Diminished 7th chords are pure magic. Each note of these chords is the leading tone to a new key!! And there are only three of them (in different inversions, sure).
Once again ... wow. Comprehensive content, enjoyable bits of humour and immediate piano example. What a holy trinity for us music theory students! Our pleasure is not diminished. Many thanks again. Greetings from Paris.
Thanks so much for your encouraging comment. We will keep producing material, especially if enough people sign up to Music Matters Maestros to help us. More info at www.mmcourses.co.uk Greetings from the UK to Paris!
Lowering each note one at a time gives you four different dominant 7th chords, and raising each note gives a minor triad with an added 6th interval. Raising or lowering multiple notes at once gives even more options. It’s amazing.
Your videos are never out of anyone's pay grade for long. They are explained so simply that you instill music theory knowledge better than anyone on the internet. I quit watching one famour You Tuber for his music theory videos until I have a post-Doctorate in Musicology, since he uses very advanced ideas all the time. You are really ZE Maestro.
Thank you for shedding some light of the Diminished 7th chord in terms of opening up possibilities of adding colour to a composition. It also helps me understand the umpteen chord changes on Chopin's Fantasie Impromptu! Big THANK YOU again!!
The crazy thing about your videos is that your tricks are explained so simple yet so precise which makes it actually possible to implement them in one's compositions! Though, simultaneously you're able to not only follow the blueprints but also grasp the underlying music theory. Thanks a lot!!
I loved this video. The history and how modulation changed over the years was really interesting, but I loved everything about it. You give reasons for doing things ("getting boring so add a diminished 7th" Hahahha) and then explain it simply without showing off and leaving me in the distance. Your expertise is very evident. Thank you so much!
Oh yes, that's great. The funny part is going back to the starting key without dim 7th... from E flat minor back to C major... Ludwig vB was a master of key jumping (take Patetica 2nd movement for example). Hoping to find a video on that very soon. Thanks a lot as usual for sharing your great musical knowledge! Cheers from Italy!
hi music matters i am addicted to diminished chords and your vids on the subject are amazing many thanks i am still on grade three but i need to know every thing possible using diminished. WOW just WOW
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Thanks. We will. Just hoping that a few more people will sign up to Music Matters Maestros to help keep the channel going. More details at www.mmcourses.co.uk
I'm working on a musical setting of Psalm 91, and at a certain point needed to get from a Bdim7 chord to a D#dim7 chord in the space of two measures. I originally tried Bdim7 to Cdim7 to Ddim7 to D#dim7, but that sounded too much like a silent film score to me. So I asked Google about movements of diminished chords and ended up at your video. Your example, starting around 6:40, of going from a Bdim7 chord to a Bb7 was the beginning of the solution. Thank you!
Very informative thanks. Love the dim 7 sounds. Looking forward to trying some experiments. Thinking of the old Charlie Chaplin movies. Anyone else remember them?
i think a good way to simplify the information is that because it's symmetrical, it can function as the viio7/ to either of the triads built a half step above either of its notes. So it can be an applied to 4 different notes but its function is determined by which one it resolves to
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
I didn't understand by which mechanism does enharmonic re-spelling of a Diminished 7th chord allow these modulations. For instance, in the second example, when you re-spelled BDFAb as CbDFAb, you said that it can now be considered as the V7 chord of Eb Major or Eb minor. Since the V7 of Eb Major or minor is a B chord, I don't understand how re-spelling B into Cb makes that a B chord, when now there is no B in that chord anymore? Is that chord now considered a D chord (DFAbCb), or maybe as some other chord? Similarly, in the first example, when we re-spell BDFAb into BDFG#, is that now considered a G# chord, and is that what allows the modulation into A Major, A minor, D Major, and D minor? Does it allow modulation into A Major and A minor because a G# chord could be vii chord in them and vii could lead into I, or is some other mechanism used here? I also don't understand how this re-spelling allows us to modulate to D Major and D minor. Is it because a G chord can be considered IV in those keys and that somehow leads to I?
When BDFAb becomes CbDFAb you can then resolve the Cb down a semitone to Bb and this is then the dominant 7th in the key of Eb allowing a resolution to the tonic chord of Eb. With BDFG# the G# resolves upwards to A while the B resolves downwards to A. This enables a tonic chord in A or lc in D minor. Hope that makes sense but do watch the video again in the light of this and it will be clearer.
Hi Gareth, I don't know how you can modulate from C major to Eb major. The seventh chord in discussion is [Cb D F Ab] but there is no Cb in the key of Eb major. Which chord of Eb major corresponds to this chord ([Cb D F Ab]) ? Thanks!
Thanks Gareth! The diminished seventh chord in C major is [Cb D F Ab] while the diminished seventh chord in Eb is [D F Ab Cb]. Thus, is it correct to say that we modulate from C major to Eb major via chord [D F Ab Cb] in "third inversion" because we have Cb in the bottom ?
The Diminished 7th in C is BDFAb, while the Diminished 7th in Eb is DFAbCb. Of course B is an enharmonic equivalent of Cb (ie they sound the same but look different). It’s this enharmonic shift from B to Cb that enables the move from C to Eb. One could present it in any inversion.
@@khiemngo1098 best thing is not over think it. I did that. Instead improvise on piano and experiment. Also, look at composers use of dim. 7 which is what Gareth has done. Beethoven and Mozart's minor sonata's are a good place to look. Also Bach preludes as a starting point. In folk music they are used in Hebrew music a lot. Hope this helps you.
Chord Vll7 in C major is BDFA. A Diminished 7th is a chromatic chord, which means it adds colour by using notes that don’t belong to the key so a Diminished 7th in the key of C is BDFAb.
It’s really a matter of voice leading eg G# B D F is a diminished 7th in the key of A because it’s built on chord VII in A major or A minor. It therefore progresses to the tonic chord of A major or A minor, with G# rising to A and F falling to E. The same chord using Ab instead of G# would now be built on VII in C major/ minor so it would progress to a tonic chord of C major/ C minor.
@@MusicMattersGB Thank you. However I tend to feel that there's a slight difference in that, BEAT can be realised on a piece of paper (Theoretical) whereas PULSE could be experienced.(Kinesthetic) How is my argument?
D and F belong to the tonic chord of D minor. The B pulls down to A and the G# pulls up to A. This naturally leads you on to the tonic chord of D minor in second inversion.
I still don't understand why Beethoven writes an F double-sharp instead of a natural G in the eighth bar of Moonlight III. I understand it's enharmonic but I don't understand the logic of that spelling: an augmented 2nd instead of a minor 3rd.
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
It's Possible over the 2, 4, b6, 7......whether you count from C or A C Harmonic MAJOR = Ab A Harmonic min = G# D, F, Ab, B B, D, F, G# And C Harmonic min And A Harmonic MAJOR That's why I used memphis numbering..so you'll SEE it. If you know other scales...it can be WHERE EVER degree. You can use any diminished chord to play into the next chord B into C........D into Eb........F into F#..........G# into A. KEEP it SIMPLE like that G, B, D, F = B dim/G into C MAJOR or C min E, G#, B, D = G#,dim/E into A MAJOR or A min You're basically learning how to play a dim chord a semi tone apart into a chord. The A melodic minor....That's 2 semi tone F# dim G# dim D7 E7 Harmonic... MAJOR or min....3 semi tone apart. That pretty much gives you all OPTIONS 2-set of w step = Maj3 KEEP it SIMPLE like that. The FULL diminished WH or HW... It's basically any degree...becuase it's SMMETRICAL over the A dim or C dim???? From A min??? A lydian b3 ( E Harmonic MAJOR) aka lydian dim... You can still play it as A min A min.....B7 into E MAJOR or E min..... G#7 into C# min......or A min C dim into C# min/E MAJOR without racking your brain...or if you dont want to learn different scales. MOST PEOPLE DON'T.... If you where in C MAJOR/Amin.......and wish to play into Bb Maj/G min or whatever KEYS.....just play a diminished chord a semi tone below the chord or KEY you wish to play into...whether it's MAJOR's or minor's TONIC.....KEEP it SIMPLE like that. If you went to C# min/E MAJOR from A min......just play G# dim (E7) into A min to get back to A min if you want to play from C# min to B min.....A# dim into B min or F#7 KEEP it SIMPLE like that.
Thanks for that full response. To look at the same thing another way, you can build a Diminished 7th on any note. If you want to key reference a Diminished 7th think of chord Vll in that key and put another minor 3rd on top of it.
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Diminished 7th chords are pure magic. Each note of these chords is the leading tone to a new key!! And there are only three of them (in different inversions, sure).
Yes. It’s an incredibly versatile chord. That why Liszt used them so much.
Once again ... wow. Comprehensive content, enjoyable bits of humour and immediate piano example. What a holy trinity for us music theory students! Our pleasure is not diminished. Many thanks again. Greetings from Paris.
Thanks so much for your encouraging comment. We will keep producing material, especially if enough people sign up to Music Matters Maestros to help us. More info at www.mmcourses.co.uk
Greetings from the UK to Paris!
Actually we're in seventh heaven with these gems.
😀
Lowering each note one at a time gives you four different dominant 7th chords, and raising each note gives a minor triad with an added 6th interval. Raising or lowering multiple notes at once gives even more options. It’s amazing.
😀
Your videos are never out of anyone's pay grade for long. They are explained so simply that you instill music theory knowledge better than anyone on the internet.
I quit watching one famour You Tuber for his music theory videos until I have a post-Doctorate in Musicology, since he uses very advanced ideas all the time. You are really ZE Maestro.
That’s most kind.
What I like is that I have enough knowledge to follow your lecture. Your lecture is not too basic and not too advanced for me, just perfect for me!
That’s great. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Thank you for shedding some light of the Diminished 7th chord in terms of opening up possibilities of adding colour to a composition. It also helps me understand the umpteen chord changes on Chopin's Fantasie Impromptu! Big THANK YOU again!!
That’s very kind. Much more at www.mmcourses.co.uk
Enjoy Chopin!
The crazy thing about your videos is that your tricks are explained so simple yet so precise which makes it actually possible to implement them in one's compositions! Though, simultaneously you're able to not only follow the blueprints but also grasp the underlying music theory. Thanks a lot!!
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme
Love your lessons! you are really helping many of us that love music and want to go a little bit further! Thank you!
A great pleasure. See www.mmcourses.co.uk for details of our 25 online courses and of our exciting Maestros programme.
I loved this video. The history and how modulation changed over the years was really interesting, but I loved everything about it. You give reasons for doing things ("getting boring so add a diminished 7th" Hahahha) and then explain it simply without showing off and leaving me in the distance. Your expertise is very evident. Thank you so much!
You’re most kind. Much more at www.mmcourses.co.uk
Oh yes, that's great. The funny part is going back to the starting key without dim 7th... from E flat minor back to C major... Ludwig vB was a master of key jumping (take Patetica 2nd movement for example). Hoping to find a video on that very soon. Thanks a lot as usual for sharing your great musical knowledge! Cheers from Italy!
Yes. It’s great isn’t it? If you go to www.mmcourses.co.uk you will find the analysis I’ve done of Beethoven’s Pathetique.
hi music matters i am addicted to diminished chords and your vids on the subject are amazing many thanks i am still on grade three but i need to know every thing possible using diminished. WOW just WOW
Hi. Great to hear from you. Glad you’re into Diminished chords. Much more at www.mmcourses.co.uk
The most intelligent and articulate concise and rewarding explanation. Thank you.
That’s most kind. Much more at www.mmcourses.co.uk
you are now my favorite theory teacher....
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
Keep going with this great channel
Thanks. We will. Just hoping that a few more people will sign up to Music Matters Maestros to help keep the channel going. More details at www.mmcourses.co.uk
I'm working on a musical setting of Psalm 91, and at a certain point needed to get from a Bdim7 chord to a D#dim7 chord in the space of two measures. I originally tried Bdim7 to Cdim7 to Ddim7 to D#dim7, but that sounded too much like a silent film score to me. So I asked Google about movements of diminished chords and ended up at your video. Your example, starting around 6:40, of going from a Bdim7 chord to a Bb7 was the beginning of the solution. Thank you!
A pleasure. Much more at www.mmcourses.co.uk
Very informative thanks. Love the dim 7 sounds. Looking forward to trying some experiments. Thinking of the old Charlie Chaplin movies. Anyone else remember them?
Charlie Chaplin. Great stuff!
You are a gift to the world, Sir. Thank you very much!
That’s most kind. Plenty more at www.mmcourses.co.uk
I love this man's mind. Thank you for the education.
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
I've been looking for information like this to help me understand playing to another key. Thanks a bunch!
A pleasure. Much more at www.mmcourses.co.uk
wow wow wow wow, the best vid on the entire youtube on dim7ths
That’s most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Woooo, I'm so amazed with those movements you use as you explain (especially second one),
So good
Too kind! See www.mmcourses.co.uk for our 24 online courses and details of Music Matters Maestros.
i think a good way to simplify the information is that because it's symmetrical, it can function as the viio7/ to either of the triads built a half step above either of its notes. So it can be an applied to 4 different notes but its function is determined by which one it resolves to
😀
dense. right to the point of what the use for this "tool" is. great video with theory and demonstration.
Thanks for your kind comment. See www.mmcourses.co.uk for much more.
From Egypt you're great.
That’s most kind. Much more at www.mmcourses.co.uk
The dim7 fun begins .. Thank you !!
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Thank you for opening me up.
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Thanks Gareth. This was fascinating!
A pleasure.
How to modulate by chromaticism, please explain ,Sir. Your videos are very educative and effective. Thanks. Arun Dey
We have a video coming on this topic soon. Stay tuned.
"Not causing any offence to world" LOL
😀
Thanks you. Excellent lesson and very good style
That’s most kind. See www.mmcourses.co.uk for much more.
Great video, learned so much 👍🏼
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Bravo!!! Really nice and good explained content...
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Brilliant! Thanks so much
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Wow! THANK YOU.
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I didn't understand by which mechanism does enharmonic re-spelling of a Diminished 7th chord allow these modulations.
For instance, in the second example, when you re-spelled BDFAb as CbDFAb, you said that it can now be considered as the V7 chord of Eb Major or Eb minor.
Since the V7 of Eb Major or minor is a B chord, I don't understand how re-spelling B into Cb makes that a B chord, when now there is no B in that chord anymore?
Is that chord now considered a D chord (DFAbCb), or maybe as some other chord?
Similarly, in the first example, when we re-spell BDFAb into BDFG#, is that now considered a G# chord, and is that what allows the modulation into A Major, A minor, D Major, and D minor?
Does it allow modulation into A Major and A minor because a G# chord could be vii chord in them and vii could lead into I, or is some other mechanism used here?
I also don't understand how this re-spelling allows us to modulate to D Major and D minor. Is it because a G chord can be considered IV in those keys and that somehow leads to I?
When BDFAb becomes CbDFAb you can then resolve the Cb down a semitone to Bb and this is then the dominant 7th in the key of Eb allowing a resolution to the tonic chord of Eb.
With BDFG# the G# resolves upwards to A while the B resolves downwards to A. This enables a tonic chord in A or lc in D minor.
Hope that makes sense but do watch the video again in the light of this and it will be clearer.
Bit clever and very useful :) Thanks :)
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Very interesting.. Thank you
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Thanks!
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Awesome video
That’s great
Magical....
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I want to learn more about this. Where do I go for more in depth?
Have a look at this course.
www.mmcourses.co.uk/p/music-theory-grades-1-to-8
www.mmcourses.co.uk/p/advanced-music-theory-grades-6-7-8
Be sure to take a look at this playlist too... Thanks
th-cam.com/play/PL5j5H06QkhxEQ3H0yacP_A3pjUviYCTl9.html
Hi Gareth, I don't know how you can modulate from C major to Eb major. The seventh chord in discussion is [Cb D F Ab] but there is no Cb in the key of Eb major. Which chord of Eb major corresponds to this chord ([Cb D F Ab]) ? Thanks!
DFAbCb is the Diminished 7th in the key of Eb so that can be followed by the tonic chord of Eb.
Thanks Gareth! The diminished seventh chord in C major is [Cb D F Ab] while the diminished seventh chord in Eb is [D F Ab Cb]. Thus, is it correct to say that we modulate from C major to Eb major via chord [D F Ab Cb] in "third inversion" because we have Cb in the bottom ?
The Diminished 7th in C is BDFAb, while the Diminished 7th in Eb is DFAbCb. Of course B is an enharmonic equivalent of Cb (ie they sound the same but look different). It’s this enharmonic shift from B to Cb that enables the move from C to Eb. One could present it in any inversion.
@@khiemngo1098 best thing is not over think it. I did that. Instead improvise on piano and experiment. Also, look at composers use of dim. 7 which is what Gareth has done. Beethoven and Mozart's minor sonata's are a good place to look. Also Bach preludes as a starting point. In folk music they are used in Hebrew music a lot. Hope this helps you.
😀
Why Bdim7 has a Ab in a C major scale? In this scale it should be halfdeminished (b-d-e-a), right?
Chord Vll7 in C major is BDFA. A Diminished 7th is a chromatic chord, which means it adds colour by using notes that don’t belong to the key so a Diminished 7th in the key of C is BDFAb.
Could you please tell me which application do you use to have the keyboard appear at the bottom of the screen? Thanks!
Hi, the application is called Synthesia.
@@MusicMattersGB Thanks!
@@MusicMattersGB Sorry to bother again: how do you edit the video portion alongside the Synthesia keyboard? I enjoy the videos very much!
Is there a way to know which chords one can modulate to from a diminished seventh in a given key?
It’s really a matter of voice leading eg G# B D F is a diminished 7th in the key of A because it’s built on chord VII in A major or A minor. It therefore progresses to the tonic chord of A major or A minor, with G# rising to A and F falling to E. The same chord using Ab instead of G# would now be built on VII in C major/ minor so it would progress to a tonic chord of C major/ C minor.
Love that Liszt fugue on BACH
It’s stunning
What is the difference between beat and Pulse in music?
They’re really the same thing
@@MusicMattersGB Thank you. However I tend to feel that there's a slight difference in that, BEAT can be realised on a piece of paper (Theoretical) whereas PULSE could be experienced.(Kinesthetic)
How is my argument?
The two words are interchangeable but you may have a point.
Don't understand why going to D minor from chord B-D-F-G# ?
D and F belong to the tonic chord of D minor. The B pulls down to A and the G# pulls up to A. This naturally leads you on to the tonic chord of D minor in second inversion.
my harmony teacher called this dimished 7s : "Minorthird" like an adjective- have you ever heard of such a name?
Diminished 7ths certainly comprise minor 3rds
I still don't understand why Beethoven writes an F double-sharp instead of a natural G in the eighth bar of Moonlight III. I understand it's enharmonic but I don't understand the logic of that spelling: an augmented 2nd instead of a minor 3rd.
It’s all about the key eg we use Fxx in G# minor so we end up with one of each letter name:-
G# A# B C# D# E Fxx G#
Anyone else also here after not understanding Jacob Collier's explanation of this?
Hopefully the video makes everything clear.
👍👏❤
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here th-cam.com/channels/8yI8P7Zi3yYTsypera-IQg.htmljoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
uah! 🐻👍👍👍💥✨✨✨
😀
Where is the 7th in that chord.
It's Possible over the 2, 4, b6, 7......whether you count from C or A
C Harmonic MAJOR = Ab A Harmonic min = G#
D, F, Ab, B B, D, F, G#
And C Harmonic min And A Harmonic MAJOR
That's why I used memphis numbering..so you'll SEE it.
If you know other scales...it can be WHERE EVER degree.
You can use any diminished chord to play into the next chord
B into C........D into Eb........F into F#..........G# into A.
KEEP it SIMPLE like that
G, B, D, F = B dim/G into C MAJOR or C min
E, G#, B, D = G#,dim/E into A MAJOR or A min
You're basically learning how to play a dim chord a semi tone apart
into a chord.
The A melodic minor....That's 2 semi tone
F# dim G# dim
D7 E7
Harmonic... MAJOR or min....3 semi tone apart.
That pretty much gives you all OPTIONS 2-set of w step = Maj3
KEEP it SIMPLE like that.
The FULL diminished WH or HW...
It's basically any degree...becuase it's SMMETRICAL
over the A dim or C dim???? From A min???
A lydian b3 ( E Harmonic MAJOR) aka lydian dim...
You can still play it as A min
A min.....B7 into E MAJOR or E min.....
G#7 into C# min......or A min C dim into C# min/E MAJOR
without racking your brain...or if you dont want to learn different scales.
MOST PEOPLE DON'T....
If you where in C MAJOR/Amin.......and wish to play into Bb Maj/G min
or whatever KEYS.....just play a diminished chord a semi tone below
the chord or KEY you wish to play into...whether it's MAJOR's or minor's
TONIC.....KEEP it SIMPLE like that.
If you went to C# min/E MAJOR from A min......just play G# dim (E7) into A min
to get back to A min
if you want to play from C# min to B min.....A# dim into B min or F#7
KEEP it SIMPLE like that.
Thanks for that full response. To look at the same thing another way, you can build a Diminished 7th on any note. If you want to key reference a Diminished 7th think of chord Vll in that key and put another minor 3rd on top of it.
Diminished chicken in the KFC !!!!
😀