chord. He said "it's not 'half' of anything. It's a complete chord in it's own right." Semantics, I know. Great lesson. I often play the minor 7 flat 5 over dominants in my lines (something I knicked from Pat Martino) but haven't explored fully with chords. Time to change that. Many thanks again.
That's something Pat knicked from Parker (or pretty much anybody else :D ) You should have told that old dude that if it is a complete chord then it also could not be diminished :D
Hello from Costa Rica Jens! I just wanted to say thank you because I'm a college student and right now can't afford to pay for lessons. All your videos and emails have helped me a lot, although I'm still struggling with the theory part I am starting to understand a lot of things. But most important I'm able to enjoy what I play so much more. As soon as I can I'll become a Patreon. Again, thank you so much Jens. I'll keep studying.
Thanks for being so straight forward and not stopping to teach people HOW to play. We should know how already if we are looking at advanced concepts like this. I had to go back to my music theory lessons to figure out what you are talking about in some places....but that's my problem not yours. Amazing lesson thanks again.
@@JensLarsen The bridge of YAMAHA SG (unlike the tailpiece) is not compatible with Gibson spec, so it may be hard to get replacement parts. (Unless you reattach the studs.) My SG-1000 bridge is in very good condition, but the SA-1000 bridge is worn out and I need to replace it someday. I wish you good luck! Thank you.
Well done, as usual, Jens! When I get rusty in my jazz theory I always like to watch a video from you as I get to see the actual notation/voicing of your progression examples, and see the chord diagram. It makes it all click from my common-practice Bach learning I got way back in college. BTW, I used to really be into older Latin jazz (esp. Jobim) - and I think your 1/2 dim chord analysis might apply to tunes like 'One Note Samba', 'Desafinado, 'Girl With Emphysema'' and others...in case that might make for another chapter in your tutorials.
Great lesson Jens, you want my hack? well I use 2 half dim arpegios out of melodic minor as an altered sound. For instance over G7 alt I use Fmi75- and Gmi75- (also inversions), hard to master but a great concept. Keep up your great work.
I'm trying to ground myself in learning at a level that I actually learn at, I've been obsessed with stuff like modal interchange while getting confused when I see a key signature with 4 flats so I'm trying to stay basic until I master it. The progression I made is D/\ to F#- 》 = key change VIadd9 > ii7 > V9 > I/\7 > IV/\7 > vii > I/\7 》vii-7b5 > Isus4 > VI/\7 > III > VI6(9) > III 》 IVadd9 OR Badd9 > Em7 > A9 > Dmaj7 > Gmaj7 > C#m > Dmaj7 > C#m7b5 》F#sus4 > Dmaj7 > Gmaj7 > A > D6(9) > A 》Badd9 The C#m7b5 sounds really out of place, I think it's because I just used a C#m but I'm not as good with theory as I'd like to be. The Dmaj7s and As have different voicings, if you reply I can add them in like this: Badd9 - X X 9 8 7 9 E A D G B e I just put a bunch of chords together and wanted to start practicing, I like the progression though.
As a chord geek, I was looking forward to your list. I was aware of all except the last one, cool! Super clever coming after the F7alt, and a tritone in the bass makes for a spicy sound! :)
At a job once I ended up talking to Al Dimeola on the phone. I asked him what his favorite chord was. He thought for a second and then said "Minor 7 flat 5."
Another good video my friend. 7th chords took me a while to figure out lol. Still figurin them out. I love half diminished chords. My guitar teacher taught me them when i was in lessons as a boy hehe. He was a jazz guy and i should have studied wit him more but anyway ive always found theres great ways to use that chord to create good tension in metal songs and makes for easy key changing and interesting chord melody options.
Absolutly beautiful chords,love it!!you put a lot of wo r k into all this,thanks so much ,u r a superb guitarrist,god bless you ,good luck!!thanks once again.
As a music theory nut, thank you so much for making this video from such a practical perspective. Thank you also for using proper enharmonic spellings as I know how funny hdim and dim chords can be to spell. This kind of content is leagues beyond hacks on this platform like Signals Music
Glad you like it! I don't really think that Jake (signals music studio) and I have the same audience, and I suspect that he sometimes makes choices like that to make it easier for his audience to get what he is talking about? We all do deal with the odd enharmonic issue in the material, I at least feel that I am always making choices about that.... :)
Thanks for the video! I really like the tone you get out of that Yamaha, would you mind telling me what gauge strings you use? They look quite heavy, from what I can see, and there looks like a decent amount of tension, too. Cheers!
That's a nice way to demonstrate the versatility of the half-diminished chord: it can function as a subdominant, a dominant and a (minor) tonic chord, and as a progression it sounds so natural (especially above the proper baseline) that you can hardly notice it is in fact the same chord transposed.
What video should I watch if I'm trying to understand when its appropriate to add extensions? For example in your 2 5 1 you added additional extensions on the V7 and the i-7 chord. When is it appropriate to use a 6/9? Just anytime you resolve on the i chord? I'm not sure how much I need to learn in order to derive extensions like that
I'm a rock guitar player and always got a terrible headache after five minutes following (and playing along) videos like these. ;) But it's good and I like to learn this chords, even rootless ones. Before watching this lesson I just knew half diminished chords in two positions on the fretboard...
Wouldn't the Bb Maj 7 #11 chord in the end actually be a Bb Maj b5? The 5th is altered to a flat 5, but the 3rd is remaining unaltered (altering the third would result in a Maj 7 #11). Very helpful and thoughtfully structured video!
It is indeed a b5 chord if you only look at the notes in there, but in the context that it is used you will hear a 5th as well so it will sound like a #11.
Good one there. So many chord names, but I have started experimenting with various stuff. Systematically, but without knowing the names. For instance I can take just one minor scale position, say the 1st position. Then, I choose the chord degrees to be 1, 3b, and 4. For each of them I focus on their triads, and also add the two immediate notes before the 5 for each chord. What is this called, in musical terms?
Hoi Jens, waarom klinkt Cis-HalfDim chord als een gewone volle A(Amaj) of A7, als ik een blues speel. Zo gebruik ik hem in de blues als chord 1 in de key of A. Komt dat omdat de 3rd vd A een Cis is? De b7 is ook de b5 vd CisHDim
I prefer this intro way better than the others. Straight to the point
Isn't this the same as all the other lessons from the last year (give or take)?
@@JensLarsen Maybe he's comparing it to other teachers on youtube
When you hear the lick 5 seconds into a video you know it's gonna be good :D
This is my first viewing of this channel, and I am mightily impressed. I subscribed straight away, and hope to understand later. I think that I'll need to watch this channel in the same way that I watch Rick Beato's channel, that is with a notebook and pen, lots of stopping and rewinding, guitar at hand, and then watching it again all the way through without pausing it at all. Thank you very much for this channel Jens.
HI Jens, hope you're well and staying safe. I don't say this enough but your lessons have been incredibly helpful to me in making progress in my jazz playing. I truly appreciate all your great content. Thanks.
Really enjoying the way you're linking what you're teaching back to jazz standards.
Thank you! :)
Superb lesson! I’m trying desperately to keep up with Jazz studies. I had discovered some months ago that a min 6 is also a m7b5. I used the trick on musicals. Wherever I see m6, I sub to a m7b5 so I’m only thinking same shapes. But thanks Jens for the other ways to use this chord. Brilliant!!
They don’t sound the same, bubba
If the roots a minor 3rd away then it’s the same
This video helps bring to light the concept of the unlimited potential of the tritone. If you've got a chord with a tritone in it, it's essentially dominant, and the world can be all yours with it. Thanks!
Well, yes and no. A m6 chord is a tonic and has a tritone so they are not all essentially dominant chords :)
you are an excellent teacher. I am a long time professional guitarist and teacher. Thank you for opening the door to improvisation over common jazz chord changes.
You're very welcome Tony! :)
Jens, I am amazed at how many views you get on what are some very difficult concepts. You are clearly doing something right, and fulfilling a need with your channel. Great job! 👍
Thanks Patrick! I think there are a lot of people looking for info on all of this, so I don't think it is that crazy actually?
@@JensLarsen You're right of course, but I never would have guessed that there were anywhere near this many. 28K+ views on a video about half diminished chords? Wow!
@@JensLarsen The intonation of your guitar is perfect, is there some device like the "Buzz Feiten system" on it or you've got the best guitar tech in the world ?
@@Avatar7x7 Thank you! I have a great tech
Great playing Viking!
Jens! Your videos are a wealth of information for the modern jazz guitarist. Thank you for all the great work.
Glad you like them 🙂
Thank u jens for your abundance of free lessons. I learn quicker from u than anyone
Yes, a tremendous video. I didn't realise how many positions there are for the half-diminished. A beautiful chord.
Awesome lessons sir! As a young jazz learner all your videos are very precious tools, i've been watching your vids for a few weeks and already feel the upgrade in my playing and knowledges! Keep it up :)
(i'm french, excuse my english)
Thank you! Great to hear that you can put it to use 🙂 no worries about your English, I am Danish so... 😁
You are a brilliant teacher
Thank you!
With the knowledge you share in your videos; you have helped me see the interconnectivity of tonality and how improvised music can become like a fluid motion. I really appreciate you sharing your deep understanding of how music moves.
Best Jazz teacher ever!
Thank you!
Thanks, that's a really good way of seeing how to form half diminished chords from m7.
This is excellent. I know much of this, but I’ve learned it haphazardly over many years. Your systematic approach helps pull it all together and extends it beyond what I’ve learned so far. I’d recommend that any players overwhelmed with the pace and amount of info in this video first watch the whole video to get the gist of it, then work on it in small chunks at a time. There is enough info here to spend days on it.
Glad you like it :)
Years in my case.
Playing thinking of seventh chords with different roots in the base is like taking the concept of slash chords to another level,stepping it up a notch!Great intrllectual concepts.but my brain gets overwhelmed by all this thinking and vosualizing if I dont follow write thes interval transformations down on paper.Great lesson
Thank you for this.....it adds to my studies of the minor 7b5 as seen on the Circle of 5ths and as applied to the F, D, Ab, & B dominant 7th chords which are all tritones of each other as seen on the Circle located opposite each other.
Go for it Scott :)
Great vid. I watch it again and again to unconfuse myself.
Always showing the best ways to utilize and master choral types of all varieties! Cheers man!
Thanks RC :)
@@JensLarsen Cheers man!
I love I/2 dim chords - so many ways to flavour things up - a few new ways here by jens….brilliant as usual
Thanks, Anthony!
Dude... so useful. This video is a week's worth of information. Thank you so much. Easily helping me transfer my knowledge of piano to the guitar.
Glad it was helpful!
Lessons are only getting better. Excellent work.
Thank you, Michael!
Coming from gypsy jazz, my reference would be rather minor6 chords and thinking for instance Cm6 and Ebm6 on a minor 2 5 in G
Great lesson as always ! I Will try it on maj7#11 chords !
The Most Important Scale Exercise In Jazz
th-cam.com/video/2Ze22BNftAA/w-d-xo.html
A jazz solo will usually follow the chord progression that it is played over, the most important way that you do that is by using arpeggios over the chords.
You are probably already practice arpeggios, but chances you can do it in a better way than what you are doing now, and that is what I want to talk about in this video.
Content:
0:00 Intro
0:57 #1 Basics: Half diminished Chord construction and Voicings
2:08 #2 Basic use in a minor II V I
3:35 Two things!
4:33 #3 Dominant
6:56 #4 Altered Dominant
9:22 #5 Lydian Chords
11:13 Like the video? Check out my Patreon page.
Hey Jens, why the different half-diminished symbols at 1:55 ? Is it because the chords on the right are inverted?
As Scrap Book said on another video, it's great to use these substitutions linearly. My favorite was a sub that a saxophonist taught me a couple of months ago. Play the Half Diminished a whole step lower than the root of the dominant as an upper structure. For instance, for a C7--you'd play a Bbm7b5. That would give you Bb Db E Ab. If you think of it in relation to the C7, that's b7, b9, 3rd, b13. So, yes--as you said, altered. But it gets you to that altered sound quickly, and helps target that pesky b13th.
I like to use 1. the root of the m7b5 arpeggio on the Root of the altered dominant , followed by 2. the root of the m7b5 arpeggio on the b7 of the altered dominant.
Or reverse the order.
This gives the root and guide tones of the altered dominant plus all the altered notes.
Can think of these two consecutive m7b5 chords as from the melodic minor
a semitone above the root of the altered dominant.
Its also a simple movement along the neck of course.
Nice job on this one! I've used the "up a minor third" trick, but you've really expanded the pallet here. The Lydian one is very hip.
Thank you,Jens🌹🌹🌹🌹
You're welcome 😊
Awesome usable stuff! Thank you!
So much good stuff in your lessons. I'm starting to take notes.
Thank you 🙂
Valuable, as always. After a brief refreshment tomorrow this should stick for a while.
Thanks Hubert!
This man is the most jazz playing jazz player
An old jazzer bit my head off when I called it a "half diminished" chord. He said "it's not 'half' of anything. It's a complete chord in it's own right." Semantics, I know. Great lesson. I often play the minor 7 flat 5 over dominants in my lines (something I knicked from Pat Martino) but haven't explored fully with chords. Time to change that. Many thanks again.
That's something Pat knicked from Parker (or pretty much anybody else :D )
You should have told that old dude that if it is a complete chord then it also could not be diminished :D
Well, even this guy can change his judgemental mind. It is just words which don't hurt the chord at all!
Thank you so much ! wonderful colors !!! wonderful chords !!!
Hello from Costa Rica Jens! I just wanted to say thank you because I'm a college student and right now can't afford to pay for lessons. All your videos and emails have helped me a lot, although I'm still struggling with the theory part I am starting to understand a lot of things. But most important I'm able to enjoy what I play so much more. As soon as I can I'll become a Patreon. Again, thank you so much Jens. I'll keep studying.
Hi Jens, this is really a very good lesson ; thanks for your generous sharing.
I like where u phraseed that A half diminished. I play a 7 in drop a tuning and i like using that area of the neck with the open strings.
Best jazz youtuber
Thank you! :)
Great video! Thanks for each second of it
Glad you like it, Felipe
Thanks for being so straight forward and not stopping to teach people HOW to play. We should know how already if we are looking at advanced concepts like this. I had to go back to my music theory lessons to figure out what you are talking about in some places....but that's my problem not yours. Amazing lesson thanks again.
This video is also an excellent sound demonstration of the Yamaha SG-1000.
I also own this guitar. Great guitar.
Thanks! It is indeed a great guitar, though my bridge is actually bending under the strings, so I need to have it replaced :)
@@JensLarsen The bridge of YAMAHA SG (unlike the tailpiece) is not compatible with Gibson spec, so it may be hard to get replacement parts.
(Unless you reattach the studs.)
My SG-1000 bridge is in very good condition, but the SA-1000 bridge is worn out and I need to replace it someday.
I wish you good luck! Thank you.
@@134SASAKI thanks 🙂 I do indeed need to go hunting for one
I love your videos, they deserve more exposure, cheers from Mexico
Fantastic lesson. You really uncover a LOT of stuff here. Wow. I love it.
Yamha SG. Fabulous, under rated guitars.
Thanks!
Well done, as usual, Jens! When I get rusty in my jazz theory I always like to watch a video from you as I get to see the actual notation/voicing of your progression examples, and see the chord diagram. It makes it all click from my common-practice Bach learning I got way back in college.
BTW, I used to really be into older Latin jazz (esp. Jobim) - and I think your 1/2 dim chord analysis might apply to tunes like 'One Note Samba', 'Desafinado, 'Girl With Emphysema'' and others...in case that might make for another chapter in your tutorials.
Jens. I font know if I will ever get half reasonable at this at 68 years old but I really enjoy the lessons
Thanks John! Great to hear, and I would say: Go for it, as long as you have fun what could possibly be the problem?
Great lesson. Perfect pacing. Well done sir. Thanks.
excellent explanation here in Brazilian music we use LIDIO # 11
Nice 🙂
thank you for this lesson ! i'm glad i understood and it shows my progress(i think). last year i would have been lost in the first two minutes :)
Great job!
Really well done video. Very informative, easy to follow, you got my like/subscribe within the a minute of the video!
Thank you! That is very nice to hear 🙂
Such a clear and beautiful tone. And great insights too, again! Thank you Jens!
Great video, thank you. I also like bII-7b5 in place of dominant
Meant II-7b5 as sub for dom
That's very helpful lesson 👌
Glad you like it Luke!
Ottima lezione, grazie Maestro!
Jam packed lesson, filled with useful information. This will take quite a bit of practice to master !
You're such a great teacher. Thank you for the knowledge
You are very welcome
Thank u very very much!! keen on you!!
Great lesson Jens, you want my hack? well I use 2 half dim arpegios out of melodic minor as an altered sound. For instance over G7 alt I use Fmi75- and Gmi75- (also inversions), hard to master but a great concept. Keep up your great work.
Wow wow wow; this brother is truly awesome succinct & on point, appreciate it.
Wow great video thanks a lot
i wish i would be 20 now and jens would be the only youtube chanel existing ( besides jazzduets 😉😂)
Thanks Thomas :)
And Rick Beato
Will "get it", eventually.
Then, maybe I too can be hip. :)
Thanks Jens.
Go for it :)
Another great lesson. Thanks, Lars!
You're very welcome :)
I'm trying to ground myself in learning at a level that I actually learn at, I've been obsessed with stuff like modal interchange while getting confused when I see a key signature with 4 flats so I'm trying to stay basic until I master it.
The progression I made is D/\ to F#-
》 = key change
VIadd9 > ii7 > V9 > I/\7 > IV/\7 > vii >
I/\7 》vii-7b5 > Isus4 > VI/\7 > III > VI6(9) > III 》 IVadd9
OR
Badd9 > Em7 > A9 > Dmaj7 > Gmaj7 > C#m > Dmaj7 > C#m7b5 》F#sus4 > Dmaj7 > Gmaj7 > A > D6(9) > A 》Badd9
The C#m7b5 sounds really out of place, I think it's because I just used a C#m but I'm not as good with theory as I'd like to be.
The Dmaj7s and As have different voicings, if you reply I can add them in like this:
Badd9 - X X 9 8 7 9
E A D G B e
I just put a bunch of chords together and wanted to start practicing, I like the progression though.
I just thought of another cool progression.
Dadd9 > C6sus4 > Gmaj7 > Eadd9
Comprehensive! Thx Jens!
As a chord geek, I was looking forward to your list. I was aware of all except the last one, cool! Super clever coming after the F7alt, and a tritone in the bass makes for a spicy sound! :)
At a job once I ended up talking to Al Dimeola on the phone. I asked him what his favorite chord was. He thought for a second and then said "Minor 7 flat 5."
Great sounds.
Another good video my friend. 7th chords took me a while to figure out lol. Still figurin them out. I love half diminished chords. My guitar teacher taught me them when i was in lessons as a boy hehe. He was a jazz guy and i should have studied wit him more but anyway ive always found theres great ways to use that chord to create good tension in metal songs and makes for easy key changing and interesting chord melody options.
Great tone on that guitar.
Thank you, Richard 🙂
many thanks!
You're welcome!
great lesson, thanks Jens!!
You are very welcome, André
Absolutly beautiful chords,love it!!you put a lot of wo r k into all this,thanks so much ,u r a superb guitarrist,god bless you ,good luck!!thanks once again.
Half diminished is probably my favorite
very good thank you
Thanks, good teacher
Nice lesson.
Also use this chord to chromatically walk thru a 1 6 2 5.
C9 (E Bb D G)
A7alt (G Dd F Bb)
D9 (Gb C E A)
G7alt (F B Eb Ab)
This is a great video, Jens.
Thank you! Glad you like it!
As a music theory nut, thank you so much for making this video from such a practical perspective. Thank you also for using proper enharmonic spellings as I know how funny hdim and dim chords can be to spell. This kind of content is leagues beyond hacks on this platform like Signals Music
Glad you like it! I don't really think that Jake (signals music studio) and I have the same audience, and I suspect that he sometimes makes choices like that to make it easier for his audience to get what he is talking about? We all do deal with the odd enharmonic issue in the material, I at least feel that I am always making choices about that.... :)
Jens is the *Master!*
Thank you Jume!
Many thanks for the lesson!
You're very welcome! I am glad you like it! 🙂
Thanks for the video! I really like the tone you get out of that Yamaha, would you mind telling me what gauge strings you use? They look quite heavy, from what I can see, and there looks like a decent amount of tension, too. Cheers!
Glad you like it! The Yamaha has 13s strings from Sonotone. They actually feel pretty loose for 13s 🙂
For me,...Best lesson in a while
Glad you like it!
You did not mention my fav. Vanilla half dim. Up a minor third for dom7, then up maj 3 for tonic min 6.
I do try :)
That's a nice way to demonstrate the versatility of the half-diminished chord: it can function as a subdominant, a dominant and a (minor) tonic chord, and as a progression it sounds so natural (especially above the proper baseline) that you can hardly notice it is in fact the same chord transposed.
Cool! Could I ask what's your guitar model?
Is the guitar suited more for Jazz music or anything? Thankyou
That is a Yamaha SG1000. You can play most styles on it :)
Minor 7 Flat 5 is a Full Diminished Chord, but Augmented, m7(b5) = Augmented-Diminished, dim7+, aug°,
no
What video should I watch if I'm trying to understand when its appropriate to add extensions? For example in your 2 5 1 you added additional extensions on the V7 and the i-7 chord. When is it appropriate to use a 6/9? Just anytime you resolve on the i chord? I'm not sure how much I need to learn in order to derive extensions like that
Always thanks
Always welcome
Delicious! Thanks a lot!
I'm a rock guitar player and always got a terrible headache after five minutes following (and playing along) videos like these. ;)
But it's good and I like to learn this chords, even rootless ones. Before watching this lesson I just knew half diminished chords in two positions on the fretboard...
Well those inversions are gonna be useful on "Les Yeux Noir", thank you Jens.
That's helpful, thanks.
Glad you find it useful Timmy!
Wouldn't the Bb Maj 7 #11 chord in the end actually be a Bb Maj b5? The 5th is altered to a flat 5, but the 3rd is remaining unaltered (altering the third would result in a Maj 7 #11). Very helpful and thoughtfully structured video!
It is indeed a b5 chord if you only look at the notes in there, but in the context that it is used you will hear a 5th as well so it will sound like a #11.
@@JensLarsen Thanks for the quick reply!
Best ad for Ritalin ever
Jens, you always manage to nail one for me! I am currently doing a deep dive on Autumn Leaves and this is great material. Thank You as always...! ;-)
Thanks Donald! That's great to hear!
Good one there. So many chord names, but I have started experimenting with various stuff. Systematically, but without knowing the names. For instance I can take just one minor scale position, say the 1st position. Then, I choose the chord degrees to be 1, 3b, and 4. For each of them I focus on their triads, and also add the two immediate notes before the 5 for each chord. What is this called, in musical terms?
You are the Best 👍👍👍. Is it Yamaha SG guitar? 😘😘😘
Thank you! Yes, it is a Yamaha SG1000 from '75!
@@JensLarsen Love it so much 😍😍😍
@@JensLarsen oof, a dream guitar of mine :')
nice I use it as the 1 chord in blues like C# in A
Solid!
Hoi Jens, waarom klinkt Cis-HalfDim chord als een gewone volle A(Amaj) of A7, als ik een blues speel. Zo gebruik ik hem in de blues als chord 1 in de key of A. Komt dat omdat de 3rd vd A een Cis is? De b7 is ook de b5 vd CisHDim