Am I Playing Dominants WRONG? 

yes that would be amazing

Good idea

I'd also like very much to watch them talk about the difference of the traditional/tonal vs modern/modal way of using and looking at this scale, if there is any

that's a really neat quote, thanks :)

That should be 7thless Eb9+5. Also I want to thank you for saying the diminished in 6th diminished scale functions as a V dom b9.

You said it Man! A soft but pretty real tribute

I liked the underscoring, though I certainly experienced some cognitive dissonance between the spoken content and the unrelated music. I kept listening for dominant qualities. 😂😂😂

@@FrictionFive Well, "cognitive dissonance" Call it what you want, I call it messin' with the kid. So in essence you agree with me?

@@5geezers Indeed, I agree with you, objectively. But somehow I enjoyed the unrelated music.... maybe I do likes me a bit of cognitive dissonance now and then... in any case, the underscoring seems to make more sense when the video switched into "advertisement mode", which is certainly a convention on RU-vid.

@@FrictionFive "Advertisement mode" is one I pay RU-vid to avoid. But as to your possible liking for a bit of cognitive dissonance, yes a bit of underscoring can be effective on Netflix or something ha ha .....I think we've done this to death,you're a good sport Alec, I'm an old guy so maybe you gots to make allowances. I still hope that Adam gets the memo. Best wishes with your musical endeavors! : -)

@@5geezers Thanks, all the best to you as well!

I was thinking the same thing but you beat me to it. If you don't think about the bass notes, the A flat diminished chord is just a G 7 flat 9 chord which wants to go to C minor which is a substitute for The A flat major 7 chord, (The minor 7 three chord can always be a sub for the major one chord), but instead of going to the C minor 7, it does a deceptive cadence and goes up the Major 1 chord. But in all this the base is just going five to one.

A♭°/E♭ going to A♭⁶/₉ works because there is a deeper harmonic relationship between the notes present in the chords, which is not evident either in the chord or staff notation presented in the video; and is masked further by the V-I cadence present in the bass. If we analyze the harmonic identity of both chords, we’ll realize that -in origin- both are contained in symmetrical structures composed of two perfect fifth dyads -one overtonal (or from the ‘bright’ fifths side) and one reciprocal (or from the ‘dark’ fourths side)- in relation to a pole. In this case, the poles are C♭ and B♭, which connect the each chord’s harmonic pole by a semitone. This is easier to grasp if we visualize this relationship by listing a chain of fifths, starting from A𝄫, going up to C: [ A𝄫 E𝄫 B𝄫 F♭ C♭ G♭ D♭ A♭ E♭ B♭ F C ] In A♭⁶/₉ we have the notes: A♭ E♭ B♭ F C. The pole is B♭ and the dyads are located a perfect fifth apart in opposing directions from it. In A♭°/E♭ we have the notes: E♭ G A♭ B D. This chord -if its harmonic origin is deeply analyzed- is actually a clustered polychord composed of A𝄫 and A♭ᴍɪ. In the (enharmonic) notation presented in the video, the A♭ᴍɪ is arranged in second inversion and drop3 voicing, and the A𝄫 is arranged in root position with its root note doubled up an octave. If we reorder the notes, in relation to its order of appearance in the chain of fifths listed above, we have: A𝄫 E𝄫 C♭ A♭ E♭. So, in this chord, the pole is C♭ and the dyads are located a major sixth apart in opposing directions from it. An interesting thing to note about this chord is that the notes forming it are both sixths and thirds in relation to the pole: the major sixth (A♭) and third (E♭) -from the overtonal (‘bright’ fifths) side-, and the minor sixth (A𝄫) and third (E𝄫)-from the reciprocal (‘dark’ fourths) side. One way to grasp the harmonic relationship between these two chords, without taking into account a given melody, would be to play the A♭ᴍɪ|A𝄫 cluster in root position (notated enharmonically: G A♭ B D E♭), followed by A♭⁶/₉ in quartal voicing (C F B♭ E♭ A♭). By doing this, the symmetrical construction of each chord around a pole and the connection between each chord’s pole is easily heard and visualized.

you could look at some sus voicings

Yep.

tonic diminished always refers to a whole-half diminished scale: Ab Bb B Db D E F G

@@michaelhill3513 Oh yes! Of course. I should have thought of that. Thanks!