Do you have a source for that? Playing Beethoven's Sonata 14 Movement 1 brought me here because he uses these chords there excessively. I could find that quote via Google but would be interested whether it is true and whether he said this in a broader context.

@@keckwinamadeus8244 ha I don’t remember. I wrote a research paper about Beethoven in high school almost 25 years ago and just recalled that.

This is a crossover I definitely didn’t expect lol, sup kenji!

what is j kenji lopez alt doing here cool

woahhh heyy

So can we expect a videon on half diminshed 7 (m7b5) chords soon?

Dumb down society. These scales were written centuries ago.. It's actaully SIMPLE and EASY..so lets Keep it SIMPLE STUPID. If you know your shit...you can tell DUMB DOWN people to...FFFFFF-OFF There's 9 DIATONIC parallel scales....DUDE. Until you learn them. and the MODES in them. (it's going to give you every possible) 7 notes MODES variations within the 12 note... 63 MODES... The vi mode of A Harmonic min (b6) is a F Lydian #2 The IV mode of C Harmonic MAJOR is F lydian b3.. They are what they are......1. #2, #4, 6 or 1. b3. #4, 6 Im not playing a PIANO...I dunnn have to stack it every other. I can stack it to whatever the hell I please...it's not my fault people can't play the piano or only know ONE scale in 12 different pitch. and cant even play half of the different keys.lmao They can kiss my ass. There's a difference...There's a G note in F Lydian b3 There's no G note in F lydian #2 The A harmonic b5 = F Hungarian MAJOR ( ion #2. #4, b7) 1 , 3, ,5, b7 1. #2, 5, b7 !, #2, #4, 6 1, #2, #4 b7 augmented 6th ??? they 're mode from the ematic scales they are what they are.. example if you count from b2 mode of A harmonic minor b2 1.....2...........3......#4 5.................#67R but I can make the Bb dominant god damn it..lmao if you count from the 7th degree mode 1b2 bb3.....b4 b5 b6 bb7.........8 You get what you get.....They are what they are yes...yes..yes..WTF is bb3??? Why U not just call that btich a 2..FFS.lmao There's' lydian Lydian#2 Lydian b3 Lydian augmented Lydian augment #2 Lydian aug #3...lmao lydian aug b3........why the FFFF do you play a b3 in an augment..it's dim..god damn it. A Melodic min b5...You get what you get..lol lydian aug b7....lmao ( Melodic min b2) Melodic min #4 ( lydian b3) Melodic min b2 ( N6) Melodic min b5....I made that up. But it's just dorian b5 with a leading tone dorian b5 = II of Harmonic MAJOR.. You'll see it..easier if you play A lydian b3 ( E Harmonic MAJOR) or A melodic min It's going to help modulate to F# minor (A MAJOR) F# aeo b5 or F# dor b5...simply play a leading tone.. It'll also over lap with F # Harmonic min b5 D lydian dominant...or D lydian dominant #2 ( or mix #2, #4) D Hungarian Major... Then you can play F # harmonic min b2,...to E min or G MAJOR or you can play G7 as the b2 chord...then A7 into D melodic min Then DOuble Dunnnnnn...lmao Play D double harmonics or D lydian b3 ( E7) into A min. or play G augmented into C min....hahhaaaaaaa ( F# melodic min b2)

I, personally have always hated enharmonic spellings. The idea that they are "technically correct", sort of erks me. When you look at mucic staff, seeing to notes that are space or a line apart as a third, really only helps keyboard players who's fingers are trained in diatonic theory. But if you are a horn player, for just one example, your limted range means practicing your chromatic scale from one end to the other is very important. Guitarist have a very wide range, but "suffer" from see everything as parallel shapes. All notes are space out chromaticly, so switching keys is very easy. You start to see you range as a cycle of 12 individual notes, whose names start to become irrelevant. To players like these Fb's or B#'s really piss you off, not to even mention double #'s and b's.

@@mickeyrube6623 But those notes mean(t) different pitch in a temperament other than the equal temperament. Plus, they look cool.

@@floracanou7613 hmmm...once I wrote a song that was very chromatic and modren, almost like a 12 tone row-thingy, but only 7 tones. My classically trained pianist was very confused by my instructions. Finally I just printed out what I wanted him to play. It was a simple 7 note key, just like he was used too: A##, B#, C#, D, Eb, Fb, Gbb. You know what? It did look pretty fucking cool.

The Castlevania-like sound in the beginning of the song is pure eargasm. Jake is a undeclared genius.

If you have not yet, check out his track in the mixing major and minor video

Shady Cicada: How to make a(...) guy Also reel em with the harmony

Davie: slap

Davie504- very impressive, plays _______ while/on/at _______

Check out stich method guitar

DavidWalliman : more top guitar theory..

This is what I thought.

Maybe late but imagine that boss changing attack patterns for every change in key... I'm a nerd. Sorry.

@@bohenian Also you have a minute and a half to beat it or you die

Hell, a whole song with just diminished 7th chords is way more prog than “lots of key changes.”

@@yarlodek5842 I know right. This was so Prog that I loved every key change. I can imagine a prog solo something similar to this :-P

Best comment! Haha I was vibing hard to this

I don't have an agent- if you know one, give me their number lol!

Because Hollywood is run by commies

Awesome video as always! Thank you man!

@@DrumRoody of course I knew it all along. genius

@@SignalsMusicStudio He plays one on TV

ikr

@@blackcitadel37 You're a Sales too??? Damn! What's up, Family?

My best subscription is PewDiePie.

si

Actually, Beethoven himself use that particular technique in 2nd movement of Symphony no.5 which he modulate from A flat major to C major. Good Stuff.

No he a natural and they are analyst's trying to understand his music must be really bored then he just offed himself

Just experienced that in another video 😮

so truuuuuue !

Did you notice....he used the Bb Harmonic MAJOR scale??? There's more you can do..becuase there also the Harmonic min b5 or Melodic minor b5.... The II. IV. vi VII....( of Harmonic MAJOR and Harmonic Minor are all possible FULL diminished. That's D F Ab B.......from C harmonics Major or min B D F G# from A Harmonic Major or min A Harmonic min b5 = F Hungarian MAJOR... A Melodic min b5...That's a possible Full diminished from the TONIC A lydian b3 .... The ( N6) are going to help you the other way Harmonic min b2 or Melodic min b2 b2 = Bb Major Cycle down to the 4th. ( the rookie ones..lmao) or B maj7......C7 into F MAJOR or F minor or B7 C7 to F melodic min or Bb dim into B min or MAJOR C E, G, B = C7........E, G, B = E dim....yes? once you play the F as ....Minor. you can alway Play F double harmonic min or F lydian b3 G7....to A min or into C MAJOR or C minor.lmao incase you get bore of play dimished all the time... A Lydian b3....why..that's G # phrygian b4 G#7 into C# min/E MAJOR....or Db MAJOR/Bb minor or you can play BMaj7.......C Maj7.......F Maj7 incase you get bored of Metal and all that Jazz...lmao You Know....E HUNGARIAN MAJOR = G# Harmonic min b5..yes?? YOu know you can also alter the G Loc b4, bb6 from Maj. min, or DOminant ... Play the G# harmonic min b2....A7 or B7 You;re in G# Minor....oki doke.... Play G# minor Melodic min or what ever. excuse me...... while I kiss the sky.Lmao You know the I III V ..are possible Augmented too...right? You can play into whatever keys from where ever. You dont have to put it all in one song... just dont do the same old shit in different keys.lol

That lick and arpeggio at the start was crazy cool

No dislikes, i DARE you bastards! Jake makin you better!

He is probably the best teacher on KZfaq. I couldn't even imagine expalining such concepts as easily as he does.

Yeah, agree with you

Reminded me a bit of Octavarium (song)

Wagner: "...and I'll write some stuff about Valhalla, Nibelungs and their greed... berp!!! One more beer and I'll add some valkyries" :D

Are you talking about the "Tristan" chord? I thought that was a minor7 flat5, but it's a while since I looked at it.

Diminished seventh chord is more about late classical era. Wagner preferred half-dinimished and dominant ninth chords

I believe so. I just saw a video about them and learned that they resolve a fourth above or a minor third below. For example, Caug can resolve to F or Am. *BUT* [the video didn't say this but, this is what I'm thinking] since Caug is the same as Eaug and G#aug (same notes), it can resolve to: C# as well. So that's C#, C#m F, Fm, A, and Am. (or any chord a half-step above any note of your augmented chord. just to make it easier.) That's all I know about augmented chords for now. Happy portaling! :)

@Azmon Rougier Oops! You are right. I just changed it. :)

The other way an Aug chord can be a portal is due to being symmetrical, you can throw an Aug chord on the 5th of the scale but resolve it to a new tonic, so long as the Aug chord has a note in it that is 5th above the new tonic. Works best to a minor scale imo, but will do both. So say you are in Cmaj, you end up on G which would reslve back to C. But instead you use Gaugmented which contains a B and a D# thus you can resolve back to C as normal, or back to E (5th below B) or to G# (5th below D#)

Chesky Stern "Yngwie is just really really fast." - His wife