At 4:08 I say Gdim 7 when it should be G#dim7. Sorry for the confusion Get the TAB and Track working-class-guitar.teachable.com/courses/best-of-corey-s-youtube/lectures/45239489 Get 40% off The Arpeggio Handbook for Blues Guitar working-class-guitar.teachable.com/p/arpeggio-handbook-for-blues-guitar?coupon_code=EBOOK40&product_id=4255093

That diminished scale injection was so smooth i almost didnt even notice it!

Just found you recently, been playing for 60 years and always get something from the videos. Thanks!!

I am a monthly subscriber to Coery's website and this program is a steal and full of great instructions,

Blues on Corey! Thanks for another great lesson.

Corey, I have to say that at Complete Blues Volume 2 the "Modern Minor Blues" lesson on Working Class Guitar is absolutely out of this world, very tasty and fun to learn! I really appreciate your artistic approach in your lessons, simple and sophisticated at the same time. Every time when I hit the wall with my practice just visit your website for inspiration and in 10 minutes I find something amazing that can be added to my limited repertoire. Thank you! :)

Diminished is the best. I like to start a diminished off a dominant chord tone.

Great lesson! Thank you so much for sharing it with us!

Great lesson!

Corey...you are by far my favorite online teacher...I always learn a ton from you...currently going through your 50 blues rhythm course....it's great!

Corey is amazingly talented and can truly teach you guitar

Really great lesson, thanks Corey!

100%. Super helpful as always. These videos are the best way to truly learn these unique techniques. Short and sweet. Plus you always have a way of making complicated techniques super easy to understand. Thanks again for your content you provide 🙏🙏🙏

Just realized, In Memory of Elizabeth Reed, uses a diminished arpeggio as a set up. The brothers have got it goin on!

Corey, This is a really great tip for breaking down and incorporating cool diminished notes into the solo. Looking forward to more of your tips. Thanks and continued success!!

Really great lesson. Just sitting here noodling after watching this and already that diminished tonality, has been added to my own vocabulary. A simple lick is often a great Rosetta stone for people like me who've been hearing the "language" for decades but never really bothered to learn it.

Great video Corey and great topic. Hopefully you'll make even more videos and continue to develop some options for advanced Blues playing using flat-9, diminished etc.. that was very helpful.

Hey Corey, I know this is a little off subject but could you present a video or lesson on your Working Class Guitar site on how to play lead licks over a fast-moving chord progression?

Very helpfull as always, and totally digestible, many thanks for these little pieces that go to making a bigger picture available.

Hello Corey and all!

Love your lessons. FANTASTIC! Thanks sooo much.

Thank you for posting this fantastic lesson incorporating the diminished scale Corey! The major/minor blues licks you play are very sweet, and the diminished licks you demo are So Cool and fun to play! Thanks also for generously making the tab and b. track available! If you're not already, plse consider putting together a blues lead course using these same types of ideas and licks with different feels, like, Shuffle (yes!) Straight feel, Minor blues similar to your Albert King 3-string lesson track, Slow 6/8 blues, etc. Thanks Again👍

Cool stuff! I was expecting an Em at 2:45, maybe 'cuz I just learned "Dream" off DSOTM

Great lesson

excellent. you are becoming my fav teacher. Jim, Sacramento, CA

Holy smokes!! You just lit up the bulbs in my mind like christmas! I hate when “jazz” scales are used untastefully. So I tend to avoid the super “academic” stuff, despite actually having a working knowledge of it. THIS. Using the altered scales as a “pull” to the next chord. That’s what I was missing. I couldn’t figure out, do I play them over the I, the IV, the V? All of them! Any of them! As long as its in context to the next chord (usually a V/whatever). Thank you thank you thank you

Really nice CC!

Just got the interactive. eBook...Just what I need. Arpeggios were and are always HARD for me. I can see, by running quickly thru your book and skimming a few videos this is going to help tremendously. One more point, as a long time video editor I have to commend you on how clear you managed to get all the videos....WELL DONE!! I am NOT coming out of the box until I go thru this course and feel extremely comfortable playing with you jam track...will keep ya posted.

Corey, is it accurate that a diminished chord could resolve to any chord with a note a half step away from any note in diminished chord. I've been playing with this and can find a lot of ways to make this work though some are definitely better than others. Thanks so much for all the great content here and on your Working Class site!

So useful. Thanks

Thank You so Much

Great lesson as always Corey. Thank you so much!

Really great lesson Corey.

love your style! I ran across "getting started-add a dash of diminished " 2 years ago. you were in A showing how to use diminished run to get from I to IV cord. you started on the minor 3rd and went up(m3-b5-bb6-Root) . i thought I had it till this lesson where you sharp the root to get started which leads to the Major third of A ..... so its all a half step up from where i learned from your earlier lesson? see my confusion??

CC, Great job of instruction here. You have a great "Nack" for giving us (that subscribe and follow your teachings) & those with the fretboard & theory fundamentals enough to grab hold and understand where this fits into the blues progressions. For me, you did a great job teaching and getting us curious guitarist to seek out this sound in music. Thanks again.

Good length lesson thanks man!

good stuff

Nice!

Diminished is easy to launch into but hard to land!

Very tasty, add a little sophistication to your riffs.

Corey, I have also heard you can play a #diminished IV chord or arpeggio in bar 6 leading back to the I in bar 7. That doesn't seem to be a "functioning dominant". Can you explain the theory behind that move? Is it just all the chromatic tone resolutions it creates?

Hey!!!! I go Willy-Nilly EVERYWHERE!! :)

How did you get a flat 9 (G#) from a C7 (at 3:35)?

what strings do you use on that casino?

Apologies for the guitar ignorance, is that a Casino?

This is not terribly clear

Your hair is not Diminishing!! See what I did 🤓