How to Use Diminished 7th Chords - Music Composition

[@MusicMattersGB]

Learn Music Online - Check out our courses here! www.mmcourses.co.uk/courses

[@renaissanceman165]

Thank you. I'vw been composing and arranging for years, and I like the way you explain it. Even though a diminished seventh chord can be built on any of the individual notes of the chord, the chord name would change. Hence the question of "which name or key does it belong to?". I know the most reliable way is to keep it on the 7th degree of the scale. Or as a former teacher used to say "it has to make musical sense". You've proven that by stating the same thing ,that it has to use "authentic tones". Thank you again! Check it Out! Ciao!!!

[@renaissanceman165]

I never considered that the minor scale also has a diminished chord on the 2nd degree of the scale. I presume that you are basing that theory on the harmonic minor, and ascending melodic scales, correct? You are indeed stimulating my brain. I regularly employ diminished, and half diminished chords in my compositions for effect, so I'm sure I"ve used them on the second degree of the scale at some point. Thank you for your very enlightening, and engaging teaching style. Check it Out! Ciao!!!

[@MusicMattersGB]

That’s great. Thanks for your comment. Much more at www.mmcourses.co.uk including our 25 online courses and details of our exciting Maestros programme.

[@grahamfjlaws6108]

I'd never really thought about dim7th chord inversions before, always assuming that each inversion was exactly equivalent to the others. But when looked at from the voice-leading point of view the appropriate inversion is very relevant. Thanks for this thought-provoking video and the wise words.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@amusicveteran]

Your generosity with your time and knowledge ALWAYS restores my faith in humanity. You are indeed teaching the world to sing in perfect harmony. I thank you sir.

[@MusicMattersGB]

That’s great. Thanks for your comment. Much more at www.mmcourses.co.uk including our 25 online courses and details of our exciting Maestros programme.

[@salahmorsli]

Actually, you are the best KZbin Music theory Teacher 🙏 Thank you for your didactic method 🎼❤️ My support

[@MusicMattersGB]

Most kind. Much more at www.mmcourses.co.uk

[@viktoriiafedorova]

Thank you very much for your videos! I absolutely love the way you explain :)

[@MusicMattersGB]

Most kind. See www.mmcourses.co.uk for much more.

[@larspettereliassen7984]

These are some of the musical riddles that I have worked with for many years. What a relief to learn it thoroughly.

[@MusicMattersGB]

That’s great. Much more at www.mmcourses.co.uk

[@nidamozuraite]

This is very clear and helpful. Thank you!

[@MusicMattersGB]

Many thanks.

[@benhardy7862]

This the man who’s gonna get me through my Music GCSE

[@MusicMattersGB]

Plenty of resources at www.mmcourses.co.uk

[@ahopkins62]

Am I right in thinking you mean harmonic minor when talking about the diatonic chords? Natural minor chords would be different (m, dim, M, m, m, M, M)?

[@mattowen1242]

Yeah. He talks about the iii chord being augmented and it’s augmented if you raise the seventh scale degree. In a natural minor key, the III chord is major.

[@MusicMattersGB]

Absolutely. I’m referencing to harmonic minor.

[@justinbowerman6043]

@@MusicMattersGB that confused me too, i was thinking in terms of natural minor, and i was like WAIT WHAT???

[@MusicMattersGB]

If you’re talking harmony harmonic minor is often the place to start.

[@michaeldematteis9944]

Kind of confused about the dim in the key of c hecwas talking about.i know there's a dim triad but if you add the 7 a note would be half dim

[@cliveaitkenhead]

What a great video and those enharmonic modulation possibilities at the end! Wow

[@MusicMattersGB]

They certainly open up colourful options.

[@p1y2t3h4e5r]

You are a great teacher, recently discovered and subscribed to the channel. Thanks for sharing your knowledge. Awesome stuff

[@MusicMattersGB]

That’s great. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.

[@valentinamant2259]

Hello thanks for this lovely harmony lesson I like it very much thank 🎵🎵🎹

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@newjack2166]

Let me please say thank you as well. I had noticed the issue while playing but had never been able to completely grasp the context. Fantastic.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@brianhudson7058]

You teach in such a crystal clear way, thank you so much

[@MusicMattersGB]

That’s most kind. Much more at www.mmcourses.co.uk

[@JackStevenson5045]

I like your discussion at the end of using each pitch as a leading tone. I was worried that you would not discuss it.

[@MusicMattersGB]

That’s great. Much more at www.mmcourses.co.uk

[@dylanapivor3743]

Truly you're an excellent educator, many thanks for your videos 👌

[@MusicMattersGB]

You’re very kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@stephen285]

You are a good man Charley Brown! -I did not realize I have learning to do on minor keys. Happy Holidays!

[@MusicMattersGB]

😀

[@LohPro]

THANK YOU sir so very much for this lesson. I just could not get my head wrapped around enharmonic changes of full dim 7 chords & using them to modulate to other keys. That's such an excellent way to think about them as you show, by "re-spelling" the tone, putting that tone as root, forming authentic minor 3rd intervals & finding its key. Then you may invert the chord as necessary for the chord/key change. I believe now, that by using a diminished 7th chord, one could theoretically resolve to nearly any chord? Any of the four tones of a full dim 7 chord may then be used as the leading tone for any scale?

[@MusicMattersGB]

You’ve got it. It’s an amazingly flexible chord.

[@laura_whittle]

Wow 😮, brilliant video Gareth…!

[@MusicMattersGB]

Glad it’s helpful

[@Benjybass]

At 20:23, another trick is to use the diminished chord as a "pivot window" which allows you to modulate between 2 very distant keys, say C minor to E major. All one has to do is to raise or lower just ONE of ANY of the 4 notes and then resolve the chord to the target modulation. For ex: Play C minor (C, Eb, G, C), then lower the G to Gb (C, Eb, Gb, A) which will give you C dim , and finally lower the C to a B: (B, Eb [or D #], F# [or Gb], and A). The new chord becomes the dominant 7th of E major: B, D#, F#, A. This method is comparable to the saying " The shortest distance between any 2 points is a straight line".

[@MusicMattersGB]

Great example. It’s an amazingly flexible chord.

[@DiZedQuest]

Stumbled upon your videos and what an excellent explanation and one of my favorite chords (Dim7th). But I leave you with a question you might want to go back to your circle of fifths video. Why is it that every one insists that the circle of 5ths is always presented in this form i.e. "F-C-G7-Dm-Am-Em-BØ-F#-C# etc." as a cheap trick to find accidentals? When the circle is self explanatory, it is a circle which which denotes normal chordal movement backwards and forwards and the function of the BØ is the link which prevents modulation and a perfect explanation of the leading tone !!!! Looking forward to seeing more of your videos.

[@MusicMattersGB]

Thanks for your comments. Glad you’re enjoying the videos. I see your point. I like to see the circle of 5ths more flexibly in that one can alter accidentals in moving by 5ths, thus enabling modulation to a broader range of keys.

[@benbazzrea712]

Excellent video on diminished chords, really loving the content! :) :) :)

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@tomkirvin4571]

Excellent lesson! Thank you.

[@MusicMattersGB]

Many thanks. Much more at www.mmcourses.co.uk

[@Hellnation13]

thank you so much for sharing so much information with us

[@MusicMattersGB]

A pleasure. Enjoy!

[@pneumachina]

very instructrive and synthetic. thank you so much!

[@MusicMattersGB]

It’s a pleasure. Much more at www.mmcourses.co.uk

[@MinhPhamGators]

This was very helpful. I don't have much formal training, but as I progressed in my guitar playing, I noticed these concepts in the music, but didn't know how or why. This lesson connected the dots, at least for the diminished 7th chord resolution. Thanks.

[@MusicMattersGB]

That’s great. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.

[@ernstvandijk6342]

Excellent explanation!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@jameslockhart2223]

The enharmonic change is a revelation.

[@MusicMattersGB]

😀

[@dethrali]

Great video! Thanks for sharing.

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@CharlesAustin]

Thanks for the details !!

[@MusicMattersGB]

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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin

[@michaeltaylor7407]

Thanks! Very interesting!

[@MusicMattersGB]

Most kind.

[@amotkram99]

So in visual terms on the keyboard, considering the augmented 2nd theory, you can resolve the chord to a major or minor chord 1 semi tone above any note in the chord? And depending on the context that led to the dim7, the resolution will be dramatic or smooth?

[@MusicMattersGB]

That wouldn’t work for ANY note of the chord but depending on how you spell the chord there are many possibilities for resolution. Let the voice leading direct you.

[@patrickdineen4994]

Just found your tutorial, so clear, thank you so much Patrick

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@jenniferdsouza7327]

Beautifully explained! Especially the resolution. Thanks so much

[@MusicMattersGB]

That’s great. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.

[@LouAdipietro]

Absolutely love and appreciate your delivery and simple easy to underatand approach! I have one question.. hope you can write back. I noticed in the beginning of the video when you were explaining the chords in the minor key you stated chords V and VI are major. Isn't this only for the harmonic minor? As a natural minor will have a minor v chord. And you stated that the III chord is augmented. Thats from harmonic as i understand. Thanks

[@MusicMattersGB]

Absolutely correct. Those descriptions relate to harmonic minor (for harmony) but not to melodic or natural minors.

[@nebbykoo]

Can you please do a video about the Tristan chords? I love this channel. Thanks!

[@MusicMattersGB]

Okay. Thank you

[@patrickcunningham618]

Brilliant!

[@MusicMattersGB]

Most kind. See www.mmcourses.co.uk for much more.

[@christobelspafford6829]

Thankyou Gareth a very good explanation. Very clear and concise.

[@MusicMattersGB]

That’s most kind. Much more at www.mmcourses.co.uk

[@alanweston6425]

Hi Gareth, I found this video very useful but found it difficult to apply it to Mozart's Piano Concerto 24 in Cm. In bar 16 the chord being played by the ensemble is made up of C, Eb, F# and A natural notes (note: C is being played by the cellos and bases). Now I initially identified this as a Cdim7 chord but taking into account that this could be an inversion, guided by your video, the Eb and F# suggest an augmented 2nd and not an authentic minor 3rd. So 'unpacking, it could be F#dim7 in 2nd inversion i.e. C in the bass. Bars 13, 14 and 15 are in Cm i.e. no cadences to a relative key (as far as I can see!) prior to bar 16. But F#dim7 isn't in the key of C minor, when Bdim7 is (that by the way appears in the next bar). If you have access to a score how would you identify the diminished 7th in bar 16? Cheers, Alan

[@MusicMattersGB]

I haven’t got a score handy but I’m pretty sure you’re right that it’s an inversion of the dim 7th built on F#. This would make it a dim 7th in the key of G. The chord of G is the dominant chord of C minor so it’s the dim 7th of the dominant. Mozart loves to use this trick.

[@darkyangel99]

Dear Gareth, thank you for being such a great teacher! it will be a great honor if you can explain WHY "Dim 7 OF V" in C major is F# A C Eb, instead of Fb Abb Cbb Ebbb?

[@MusicMattersGB]

That’s most kind. Build any diminished 7th on chord VII then add a minor 3rd on top. VII in G (V of C in this case) is F# A C. Then add Eb on top and you’ve got it.

[@darkyangel99]

@@MusicMattersGB many thanks! Does it mean that one should treat the VII of G as in G major instead of C major so that one could get F# instead of F?

[@MusicMattersGB]

Absolutely

[@technic6455]

Your videos are excellent. please post videos about choral harmonisation with 13th chord, borrowed chords and modulating the chorale to any different key.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including videos about extended chords, borrowed chords, and modulation.

[@SolarMumuns]

Crystal clear! Thanks so much

[@MusicMattersGB]

That’s kind. Many helpful resources at www.mmcourses.co.uk

[@daluxolotunzi9049]

Wonderful and very clear

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@bobsmodelrailways]

Excellent study thank you for sharing. It took me right back to my youth at Leeds College of Music.

[@MusicMattersGB]

Great stuff. Much more at www.mmcourses.co.uk

[@elementrypenguin3116]

You’re a brilliant musician

[@MusicMattersGB]

That’s most kind. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.

[@miwir1248]

Very clearly explained!

[@MusicMattersGB]

It’s a pleasure. Much more at www.mmcourses.co.uk

[@davidboman9657]

Thanks for the great video. Hoping you can clarify something for me. You say at the top that the quality of the diatonic chords in a minor scale are the following: 1, 4: minor 5, 6: major 2, 7: diminished 3: augmented But based on the natural minor scale, wouldn't it be: 1, 4, 5: minor b3, b6, b7: major 2: diminished What am I missing? Thank you!

[@davidboman9657]

Ah! I understand, you're talking about harmonic minor! That makes sense.

[@MusicMattersGB]

Yes. Harmonic minor on the basis that harmony usually comes from the harmonic minor scale.

[@fishoscine1220]

This racked my brain too! Wish you'd have specified it was harmonic minor and not natural, which I think most would assume if not specified. Lesson learnt, don't assume. Great video though, other than that confusion. Thanks.

[@MusicMattersGB]

😀

[@stephen285]

So your video has me thinking, my question is why can't you just always see every song as a major song? Is there some advantage gained grouping songs into major vs minor? Thanks!

[@MusicMattersGB]

Major tonality feels different from minor tonality so they create ideal contrast.

[@ghazaleatefy2644]

thank you very very much! it was very simple and helpful.

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@martenbergstrom6893]

You’re the best teacher 🤩

[@MusicMattersGB]

That’s very kind. Much more at www.mmcourses.co.uk

[@brendaboykin3281]

Thanx, Maestro 🌹🌹🌹

[@MusicMattersGB]

Brilliant. Much to help you at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@bennetjoseph1956]

Very good explanation

[@MusicMattersGB]

Most kind.

[@jernejperdan3178]

I understand that diminished chords are build by stacking minor third intervals, but that means that diminished 7th chord is not a diatonic chord, because it uses flattened 7th in major scale/key. In example presented Bdim7 in C major is build as B - D - F - bA, but C major has A as 7th tone. I get that bA creates 'pull' but shouldn't Bdim7 in C major be B - D - F - A or am I missing something?

[@MusicMattersGB]

There’s a difference between VII7 and Diminished 7th. In C major BDFA is VII7 but BDFAb is diminished 7th.

[@mtaur4113]

Lately I've been using ii - iio7/V as a spicy ii - V. Maybe I use it a bit too much. It's not the only way to ii - V but it sure is addicting. Or maybe that's just Vb9, who knows? My only thought is that the diminished notation is more suggestive of how to spread out the voices.

[@MusicMattersGB]

Excellent. Good idea to share.

[@sandyswambo]

Thank you! Excellent lesson x

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@Limbiclesion]

Great channel well delivered information and paced correctly 🎩

[@MusicMattersGB]

Many thanks. Much more at www.mmcourses.co.uk

[@AkuyaMusic]

This is so clear & helpful! Thank you so much!!!!

[@MusicMattersGB]

That’s very kind. Plenty more at www.mmcourses.co.uk

[@Ashtree81]

1:50 To clairify for people, he is talking about Harmonic minor. In Natural minor, 5 is a minor chord not major 7 is major not dim 3 is major not augmented

[@MusicMattersGB]

Absolutely

[@RLCH26]

Thanks for your time :)

[@MusicMattersGB]

It’s a pleasure. Much more at www.mmcourses.co.uk

[@christinemarin4883]

Great explanation! Thanks.

[@MusicMattersGB]

Many thanks. Much more at www.mmcourses.co.uk

[@palutalu]

Thanks for the video, this has been so useful in understanding this topic. The first time through I got slightly confused, but I left it a day and just watched through again, and now it makes sense!. I just have one question: Relating to what you show towards the end of the video, how by choosing which note in the minor 7th chord you want to represent the 1st scale degree of the chord, you can then determine various different suitable chords for it to resolve to, and so resolve it to a chord in a different key to the one in which the minor 7th was approached. In this context, is it right to refer to the minor 7th as a 'pivot chord'? And it it common/acceptable practice to use minor 7ths in this way to move from one key to another? Many thanks once again Paul EDIT: You tube just recommended to me you video on "Modulation using Diminished 7ths" in which you answer this!

[@MusicMattersGB]

That’s great because hopefully that second video answers your great question. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.

[@churnyeechong2427]

is consecutive perfect fourth on the treble voices allowed when progresses from 3rd inversion of diminished seventh chord?

[@MusicMattersGB]

Yes

[@poucasamiga]

Thank you!!!

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk

[@regroberts325]

clear and concise explanations ,well done ,now wheres my piano !!!

[@MusicMattersGB]

Great stuff. Much more at www.mmcourses.co.uk

[@alexauger7828]

Perfect video

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.

[@caterscarrots3407]

I've noticed in my own works that a diminished seventh works well as a chromatic approach *from* a minor key *to* a major key a whole step below, like this: Soprano: G -> Ab -> Bb Alto: Eb -> F -> F Tenor: Eb -> D -> D Bass: C -> B -> Bb C minor to Bb major modulation in just a few chords But, am I really using a diminished seventh there, that's what I'm wondering. I mean, spelling wise, I am, but is it really functioning like a diminished seventh? Hmm, well, B goes to Bb and Ab goes to Bb. Wait a second, there is another chord built from overlapping tritones that does exactly that, the French Augmented Sixth. But, the French Augmented Sixth of Bb wouldn't have both D and F in it's spelling, would it? So, is it a common tone diminished seventh? Is it an atypical augmented sixth?

[@MusicMattersGB]

Notated the way you have it it seems to be a Diminished 7th but arguably it could be an Augmented 6th if spelt differently. This is the great thing about both the Diminished 7th and the Augmented 6th chords - you can be inventive and flexible with them by re-spelling notes.

[@lfr230]

Thank you for tour video. You say that the thirds have to be authentic to have the root of the 7dim chord. At 22:08, you suggest changing the Ab note into G# and then modulate to Amin or A Maj. But if you are in A Maj, your chord is not authentic because the note F in the chord should be F#. Do we agree that you then modulate only to Aminor? Kind regards

[@MusicMattersGB]

This example applies both to A major and to A minor because a chromatic chord often contains notes that don’t belong to the key but is still a chord that can function in that key, hence adding colour and tension - the purpose of using a chromatic chord. So, to confirm it’s the Diminished 7th chord for both A major and A minor.

[@vardanhovakimyan7633]

Great video! Thank you! Should you accept a suggestion, I think, it would've been great to have and pair this wonderful video with another one related to as versatile augmented chords with their multiple resolutions. Though, I am not certain the augmented chords/resolutions are common in classic music. This video was a great refreshment for me, thanks! 👍👍👍👍

[@MusicMattersGB]

Good idea

[@vardanhovakimyan7633]

@@MusicMattersGB 👍👍👍😉

[@MusicMattersGB]

😀

[@pacoJaco]

Great information 👌

[@MusicMattersGB]

That’s great. Much more at www.mmcourses.co.uk including details of our 25 online courses and our Maestros programme.

[@JackStevenson5045]

i really like the idea of “authentic” minor thirds

[@MusicMattersGB]

😀

[@barkerdavies8753]

At 9:12 you have drawn presumably a diminished 7th on the grand staff, but you're showing a D and an A flat on the treble clef and a B and F on the bass clef. This is confusing to me - is this just for illustration only and should the lower staff be a treble clef also? Please elaborate. Thank you for this channel, it has been very helpful to me overall ...

[@MusicMattersGB]

The Diminished 7th chord is BDFAb but you can organise the notes in any order. It is both treble and bass clefs in this example.

[@pdkett1]

Great instructional vid, but you say at 1.57 that the 2 & 7 chords in Minor are diminished- this is wrong. Only the 2 in Natural Minor diminished. 7 is Major. You are probably confusing them with with the Harmonic & Melodic Mnor scales when harmonized.as three and four note chords.

[@MusicMattersGB]

Thanks. Just to clarify - I’m using the Harmonic Minor scale ie Harmonic Minor for harmony, where ll and Vll are the Diminished chords.

[@pdkett1]

@@MusicMattersGB Yes, I figured that, but do you even mention 'Harmonic Minor' even once? Generally, when talking about Minor- 'Natural Minor' is implied (It is in music schools anyway.) That's why those other scales have different names (they're different from the Natural Minor) How confusing do you think that is for theory beginners? that have no knowledge of the Harmonic and Melodic Minor scales?

[@MusicMattersGB]

The general convention is that we use harmonic minor for harmony and melodic minor for melody but of course the natural minor is another option.

[@v.n.guptmusic3224]

Yes, in Natural Minor scale ditonic chords are m, dim, M, m,m, M, M. This is the theory I know.

[@MusicMattersGB]

Absolutely

[@lfr230]

At 9:18 your resolution contents 2 parallel fifths (B-Ab follower by C-G). I thought the parallel fifths /octaves should be avoided.

[@MusicMattersGB]

B-Ab to C-G does not give parallel 5ths because B-Ab is a diminished 7th. Parallel 5ths only come about when you have a perfect 5th between two parts followed by another perfect 5th between the same pair of parts.

[@AntoBeaw]

Hey, sorry if I'm wrong but, as I know, in the minor key I, IV and V are minors; II is diminished; and III, VI and VII are majors, why did you say another things when you were talking about the minor scales? Amazing video btw, very helpful

[@oldepersonne]

He's using the harmonic minor

[@MusicMattersGB]

Glad it's helpful. Just to clarify - I’m using the Harmonic Minor scale ie Harmonic Minor for harmony, where ll and Vll are the Diminished chords. The general western classical convention is that we use harmonic minor for harmony and melodic minor for melody but of course the natural minor is another option.

[@AntoBeaw]

@@MusicMattersGB Oh ok, thanks

[@tapasghosh1237]

Thanks for video sir

[@MusicMattersGB]

That’s great. Thanks for your comment. Much more at www.mmcourses.co.uk including our 25 online courses and details of our exciting Maestros programme.

[@gtrdoc911]

I don't understand why the Ab to B is considered an augmented 2nd and not a minor third as the minor third in an Abmin chord is B. Can u explain please?

[@MusicMattersGB]

Ab to Cb is a minor 3rd but Ab to B is an augmented 2nd. They sound the same but look different.

[@StratsRUs]

Thank You

[@MusicMattersGB]

A pleasure

[@timsmith190]

I'm confused with determining the key and root position of Dim. 7chords. Consider the notes E, Db, G, Bb.; This is a root position E dim7 from the key of F harmonic minor? Same pitches as A#, E, C#, G.; This is a root position A# dim7 from the key of B harmonic minor? This chord is in both keys? How do I know how to name the notes Db or C# and Bb of A#?

[@MusicMattersGB]

A Dim 7th is always a collection of minor 3rds or their enharmonic equivalent augmented 2nd. To place a Dim 7th in root position organise it so you can see genuine minor 3rds (ie no augmented 2nds) eg BDFAb. This will be based on chord Vll in the prevailing key. So this example is based on Vll in the key of C.

[@timsmith190]

@@MusicMattersGB Does this mean that when naming the chord you do not use bb (double flat) notes?

[@MusicMattersGB]

You could use a double flat in the case of an extreme key as long as you can place genuine minor 3rds, as explained above. For example Bbb Dbb Fbb Abbb. As you can see it’s extreme!

[@srijansrivastava3507]

Thank you so much Sir 🙏

[@MusicMattersGB]

That’s most kind. Much more at www.mmcourses.co.uk

[@mershymarsh]

how does one determine augmented 2nd vs minor 3rd?

[@CultureFusionSite]

I would guess the context of the composition.

[@markchapman6800]

The note names determine the interval. Any A to any B is always a second, any A to any C is always a third. Ab to B natural is an augmented second, Ab to Cb is a minor third. G# to B natural is also a minor third, but one which implies a totally different key, while still being the same notes on the piano.

[@MusicMattersGB]

Absolutely

[@mershymarsh]

@@markchapman6800 Thanks! Now what if I don't have any context, no sheet music in front of me, and simply play an isolated chord? Won't there be some chords with multiple names?

[@MusicMattersGB]

Sure.

[@kpec3]

If you want to hear diminished and half dimished 7ths, Dance of the Sugar Plum Fairy has loads of them.

[@MusicMattersGB]

True.

[@octopusjjsnook]

How do you distinguish an augmented second from a minor third?

[@MusicMattersGB]

C to D# sounds the same as C to Eb. The former is an augmented 2nd; the latter is a minor 3rd. Count from the lower note to the upper note so C to D is a 2nd, while C to E is a 3rd.

[@BlessedOne686]

Yh I stumbled on this point.

[@MusicMattersGB]

😀

[@lawrencetaylor4101]

While this makes perfect sense, I'm too early in my music education to need to worry about this. But I'll come back to this as I progress. I think I'm going to look for some aspirin.

[@MusicMattersGB]

😀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 kzbin.info/door/8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.

[@sksigil]

OK I'm thoroughly confused now. I always thought half diminished 7th was part of the major key and full diminished 7th was part of the minor key. Why are we flattening the 7th of the diminished chord in the major key? Where does that Ab come from in the B diminished 7th in C major?? I don't get it :( :(

[@MusicMattersGB]

It’s best not to confuse half diminished with diminished 7th. The diminished 7th chord is the same in relation to its tonic major key as it is to its tonic minor key. We have a video on the half diminished if you want to compare.

[@sksigil]

@@MusicMattersGB yes I have watched the half diminished chord video and it was quite helpful - I think I was confused because I learnt about 7th chords from jazz and you just stack thirds to create the 7th chords which includes the half diminished. But I guess in classical we need stacked minor 3rds to create the diminished chord, which is why the 7th is flattened?

[@MusicMattersGB]

Absolutely. Also the resolution of the b7 pulls down a semitone in conventional treatment both in the context of a major key and a minor key.

[@itsallblues9621]

Hi, are you stating that in both C major and C minor (harmonic) that diatonically speaking in both cases chord VII would be a diminished 7th? This isn't the case, in the key of C major chord VII is B Half diminished or Bm7b5. You state that it is 'logical' for a diminished 7th chord to be built on a diminished chord. I can see how you can make arguments for this compositionally but you are speaking about working diatonically in C major. Simply put there is no Ab in the key of C major. Or am I missing something? Thanks.

[@MusicMattersGB]

Chord Vll is a diminished chord. In C major that’s BDF. When it’s a diminished 7th it’s BDFAb for the reasons explained in the video. Ab is not a diatonic note in C major but that’s the nature of chromatic chords - they often use notes not in the major key and that’s why they’re called chromatic chords.

[@itsallblues9621]

@@MusicMattersGB Thanks for responding. I still feel that the way you have worded this is confusing. You clearly say state..... 'what I'm am saying is, that is a diminished 7th in the key of C and it doesn't matter if it's in the key of C major or C minor because VII will be the same in both.' Reading between the lines we both understand that you are talking about diminished triads on the seventh degree in both keys. It is confusing as the starting point in this lesson is the ‘diatonic system’ and using the diminished 7th as it enables you to …’reference the diminished seventh in the right key’. Agreed if you are referring to the harmonic minor but not diatonically for the major key. Do you see my point? From your explanation it would seem that you are using the diminished 7th as a reference in the context of diatonic harmony for major also.

[@MusicMattersGB]

Yes. I am saying that BDFAb is the diminished 7th in C major.

[@itsallblues9621]

Thanks again, after just discussing this a length with my kitchen fitter, we both agree that there is no B diminished 7th chord in the key of C major. We understand that the unresolved tension in a diminished 7th wishes to resolve and can to a C major or C minor chord but this isn't the same as saying '

[@MusicMattersGB]

I think the confusion here is about chromatic chords and how they function. A diminished 7th in C major is BDFAb - the Ab is a chromatic note because it doesn’t belong to the key of C major but it functions in C major by resolving to chord l. Another example of a chromatic chord. The Neapolitan chord in C major is Db F Ab. Here there are two notes that diatonically don’t belong but this is a chromatic chord that functions in C major. Another example would be the German 6th. In C major that would be Ab C Eb F#. This time there are three notes that don’t belong diatonically but the chord resolves to V or to l and is therefore a chromatic chord in the key of C major. The point being that often in chromatic chords you have notes that don’t belong diatonically but function in the said key. Hope that clarifies the situation. Good luck with the kitchen fitting.

[@judithfrechinger1712]

11:29 sounds good but wouldn't the F want to resolve to Eb?

[@MusicMattersGB]

It could do but the principle outlined is that the outer notes of the original chord pull inwards while the other two notes resolve in the middle.

[@judithfrechinger1712]

@@MusicMattersGB THNAK YOU!

[@MusicMattersGB]

😀

[@khiemngo1098]

Is chord 7 always diminished ? Chord 7 of C minor is [Bb D F], the distance between Bb and D is not a minor third. Thanks!

[@dillonheck801]

It’s using harmonic minor. Natural minor would have the major VII.

[@MusicMattersGB]

Absolutely.

[@RichardFerrini-uv4jr]

SHOW THE DIAGRAM OF THE B-DIM7

[@MusicMattersGB]

You can see the chord in the video

[@Koyomi112]

bIII in a minor key is a major chord, not augmented the natural minor scale consists of the chords i7 iim7b5 bIIImaj7 iv7 v7 bVImaj7 bVII7

[@MusicMattersGB]

We’re working in the harmonic minor here so for example lll in A minor is CEG#, which is an augmented chord.

[@Koyomi112]

@@MusicMattersGB Okay but then you should clarify it better coz minor key doesnt necessarily point to harmonic minor. I can very easily assume you are talking about hungarian minor in that way. Thanks for the explanation and please clarify a bit more in the future. I do like your lessons and hence why i am subscribed. Good luck for all the future vids

[@MusicMattersGB]

That’s great. There is reference to harmonic minor in the video but of course there are options between harmonic melodic and natural minor.

[@Koyomi112]

@@MusicMattersGB And the other types of minor scales as well

[@Koyomi112]

Like hungarian and neapolitan minor

[@MelvinbawagVLOGS]

Wooow thank you...

[@MusicMattersGB]

It’s a pleasure. Much more at www.mmcourses.co.uk

[@TeaNoSugar87]

My understanding was that the chords of the minor scale go minor, diminished, major, minor, minor, major, major, minor. The same as the relative major but beginning at the 6th scale degree. How is this not the case? Edit: Is it harmonic minor?

[@MusicMattersGB]

Yes it’s harmonic minor. In music following the broad conventions we use the harmonic minor scale for harmony but it’s always the case that the harmonic and melodic minors interact therefore there might be a mixture of chord possibilities in minor keys.

[@chrislight1712]

Tee, you were correct in your first statement.The chord built on the 7th step in the minor mode is a Major chord. Ex. in A-m the chord (triad) is G-B-D, pure Major...

[@MusicMattersGB]

In the harmonic minor it’s G#BD. Harmonic minor is so called because it’s about harmony/ chords. You might sometimes use a different form of minor scale but the harmonic minor is the standard default position.

[@chrislight1712]

​@@MusicMattersGBYou talked about the diatonic scale, and the Major chord pattern of M-m-m-M-M-m-d. The minor (aeolian) mode simply begins on the sixth step of the Major scale, and the pattern cycles through. m-d-M-m-m-M-M. That principle does not render and additional dim. chord, an augmented, nor a Maj. five chord. These are the triads I'm finding fault with, and I do understand to create a full dim. that you have go non-diatonic. I do consider myself a student and realize there may be something I'm missing. I lean towards jazz and learned not to play natural minor descending on a melodic minor scale, unless you want to.

[@MusicMattersGB]

In jazz you will often be working in modes. I’m using the harmonic minor scale because in the Western tradition from 1600 we use the harmonic minor for harmony and the melodic minor for melody - hence the names. Every harmonic minor scale from it’s tonic follows the pattern Minor Diminished Augmented Minor Major Major Diminished

[@sega62s]

at 7;32 I am getting lost....., I got to get more infos on this matter 🍻 Thank you for this great lesson

[@MusicMattersGB]

A pleasure. Much more at www.mmcourses.co.uk including details of our 25 online courses and of our exciting Maestros programme.

[@timovertoom1655]

Bedankt

[@MusicMattersGB]

Thank you for your support

[@DenA-c5v]

In a minor key?

[@MusicMattersGB]

Or a major key. The Diminished 7th is based on chord Vll, which is the same chord for the major or parallel minor key.

[@yozy4996]

Greetings Sir...Sir, Towards the beginning, you mentioned the chords in a major scale, and then you mentioned the chords in a harmonic minor scale... is there reason or purpose for not mentioning the natural minor chords.... it's not that I don't know what they are, my question is more so of relevancy... thank you kindly Sir.

[@thearno2885]

They are the same chords as in a major (Ionian) key , just in a different order. The chords from the harmonic minor are completely different.

[@yozy4996]

You speaking of the (relative) minor (scale) is the same as the major scale. just in a different order

[@MusicMattersGB]

The relative minor is the minor key that has the same key signature as it’s relative major eg C major and A minor share the same key signature, A major and F# minor share the same key signature.

[@yozy4996]

Sir yes Sir..

[@MusicMattersGB]

😀

[@octopusjjsnook]

I'd find it easier to undestand if you labelled the chords as you've done in all the other vids i;ve seen. Cheers.

[@MusicMattersGB]

I’m labelling here in the clearest way possible in relation to the chord in question.

[@Camaleonte]

You lost me with minor third vs augmented second. What's the difference? They're both 3 semitones.

[@MusicMattersGB]

C to D# is an augmented 2nd. C to Eb is a minor 3rd. They sound the same but look different and function differently eg you might meet the former example in e minor and the second in c minor.

[@chriscopeman8820]

I'd prefer if you specified which minor scale you're talking about here.

[@MusicMattersGB]

For harmony, harmonic minor.

[@mishioedward808]

I am in the process of watching your video; it looks interesting; however, I just want to say (before I continue) please try to let us know which of the minor scales or diatonic chords you are referring to (Natural, Harmonic or Melodic) when u say minor scale. The reason why I say this is because, my mind goes through a rough patch (subconsciously) trying to figure out which minor scale u talking about when u talk about minor scale. I normally assume you talking about Natural minor when u talk about minor scale; but, when I think deeply about it, I realize u most probably talking about the harmonic minor scale. Please put my mind to rest just by letting us know which minor scale u talking about from start. Thanks! 🙂🙏🏽 (Back to the video!)

[@MusicMattersGB]

Harmonic minor is the standard default position for harmony/ chords.

[@kittikhunsodprasert5841]

This is only real Maestro who can clarify complicated content in an simple way and straight forward. 🙏🙏🙏 Thank you Prof. Green

[@MusicMattersGB]

You’re most kind.