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I don’t know about all that.
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Sunburt is right. When people start talking chords like that they are making things up. Nobody in their right mind plays that. Really
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Gunnar,
I’ll try to answer your question. First off it makes sense to understand what you are playing. Otherwise all you are doing is mimicking. There are two types of diminished chords – full diminished and half diminished.The chord in the lesson is a full diminished chord. If you “spell” a D7 chord it would be D-F#-A-C. A D dim chord has D-F-Ab-B. Notice the 3rd (F#), 5th (A), and 7th(C) have all been lowered a half step (in soundslice the Ab is shown as G#). The interesting thing about this chord is if you start on any of the notes, you get the same chord. D dim same as F# dim, same as A dim, same as C dim. One chord grip gets you four chords.
There is also a half diminished chord in which the 7th (C) is not lowered. But that chord is different for each root. This chord is also called a minor 7 flat 5, which I think describes it better.
As to the E7b9. If you spell this out it would be E-F-G#(Ab)-B-D. So you see it contains the same notes, but includes an E root. That would be an acceptable way to play E7b9, but the chord finder should have done better.
And yes people do think about chords that way.
Hope that helps
Bob -
Case in point. See what’d I tell ya. Lol
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Gunnar,
I’ll try to answer your question. First off it makes sense to understand what you are playing. Otherwise all you are doing is mimicking. There are two types of diminished chords – full diminished and half diminished.The chord in the lesson is a full diminished chord. If you “spell” a D7 chord it would be D-F#-A-C. A D dim chord has D-F-Ab-B. Notice the 3rd (F#), 5th (A), and 7th(C) have all been lowered a half step (in soundslice the Ab is shown as G#). The interesting thing about this chord is if you start on any of the notes, you get the same chord. D dim same as F# dim, same as A dim, same as C dim. One chord grip gets you four chords.
There is also a half diminished chord in which the 7th (C) is not lowered. But that chord is different for each root. This chord is also called a minor 7 flat 5, which I think describes it better.
As to the E7b9. If you spell this out it would be E-F-G#(Ab)-B-D. So you see it contains the same notes, but includes an E root. That would be an acceptable way to play E7b9, but the chord finder should have done better.
And yes people do think about chords that way.
Hope that helps
BobBob
Thanks for giving a good and clear answer on this question. Diminished chords are a vital part of blues and especially jazz so a good understanding is essential to one’s playing, essential to chord melody playing
The only thing that I will add to your explanation is to expand your statement – The interesting thing about this chord is if you start on any of the notes, you get the same chord. D dim same as F# dim, same as A dim, same as C dim. One chord grip gets you four chords.
In the tab for EP289, Brian plays the Ddim7 with the pinky on the 10th fret. Move that chord shape in either direction 3 frets, and the chord is repeated, just the voicing different.
Play it at the 10th fret as Brian has in the tab,
move it to the 7th position to have the B as the highest note – same chord
move it to the 4th position to have the Ab as the highest note – same chord
move it to the 13th position to have the F as the highest note – same chord-
GNL,
You’re right it’s a great a great chord shape. The ambiguity of the chord name often confused me until I learned the theory.
Thanks for adding some germane comments to this thread.
Bob -
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Case in point. See what’d I tell ya. Lol
you know James?,, I want to be theoretical more often than not as you know by know theatrical too lol.. i’m guilty copying and pasting theory stuff too at times lol.. trying to look like i’m onto something big! .. than I think How young all those guitarist we all still try to come close to playing at our age when they did them in thier teens and twenties .. graduating to next level through use of theoretical mathematically equations formulas modes etc. sure can be exciting to acknowledge but to apply the theory is another curve.. simply comes down to practice ..thousands of hours of pratice .. many years if not decades for some genres.. I’m just grateful Brian never once bored me with any his lessons,why i’ve been following him pretty much the day he opened Active Melody,,I know I watched him for years befor Bryce invited me to join premium! anyway, miss Bryce, hope he’s okay, maybe he just works backstage these days! .. but seriously,will it make me learn Brian’s lessons any faster acknowledging modes etc?.. Perhaps, a bit more but only if I keep practicing and learning every single note on the fret board.. that;s where it starts imho.. one has to name every single note on every string up and down the fretboard to make use of theory..so that’s my first lesson in theory..second lesson is simply practice and keep all them notes you see as with whatever lesson you are practicing.. rest of the theory comes after naturally. Brian shares and in his own way theorizes his lesson for majority of beginners and sharing terrific lessons every week! .. This latest EP 291 took me many hours today(enjoyable) LOL .. albeit, theory is great if you know what to do with it.. and it really is a slow process and should never be rushed or thought to making a more skilled player…. . Plenty of stuff here to work on and theory does not really need apply.. just a basic understanding as Brian explains it.. Advanced here are learning enough to think it will benefit.. sure as learning open chords theory works but takes time..learn the fret board notes chords basic must knows.. rest becomes easier to learn but over years time..jmho
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That’s right 👍
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Sorry if I offended anyone. We all get different ways of enjoyment out of this wonderful hobby we have called guitar. Mine just happens to be pattern based and not so much the why’s of what I am doing. We all have our own methods and pursuit of this hobby. No right, no wrong as long as we are making great music.
Carry on my brother’s and sister’s in guitar. -
I could be wrong, but I think there is a song by The Coasters called “Along Came Jones” which uses a DIM chord being moved up 3 frets at a time. So it’s the same chord shape just moving up the neck 3 frets at a time. If I am right, I am completely boggled that I could remember such an obscure thing.
Sunjamr Steve
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@sunjamr so is that kinda like caged system, or does how the chords your talking about sound more different than the same chord in a caged format
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@sunjamr so is that kinda like caged system, or does how the chords your talking about sound more different than the same chord in a caged format
James
Its not so much that its like or unlike the CAGED system, it just happens that the notes in that chord form happens to repeat every 3 frets on all 4 strings and – LOL in some ways it seems like a fluke that the 4 notes in the D Dim 7 chord that Brian has in that song, can be the Dim 7 chord for 4 different keys
It can be a
D Dim 7
F# Dim 7
A Dim 7
C Dim 7Bob S pointed this out in his explanation above.
Keep in mind that the Diminished 7 chord is VII chord in any key
I chord is Major
2 Chord is Minor
3 Chord is Minor
4 Chord is Major
5 Chord is Major
6 Chord is Minor
7 Chord is DiminishedTo elude to something that Sunburst said earlier – If it sounds good, play it
The above list is the “gospel according to music theory”. With Rock & Roll, many times it all goes out the window and whatever sounds best is used.
Case in point, if you look at EP286, Brian used a B7 chord in bar 12; the song is in the key of A and by the rules of music theory, that should have been a Bm – but the B7 gave the sound Brian was looking for as he wrote the tune.Another common straying from the rules is the use of 7th chords. Take the C7 chord in the open position that we all know. The 7th of that chord is Bb yet the 7th tone of the C major scale is B. The chord that we call a C7 is correctly called a C dominant 7 and if you raise your index finger on a C Chord and add the B note, that is known as C Major 7.
By theory, the 5 chord is supposed to be the only Dominant 7 chord in a key so if you see a chord progression with a D7 chord in it, you should be able to say that the song is in the Key of G
But we all know that blues songs throws that right out the window and will use 7th chords for all 3 chords in most cases.No wonder Beethoven was rolling over – blues & rock ‘n’ roll came along and really upset the apple cart totally!
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This really isn’t a big deal.. you can build a chord, any chord you want and as long as you name it as you yourself understand it,, use it if it works! I rememver that app on my mobile,, searched on it and some of the chord diagrams never panned out what the chord name was.. think the app i use to give a shot (drains battery /probably invasive as most) “smartchords” I downloaded from google play.. it works but as I said ,, you however may find it useful if you want to agree with privacy tos.. i don’t bother with it much anymore. I wish you the best knowing the chords and PUTTING THEM IN PRACTICE!
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