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Diminshed 7th chords aka Full Diminshed chords are symmetrical and any note can be considered
Please note, this transcription was computer generated and has not been checked for errors. However, I do hope you find it helpful. Be sure to check out The Ultimate Modal Poster!Welcome to the signals music theory testing laboratory today's experiment involves musical portal technology, utilizing the diminished 7th chord to travel to a different keys in order to further your understanding of this topic.
I've uploaded today's instructions into a holographic virtual guitar teacher engaging lesson protocol in three two one. Hey, I'm Jake lizzio. And in this video, what I want to do is Floor some of the more interesting properties of the diminished 7th chord and start writing with those properties.
Mainly what we're going to do is explore the idea of these chords being symmetrical the fact that any note can be the root of a diminished 7th chord also the fact that these chords will resolve to either a major chord or a minor chord and what that means is that when you play a diminished 7th chord, there's eight possibilities of keys or chords that you can go to. So to me the diminished 7th chord is like a portal to eight different universes if you can just treat it in the sand. Ambiguous weird way, so the first half of this video will be heavy on the theory. If you're already familiar with diminished seventh then I suggest you just skip to the second half of the video where I'll be putting this all to use in actually trying to write music with some of these properties. So let's get started and talk about the diminished 7th chord, they're built just by adding on notes that are three Frets away or three half steps away. So if I'm starting on the Note C, for example, and if I go three Frets over it takes me to the note E-flat and if I go another three half steps overtakes me the note g flat another three half steps takes me to the note a It should be called a be double flat. We're not going to really call it that in this video. I want to keep things very simple. We've got these four notes c e flat g flat and those four notes are the four notes of a c diminished full diminished chord c folded Minister C diminished seventh ugly sounding chord, right? But here's the deal if I want to figure out the notes. Let's go to the note E-flat. For example, if I want to figure out the notes of an E flat full diminished. It's the same four notes. I have an E flat. I have a g flat. That I have an A and I have a seat.
So if these two chords have the exact same set of notes, they're the same chord there just in versions of each other C diminished is the same thing as E flat folded minister is the same thing as g flat folded Ministry is the same thing as a full diminished. Those are the exact same chord. I just play the same chord four different ways by sliding it up, right? So really the point here is when you hear a sea full diminished, I don't want you to think of it only being a see folded matters. I want you to think you know that Be an E-flat diminished. It could be a g flat diminished. It could be an a diminished depending on the way. We're treating it normally whatever the base note is of the cord that actually gets the name. So technically we should call this C diminished and we shouldn't call it a g flat diminished. But I want you to be open-minded and think about how these things work in different contexts. Now, the diminished chord is pretty useless all on its own.
Listen to that's really just garbage all on its own. It needs to go somewhere. The diminished 7th chord is a portal and a portal that doesn't go anywhere isn't very useful.
It's the destination. That matters right? So this C diminished can take me to a few different places and that's where the real magic happens.
How can it take me somewhere though? Well, I want you to think about how the diminished chord has fit in to our major scale. Right? We have to look the Roman numerals. One, two, three, four, five six seven and that's seven chord is supposed to be a diminished Triad.
The reason you're not supposed to make it a full diminished chord is because if you make it that 7 chord a full diminished chord you'll be adding in a note that's outside of the scale. You'll be adding in a flat 6, but if we do that a flat 6 will resolve.
Down to the perfect fifth very well in that context.
So what we're doing is we're breaking the rules, even though the seven chord is supposed to be a diminished Triad. We're going to take the 7th chord and we're going to make it a full diminished chord. So in this context here C diminished is the seven chord of d flat major, right? And that should resolve nice and fine.
Same thing in minor. If I look at my minor scale you'll see that the 1 chord is minor and the 2 chord is diminished.
So if I look at the C diminished And I ask myself C diminished is the 2 chord of what C is the 2nd note of what minor scale and the answer is B flat if I play a B-flat minor scale. The second note is C. So a c diminished will resolve to B flat minor very very well.
So even without worrying about voice leading and where things are going up and down I can find a method of resolution just by taking my diminished chord going up a half step or I take my diminished chord and move it down. Whole step and make it a minor chord two ways to resolve the same diminished.
So let's do that in a different key just so you see how easy this is. Let me play a d diminished right? Here's a D full diminished if I want to resolve this horrible chord, I could just go up a half step to a major chord. So what's a half step after d That's a flap, right? You hear that or I could have gone down a whole step to a minor chord what's down a whole step from D? That would be C so C minor diminished.
C minor and once again since any one of the notes of this cord could have been the root I can perform this operation of resolving up or down I can perform that operation off of the D. I can perform that operation off of f any one of the notes of my cord I can do the same thing off of it and that's how I'm able to modulate to eight different chords or eight different tonalities off of the exact same chord in a song that I wrote here. This same chord has eight different functions. It functions as the seven chord of four different major tonality. Oddities and it functions as the two chord of four different minor tonalities. So here's how I put the whole thing together. I started off with the diminished chord, which I use to see diminished in every single case here and right after that c diminished my first tonality came in as an E minor and the reason that works is because I was treating my C diminished as a g flat diminished and G flat is the second note or F sharp is the 2nd note of E minor. So I figured hey if this C diminished will treat it like an F sharp diminished. It can resolve to E minor. So my very first section has three measures of the Minor tonality the cord and I also use the E minor scale here was the problem I ran into though. If I just go back to my diminished chord and then launch you directly into a new key, then it's like a surprise every single time. It's like a magic trick. You never get used to what that diminished chord sounds like so I found it was really important to give you a little bit of that diminished chord in the context of our current key, but then the second time that I give you that diminished chord. It's to launch you and portal you into a whole new tonality.
So the way I structured this I've got three measures of my new tonality. The one measure of my C diminished three measures of my tonality one measure of my C diminished and that'll take us boom right into our new tonality.
And in this case what I did, I believe I moved up a minor 3rd to get into AG minor tonality and I use the G blues scale and really on top of every one of these chords, you know, after that, you know, I think it went to a B-flat major and I'm just looking at B flat thinking what kind of scales have the notes of the B flat chord in it, and there's a lot of options there.
So I you know, I went through scales like the flat lydian I ended up using some harmonic Major instead and always kind of highlighting that diminished chord. Once it came around that one little measure of diminished. I thought it would be really important to maybe play that diminished arpeggio or maybe play some of the half whole scale which fits right in with that diminished 7th chord, but really prominently highlight the fact that diminished chord keeps coming back and keeps taking us into new territory. Now there was a lot that I wrote here. I'm not going to go through every lick, but there was one like I just want to comment on because I thought it was really fun.
It was over the d flat major section. I decided to go into the d flat major key. I think it's the Only time I just use regular major. So what I had is I had these five note pattern one-two-three-four-five one-two-three-four-five one-two-three-four-five into a four note pattern. One, two, three, four, one two, three, and then a three note pattern one, two, three, one, two, three, one, two, three and a two no pattern one two, one two, one two, and I ended it with a nice little Bend. So it's 5 times 3 and then 4 times 3 and then 3 times 3 and then 2 times 3 and then you finally get that been to close thing off. I thought it was kind of cool. So here's what the whole thing sounds like going through eight different tonalities in a minute and a half using the Zack same chord with eight different functions Nutty stuff that was really really difficult for me to put that all together and have it sound listenable. You know, I think that might be too many different key changes for just a minute and a half. So I tried to Pace things out and you might see in the very very middle. I added a little bit of extra diminished because I thought it was getting really monotonous to just keep changing Keys like that. I figured a little bit of anxiety in the middle there a little extra diminished might help kind of break things up a little bit and at the end, of course, I just decided To make things nice and happy by resolving on a major chord the same major chord that we started off into.
So to me this is really exciting and like engaging and fun stuff. It was extremely difficult.
This is only a minute and a half of music and I spent probably 10 hours together writing it recording it tracking it plotting it out. You know, it's not every day. You need an Excel spreadsheet just to write a piece of music and I really quickly want to talk about that process.
It music isn't always supposed to be written like this. You're not always supposed to, you know decide ahead of time what you're going to write but sometimes this is a Only beneficial process and I learned and grew as a musician just by engaging in this and I know I would have never written this unless I had decided hey, I'm going to do this academic process of experimenting with this one chord and making myself resolve it to all eight different possibilities, you know, I've gained a lot from that process and I wouldn't have ever done unless I decided to so, you know, I don't recommend you this is how you write your music with with this kind of mechanical approach, but I do recommend you sometimes write music like this because I found it very helpful and it's a lot of fun. It's a really good. Project and puts you into some unfamiliar territory. So I hope you like this video and I hope it got you thinking about things in a little different way and thinking about the ambiguity of your diminished 7th chord. If you really liked this video, you can consider supporting my patreon page to find folks over there are sponsoring these lessons and they really wouldn't be possible without them. So thank you to my patreon supporters. If you can't do that though. That's just fine. Think about liking subscribing commenting all that kind of stuff helps me out. So thanks for watching and I will see you next week.