Thank you very much , very clear. I was explaining my son that the diminished 7th was the chord from the seventh note fitting in the scale . Then I showed (guitar) the form and we found the Aflat, wich isn't in the key of C. Also great about the inversions on how you can create an interesting e.g. bass line.
@JoelLaviolette It’s interesting to observe when Bach does that - usually when he’s preserving scale lines in the bass. So it’s something he normally does in particular circumstances when the alternative would sacrifice the line.
Very interesting. What is wrong with III? You missed that one out - I'm sure you know - but why? You have done 5 out of the diatonic chords. This very helpful, but some of the issues may not upset everyone. I have a suspicion that I wrote a shortish piece earlier this year which did have an augmented second B - G sharp in the melody and that was a key point for me in that one. Also I'm less sure that I'm bothered by false relations - though thank you for explaining them and pointing them out. The problem with that is that you point them out - rather like giving someone a drink, and then saying "it's a bit over spicy isn't it?" and then drawing attention to that. It's one way to make the point, but telling them that you don't like it so much is not the same as that "they must not like it". With these minor reservations this is still a very good and helpful video.
There’s nothing wrong with III but it often moves on to VI and, depending on the circumstances, often doesn’t resolve comfortably on to a diminished 7th
@@MusicMattersGB I suppose I should have written B - A flat - which presumably is an augmented second. I find the terms augmented and diminished confusing sometimes - they only really make sense in a scale with letter sequences, so it's the labelling and the scale context which make the difference. In terms of notes on a keyboard G sharp and A flat are of course the same thing - with modern tuning. Terminology depends on the frame of reference. In Western music I guess the frames of reference are either diatonic or chromatic - but there might be others.
It’s really more about key and how intervals behave within the given key eg G# to B in the key of G# minor moves from the tonic to the mediant, which will sit comfortably; Ab to B in C minor creates an augmented 2nd between the submediant and the leading note, which makes a very different impact .
Good Lord! How can you be so accurate musically and then put the word AN before a word having a NON VOWEL starting letter. Gramatically only a word starting with a vowel gets the AN word before it. AN diminished should be A diminished.
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Another good lesson. Thanks to your explanation, enharmonics finally makes more sense to me.
Excellent
Great lesson full of user-friendly information that I had forgot about since college.
Handel's fugues brought me here.😃
Great stuff.
Very clear discussion of enharmonic issues relating to diminished chords.
Glad it’s helpful
Thank you very much , very clear. I was explaining my son that the diminished 7th was the chord from the seventh note fitting in the scale . Then I showed (guitar) the form and we found the Aflat, wich isn't in the key of C. Also great about the inversions on how you can create an interesting e.g. bass line.
That’s great.
Thank you for this video, and for all your videos, Mr. Green! --David (St. Louis, MO - USA)
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Another great video. Thank you.
Glad it’s helpful.
Fantastic content, thanks!!
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Great lesson; all of these diminished 7th’s keeps reminding me of Wagner;-)
😀
Another very helpful video. Thanks so much!!!
A pleasure
I learned something new. B fully diminnished is in the keys of CM and Cm both. I didn't know.
😀
Excellent Lesson -
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Thank you, but I do not hear the problem with chord VI because it is chord 1 in the relative minor (so listening to it, Ab becomes G#).
Absolutely. If you use G# you are in A minor. If you use Ab you are in C major.
VI in major is fine if you don't double the root, which works with it being the only diatonic chord where doubling the third is positively encouraged.
😀
It’s funny, we always hear about not doubling the third, but Bach did it all the time in his Chorales.
@JoelLaviolette It’s interesting to observe when Bach does that - usually when he’s preserving scale lines in the bass. So it’s something he normally does in particular circumstances when the alternative would sacrifice the line.
@@MusicMattersGBit would be really cool to see a video on some of these exceptions and looking at why the choices were made.
😀
Very interesting. What is wrong with III? You missed that one out - I'm sure you know - but why? You have done 5 out of the diatonic chords.
This very helpful, but some of the issues may not upset everyone. I have a suspicion that I wrote a shortish piece earlier this year which did have an augmented second B - G sharp in the melody and that was a key point for me in that one. Also I'm less sure that I'm bothered by false relations - though thank you for explaining them and pointing them out.
The problem with that is that you point them out - rather like giving someone a drink, and then saying "it's a bit over spicy isn't it?" and then drawing attention to that.
It's one way to make the point, but telling them that you don't like it so much is not the same as that "they must not like it".
With these minor reservations this is still a very good and helpful video.
B to G# is a minor 3rd and that often works very well in a melodic line.
False relations can be effective and, for example, often feature in 16th century music.
There’s nothing wrong with III but it often moves on to VI and, depending on the circumstances, often doesn’t resolve comfortably on to a diminished 7th
@@MusicMattersGB I suppose I should have written B - A flat - which presumably is an augmented second. I find the terms augmented and diminished confusing sometimes - they only really make sense in a scale with letter sequences, so it's the labelling and the scale context which make the difference. In terms of notes on a keyboard G sharp and A flat are of course the same thing - with modern tuning. Terminology depends on the frame of reference. In Western music I guess the frames of reference are either diatonic or chromatic - but there might be others.
It’s really more about key and how intervals behave within the given key eg G# to B in the key of G# minor moves from the tonic to the mediant, which will sit comfortably; Ab to B in C minor creates an augmented 2nd between the submediant and the leading note, which makes a very different impact .
Good Lord! How can you be so accurate musically and then put the word AN before a word having a NON VOWEL starting letter. Gramatically only a word starting with a vowel gets the AN word before it. AN diminished should be A diminished.
Good spot. Thanks