Great technical explanation of a cool "trick" that I was already aware of. Specifically, a dim7 can resolve to one of 4 keys...each of which has its V chord exactly 1/2 step below one of the 4 notes in the chord. I now see how those 4 keys are related to the inversions of the dim7 chord. Depending on which inversion of the dim7 you use, the strength of the pull to the destination key can be felt more/less strongly.
A teacher of mine told me that his teacher in composition used to say "If you're stuck, the diminished chord is your closest" which I found amusing at first, but helpful after some thought on it!
Wonderful video (as always). The one little factoid you didn’t mention is that (thanks to well temperament and the enharmonic spelling that it allows) there are only two possible diminished 7th chords. For someone unfamiliar with dim 7ths, that would undoubtedly be quite confusing, so I completely understand you’re omitting that information. I wandered into the land of dim 7ths in one of my earliest choral compositions. It was purely accidental (at the time), but I learned quite a bit from the experience. Resolving dim 7ths via suspensions can make a passage even more rich and satisfying to the ear…but enough babbling for now. I’m looking forward to this month’s live streams. I trust that you’ve assembled the required jokes and puns for the occasion. [side note: I loved your aside about too much gin in your corn flakes-I’ll be using that one myself. Thanks!]
Surely there are three possible diminished seventh chords - plus their enharmonic equivalents and inversions. I.e. C, E flat, G flat (F#), B double flat (A); C#, E, G, B flat; and D, F, A flat, C flat (B).
In his book on harmony, Nikolai Rimsky-Korsakov said that you can resolve a fully diminished seventh chord to any major or minor chord. I have tried this and it works. :-)
Well summarised presentation of the fundamentals behind resolving Dim. 7ths. Is there any demand for a lesson on how to instead approach them with various modulation otcomes and resolutions in mind?
Hi Gareth. If it would delight you, please create a video explaining hidden parallel 5ths and octaves. I am trying to understand them, but I could use some clarification on this subject. Thank you.
It is hard to understand at first, but Onorio Zaralli is right. The harmonic language and the auditory language is two very different aspects on the seemingly same thing. My best advice is to just think about it, rewatch this video a few times and then you'll suddenly understand it!
Agreed. C to D# is an augmented 2nd, which you might well use in a key such as E minor. C to Eb is a minor 3rd, which you might well use in a key such as C minor. So the interval sounds the same but looks different because it behaves differently within the respective key.
Hello, teacher. I'm a beginner composer. I would like to ask you a question. Can we use diminish chords in some ways other than resolution? For example, in e minor harmonic scale. I use this chord progression: Em, Ebdim, C, B and resolve to Em. Thank you, teacher. I love your videos. ♡
I'm not completely sure as I haven't tried it, but it looks to me that a diminished 7th chord in any inversion just as easily resolves to a V or V7 in some inversion without any respelling. Of course, only one of the outer notes follows the "pull" as you put it, but you still get very smooth voice leading. Maybe in this case, it's not really a resolution, but it's still on the way somewhere.
In some contexts and styles (Ravel!, Debussy!), you'd have (or imply) a bass not a third down, and it's a 9th chord or a bass note a fifth down, and its an 11th chord. Has that been theorized?
@@MusicMattersGB That's not the point. I am talkiing about considering core chords of 3 or 4 notes triads/halfdiminished/diminished in several ways by saying the bass is a) where it seems on face value: CDGB, chord of C7M b) a 3d (and optionally an octave more) down : (A)CEGB: chord of Am9 c) a 5th (and optionally an octave more) down : (F)(A)CEGB: chord of AF11 This appying to all species: major, minor, but most interestingly diminished and half-diminished. I perceive this in Ravel (Jeux d'Eau), Debussy (Preludes and Images)... Quite possibly in Scriabin. Mathematically, those could be equivalence classes (?). A matter to discuss on Feb 11 maybe.
A very useful exploration. Thank you Gareth. PS what happened to your Sight Singing courses, there were 2 but you've combined them into one. I'd enrolled in the first and was looking fwd to signing up to the second, but that's not possible now.
We’re able to offer a cross grade over to the new combined course. We can give you a discount code that will reduce the price to the original price if you’d bought them separately. Send us an email if you’d like to set this up 😀
C to D# is an augmented 2nd because some kind of C to some kind of D is a 2nd. C to Eb is a minor 3rd because some kind of C to some kind of E is a 3rd. Different names but sound the same.
@@MusicMattersGB I'm playing "Make Me A Channel Of Your Peace " for an upcoming church mass, in E flat. First ending is E flat, but repeats to long legato ending. Need good transition chord orogression from E flat back to E flat.
Augmented 2nds sound the same as minor 3rds but they notate differently. In your example Ab to B is an augmented 2nd but Ab to Cb is a minor 3rd. Which you use relates to the key eg Ab to B might be used in C minor; Ab to Cb could be used in Ab minor.
It’s not the most natural resolution but it’s perfectly possible. The best thing is for notes of the diminished 7th to move by step as much as possible.
"Now if you're not entirely happy about diminished seventh chords, ..." Lol diminished 7th chords are definitely not endearing.. it is their lot in life.
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Great technical explanation of a cool "trick" that I was already aware of. Specifically, a dim7 can resolve to one of 4 keys...each of which has its V chord exactly 1/2 step below one of the 4 notes in the chord. I now see how those 4 keys are related to the inversions of the dim7 chord. Depending on which inversion of the dim7 you use, the strength of the pull to the destination key can be felt more/less strongly.
Absolutely
A teacher of mine told me that his teacher in composition used to say "If you're stuck, the diminished chord is your closest" which I found amusing at first, but helpful after some thought on it!
Yes it can be a useful ‘go to’ chord.
Another vivid and crystal clear explanation, amplified by your beautiful tenor voice. Thank you!
A pleasure. Much more at www.mmcourses.co.uk
You are the best, Sir!
You’re most kind. Much more at www.mmcourses.co.uk
Wonderful video (as always). The one little factoid you didn’t mention is that (thanks to well temperament and the enharmonic spelling that it allows) there are only two possible diminished 7th chords. For someone unfamiliar with dim 7ths, that would undoubtedly be quite confusing, so I completely understand you’re omitting that information. I wandered into the land of dim 7ths in one of my earliest choral compositions. It was purely accidental (at the time), but I learned quite a bit from the experience. Resolving dim 7ths via suspensions can make a passage even more rich and satisfying to the ear…but enough babbling for now. I’m looking forward to this month’s live streams. I trust that you’ve assembled the required jokes and puns for the occasion. [side note: I loved your aside about too much gin in your corn flakes-I’ll be using that one myself. Thanks!]
Most kind of you and that’s very useful additional thinking. Yes, Christmas jokes are brewing. Meanwhile, enjoy your corn flakes!
Surely there are three possible diminished seventh chords - plus their enharmonic equivalents and inversions. I.e. C, E flat, G flat (F#), B double flat (A); C#, E, G, B flat; and D, F, A flat, C flat (B).
😀
@@chrisisbell3080 You are correct. I mis-remembered. Thanks for the correction
😀
Excellent explanation. Very clear. I will remember this.
That’s great. Much more at www.mmcourses.co.uk
Great explanation. Thank you, Gareth
The "respelling" of chords is fascinating. It does indeed open up a lot of interesting possibilities.
It certainly does
In his book on harmony, Nikolai Rimsky-Korsakov said that you can resolve a fully diminished seventh chord to any major or minor chord. I have tried this and it works. :-)
Absolutely
Thank you so much for your videos!
A pleasure. Much more at www.mmcourses.co.uk
Thank you, Gareth. 😊🎶🎶
A pleasure. Much more at www.mmcourses.co.uk
Well summarised presentation of the fundamentals behind resolving Dim. 7ths.
Is there any demand for a lesson on how to instead approach them with various modulation otcomes and resolutions in mind?
We could do that
Thank you kindly🤍
A pleasure
Hi Gareth. If it would delight you, please create a video explaining hidden parallel 5ths and octaves. I am trying to understand them, but I could use some clarification on this subject. Thank you.
Have a look at our harmony videos, which cover that area.
Augmented second is the same as minor third, isn't it? Why call it differently?
They have the same sound, but they are different from harmonic point of view
It is hard to understand at first, but Onorio Zaralli is right. The harmonic language and the auditory language is two very different aspects on the seemingly same thing. My best advice is to just think about it, rewatch this video a few times and then you'll suddenly understand it!
Agreed. C to D# is an augmented 2nd, which you might well use in a key such as E minor. C to Eb is a minor 3rd, which you might well use in a key such as C minor. So the interval sounds the same but looks different because it behaves differently within the respective key.
Hello, teacher. I'm a beginner composer. I would like to ask you a question. Can we use diminish chords in some ways other than resolution? For example, in e minor harmonic scale. I use this chord progression: Em, Ebdim, C, B and resolve to Em. Thank you, teacher. I love your videos. ♡
That chord sequence works. That’s the bottom line. If it sounds good go for it! Thanks for your kind words.
Very interesting, thank you
A pleasure
Great stuff. Still don't know where augmented 2nd fits in?
Thanks. Watch out for melodic movements between Ab and B. That’s where the augmented 2nds occur.
I'm not completely sure as I haven't tried it, but it looks to me that a diminished 7th chord in any inversion just as easily resolves to a V or V7 in some inversion without any respelling. Of course, only one of the outer notes follows the "pull" as you put it, but you still get very smooth voice leading. Maybe in this case, it's not really a resolution, but it's still on the way somewhere.
Absolutely
In some contexts and styles (Ravel!, Debussy!), you'd have (or imply) a bass not a third down, and it's a 9th chord
or a bass note a fifth down, and its an 11th chord.
Has that been theorized?
Extension chords are normally built from the bass up but yes, it’s possible to build the chord down from the bass.
@@MusicMattersGB That's not the point.
I am talkiing about considering core chords of 3 or 4 notes triads/halfdiminished/diminished in several ways by saying the bass is
a) where it seems on face value: CDGB, chord of C7M
b) a 3d (and optionally an octave more) down : (A)CEGB: chord of Am9
c) a 5th (and optionally an octave more) down : (F)(A)CEGB: chord of AF11
This appying to all species: major, minor,
but most interestingly diminished and half-diminished.
I perceive this in Ravel (Jeux d'Eau), Debussy (Preludes and Images)...
Quite possibly in Scriabin.
Mathematically, those could be equivalence classes (?).
A matter to discuss on Feb 11 maybe.
I think we’re both making the same point.
A very useful exploration. Thank you Gareth. PS what happened to your Sight Singing courses, there were 2 but you've combined them into one. I'd enrolled in the first and was looking fwd to signing up to the second, but that's not possible now.
We’re able to offer a cross grade over to the new combined course. We can give you a discount code that will reduce the price to the original price if you’d bought them separately. Send us an email if you’d like to set this up 😀
@@MusicMattersGB Thank you! As soon as I've completed the first (which is excellent) I'll email you.
😀
Is this music matters the shop that sadly closed in Maidstone ?
No. A different organisation
Sorry Gareth, I sill don't know how to recognise an augmented 2nd isn;'t a minor 3rd?
C to D# is an augmented 2nd because some kind of C to some kind of D is a 2nd. C to Eb is a minor 3rd because some kind of C to some kind of E is a 3rd. Different names but sound the same.
@@MusicMattersGB Many tnx. Got it now. I'm learning so much fro your brilliant teaching. So tnx for that as well.
Glad it’s helpful. Much more at www.mmcourses.co.uk
Does 7th note of a chord should resolve downwards only by semitone ? Or can it be resolved by tone too?
Let it resolve into a note that belongs to the key
@@MusicMattersGB Thank you sir 🤗
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Have to resolve E flat to F minor. 2 ways - E flat with C minor base, or C 7th diminished?
Can you give me more context to your question please?
@@MusicMattersGB I'm playing "Make Me A Channel Of Your Peace " for an upcoming church mass, in E flat. First ending is E flat, but repeats to long legato ending. Need good transition chord orogression from E flat back to E flat.
@jacquelinejacobson6789 You could use a Diminished 7th on A in the bass followed by Ic V7 I in Eb.
@@MusicMattersGB thank you
@jacquelinejacobson6789 A pleasure
half diminished can be inverted altered chord?
You can certainly invert the chord
How do I know the resolution to any chord
Big question. We have quite a few videos on the best chords to follow x.
❤
😀
I thought augmented 2nd was same as minor third.
Can you explain why A flat to B is an augmented second and not a minor third?
Augmented 2nds sound the same as minor 3rds but they notate differently. In your example Ab to B is an augmented 2nd but Ab to Cb is a minor 3rd. Which you use relates to the key eg Ab to B might be used in C minor; Ab to Cb could be used in Ab minor.
Confused
What’s causing confusion?
How to resolve a dim7th chord to a major/minor seventh chord. Ex B dim7th to C minor 7th?
It’s not the most natural resolution but it’s perfectly possible. The best thing is for notes of the diminished 7th to move by step as much as possible.
Why don't you say f to a flat is a minor third, rather than saying it's an augmented 2nd?
F to Ab is a minor 3rd.
F to G# is an augmented 2nd.
@@MusicMattersGB Got it! Thank you.
😀
"Now if you're not entirely happy about diminished seventh chords, ..."
Lol diminished 7th chords are definitely not endearing.. it is their lot in life.
😀
You the man
You’re most kind. Much more at www.mmcourses.co.uk