Its Dextrin id guess it’s the tritone present in both chords that demands resolution is what makes them so interchangeable. half diminished as well to some extent. if you applied an upper structure Bmin7b5 over G you get a G7 with a natural nine. tension and release.

I met some very good drummers with ADHD :)

@@MangoldProject I play bass lol it's strange either my brain scatters trying to learn/play or I get in a flow like it's nothing trying to learn composing though keep it up your videos are amazing

Yep, they're interchangeable pretty much. They can resolve to either a minor or major.

Thanks. It's ChordieApp.

You are welcome!

It's always interesting to hear from non-keyboard players. I sometimes wonder what it is that attracts them to the channel in the first place. Care to share?

@@MangoldProject I'm not Dale, but I also play string instruments, and enjoy your channel for the structural and tonal relationships you identify, and the beautiful chord progressions you use. Quite enlightening.

ChordieApp.

I'm the same I use a diminished chord a half step before the destination chord also referred to as the diminished chromatic passing. You can also do the same with minor chords going from minor to minor. This was a solid watch as always.

Dim7 formula: 1-b3-b5-bb7 There's a b7 in the m7b5 or half diminished chord. I guess diminished 7 just means bb7, which is a sixth.

Johnny Kirchens True, a dim 7 chord means the 7 th is dim as well.

What they said :)

@@MangoldProject Thanks for clearing that up guys!

Dave Pierce Just to expand on this, the idea for this naming fell to Classical composers, who felt all chordal tones should be based on odd numbers. Only later as we move into late Romanticism and Impressionism are 2nds and 4ths played more often. Before then the 2nd and 4th were only seen as suspended tones that required resolving, often to the tonic, and not part of the chord. The 6th posed a problem for them, as the dim7 required it and was used extensively in Classical music. They got round this by referring it to the double flat 7th. In musical theory it’s a 7th, to the ear it’s a 6th. Of course if you really want a true 7th you could play a semi dim harmony, root, b3, b5, b7. One of the most underrated harmonies in music.

Bloody hell ... That's what happens when I don't have time to do proper spell checking ...

Have you checked out my Piano Quickie series? Or my Piano For Beginners series? Both should have playlists on my channel.

It’s like a really scary dominant chord just resolve a 5th down or half step down

It depends on the melody, but it'll fit in most places where you'd play a "simple" dominant 7th.

ChordieApp.

ChordieApp.

Program is ChordieApp. Editing is with Camtasia. For hardware, see: kzfaq.info/get/bejne/kMuneLal2rTWZaM.html

it depends what scales you use ( which is all optional) It's just C Harmonic MAJOR ( Ab)..It's not the same as A Harmonic minor. C ionb6, dor b5, E phy b4, lyd b3, mix b2,... Ab ( ion #2, #4, #5) B loc bb7 Verse C ion #5, dor #4, E phy maj3, F Lyd #2,( G# loc, b4, bb7) A aeo, maj7, B loc maj6. It's EASIER if you use Memphis ( 2, 4, b6, 7 CHORD degree) are all POSSIBLE Full diminished..whether you count from C or from A. C Harmonic MAJOR and or A Harmonic min And/or C Harmonic min and/or A Harmonic MAJOR D, F, Ab, B...........................B, D, F, G#. It's easier if you practice playing G7 into C MAJOR or C min E7 into A min or A MAJOR or practice altering the 1, 4, 5 chords....from C or A.. Then the 2 chord degree. C Maj, F min/dim , G7 C harmonic MAJOR C min F7 G7 C melodic min C min F min/dim G7 C harmonic min C min D7 G7 C double harmonic min or lydian b3 and from A min pushing Up towards A MAJOR A min D min E min A min D min/dim E7......A Harmonic min A MAJ D min/dim E7 A Harmonic MAJOR A min D7 E7 A melodic min A min B7 E7 ....B7 into E min or E Maj7 or E7 ..back to A Then continue the process to Neopolitian ( n6 or N6)... it's just A harmonic min b2 or melodic min b2 Bb maj7, Bb7, Bb aug, Bb dim You could use it to help you CYCLE DOWN to the 4th. F MAJOR/Dmin.....Bb lydain.....( Then to lydian #2, lydian b3 to F and D) Bb Major/G min.....Bb aug ( its just Bb below D MAJ or D7) Eb MAJOR/C min Bb7 into Eb. Bb dim into B min/D MAJOR...or F#7 ( A/Bb dim/F#) into B min Bb dim , C dim.....into C# min ( melodic min) Bb7 C7 into F melodic min....or simply the F min chord. if you play Bb dim into the B min chord The B min chord be B dorian b2 of A melodic min You could just play A min...B min E7 into A min again...instead of A min...D7 E7 into A min...all the time. If you use the B min pentatonic and or D dominant , E dominant....you'll still be within all the notes of A melodic min. or you could play A min B7 into E min or A min D7 into G MAJOR/Emin...( circle UP to the 5th) or A min/dim ( lydian b3) B Mix b2 into E MAJOR ( Harmonic MAJOR) G# phygian b4 ( G#7 into C# min/E MAJOR A dim................C dim into C# min... You could also apply the n6 or N6 after the C MAJOR It'll sort of over lap,,if you play E7 into A MAJOR ( Bb) Now it's just C#/Db..dim/aug into D min( harmonic min , melodic min or D maj7) Then you see the same process from C#min/E MAJOR C# min......D Maj7 E7 C# min D7 E7 C# min D dim E dim into F melodic min ( Bb7, C7 into F melodic min) C# min D dim E7...ect.. if you play D maj7 to B min.....notice the E7 to D maj7 ( the 2, chord from MAJOR)...E7 into A7 into D maj7... or D min E7 into A7 into D min or lets say to play B7 into E min... You could easily apply the n6 again E Harmonic min b2 is just phygian , maj7 or you can even play A Harmonic min b5 ( not a common scale) F HUNGARIAN MAJOR....( the D#/Eb note) A Harmonic min #4 = A Hangarian minor) aka double harmonic min. It'll over lap to F lydian #2, lydian b3 or lydian dominant ( lyd b7 or mix #4) or you can see it as lydian #2, b7 or mix #2, #4 ( ion #2, #4, b7) You can stack it like this.... 1, 3, 5, b7 1, #2, 5, b7 1, #2, #4 1, #2, #4, 6 1,#2, #4, b7.... if you associate it with lydian dominant A min D7 ( lydian dominant) You could play it to F# harmonic min b5 ( F# min/A MAJOR) A melodic min = F# aeo b5 to aeo b5 , maj7 or from C melodic min = A aeo b5 to A Harmonic min b5 or you can see it like this aeo maj7 = harmonic min dor maj7 = melodic min phy, maj7 = harmonic min b2 mix maj7 = ionian loc maj7 = G mix #2 or C ion #6 dor b2 maj7 dor #4 maj7 dor b5 maj7 aeo b2 maj7 aeo #4 maj7 aeo b5 maj7 or you could remember it like this.... Aeo b6 dor maj6 Harmonic min melodic min Harmonic min b2 melodic min b2 Harmonic min b5 melodic min b5 Harmonic min #4 melodic min #4 Then CONTINUE the process...( it's an endless learning process) COMBINE the A Harmonic min b5 with melodic min b5 ( full dim W/H) if you go to the D chord....it's 4th mode) it's dorian b2, #4 and or Lydian dominant b2 ( mix b2, #4) full dim H/W. It basically has b3 AND maj3 yes...in a nut shell you can alter the chords to WHATEVER be it maj7, dominant, min7, dim , augment. min/maj7.lol..ANY CHORD degree :-P

Yeah, I know, but not sure how to swap it now that the video has been uploaded.

You can substitute a G7b9 for a Bdim7, Abdim7, Fdim7 or Ddim7. The 3dim7 in C would be an Edim7, so no.

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Hi Jack. I tend to make videos on assorted topics and I've never tried to create a common thread. I might sit down and try to group them into Beginner, Intermediate and Advanced videos at one point. Would that be useful for you?

@@MangoldProject yesss that would be so helpful. I did find success when i followed ur going through 5ths to memorize chords video, but i feel like in order to really advance my skills, i really a more daily proper and rigid practice system. I really hope that u can do a playlist like that with ur vids! Much appreciated

dominant 7 chords have a flat 7 (the note right below the actual 7, example: C E G Bb. Bb is below B) major 7 chords have an actual 7 (I usually think of this as the regular 7 chord, example: C E G B) minor 7 is a dominant 7 but with a flat 3 (the note right below the actual 3, example: C Eb G Bb, Eb is below E)

ChordieApp.

ChordieApp

That works, too.

It's called a rootless voicing.

@@MangoldProject yeah i know about roothlees.but what i mean is that the name and function of the chord should be the same. fpr example im your A7 example if you replace by a Db7...the chord should be always a V7/II or a V7 sustitute of V7/II?