How to Flex With Dim 7th Chords - Sound Like a Boss Ep. 1 

Nupfe... :D I feel flattered, honestly! Thank you!

choppin

SHOPAN!

I will steal this and use it occasionally.😂

Thanks Jeffery! Yeah, I know he was pretty much a maniac about it. The most extensive situation I know is in the second part of the Gigue in BWV 825 (Partita in Bb). That d minor prelude you mention is one of my favourite pieces for some reason, dunno, this is just an amazing piece in so many way

Oh yes, that Gigue is absolutely nuts! And, for such an impressive-sounding piece, surprisingly easy to play, even I can pull it off... :D

+organ prelude g minor bwv 535 +partita e minor bwv 830 :D D min prelude and gigue Bb are one of my favourites too, fantastic pieces!

Hey Nikhil, I sincerely appreciate! Still not a professor though :DDD and probably never will be!

Exactly. Jazz-Pianists are familiar with this type of cord-voicings.

ha! there you have your dropvoicings! Didn't you once ask me about that?

Ah jinx

lol dim 7th chords?

@@en-blanc-et-noir Among other things:D!

I'm happy to hear that!

:DDD Like what? You mean that "cadenza"-moves?

@@en-blanc-et-noir More chromatique harmony (diminished 7th chords)

[Schubert voice]

yeahy!! Well actually on the guitar that parallel shifting of dim7th chords is a joke!

innit?

Agreed!

LOL thanks, I guess that's a simple V7-I, mate! :DDD... disappointed? That huge arpeggio is just a Bb7 and then I do an appoggiatura towards the 5 of that chord (in octaves), on the final chord (Eb) I put a 6-5 on top. That's basically it... It's not the chords but more like the melodic stuff you're tossing upon a basic progression. Thanks for watching! :D

@@en-blanc-et-noirwow, laughing at the question just because I don't have the brain of fucking Mozart was really unnecessary, but thanks i guess

haha:DDD

Hey yo! Thanks for watching! Well, the day will come where I do a video on "classical" (the Vieneese-era) improvisation, for sure. The video on my channel that comes closest to that topic is an earlier episode on the "postclassical" prelude, but that definitely feautures a lot of the aspects you are asking for I'd say. Give it a try: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Du4l12TWj6k.html

@@en-blanc-et-noir Thanks for the response, and thanks for the recommendation, i'll check it out!

Or the bridge of 'Airmail special'

That's the guitarist, right? I know him!

Haha yes! Of course.

@@niccolomaldera love that tune. Ella also covered it of course. Emmet Cohens version on RU-vid is great too.

Yo, being exhaustively spoiled with German functional theories the implication your describing is pretty much relatable - I do not find it useful for creating such a thing, and from the inconsistent orthography composers use to notate such a situation I question that they‘ve seen it that way. But of course it‘s very interesting to know it and to look at it this way…

Hey Franz, thanks for passing by! Trio style: I guess he's intending a three-voice-realization in total. So there should be two voices applied on top of the given bass line. Some in the Partimento-bubble (including me) see the "Corellian" trio texture as kind of an ideal standard approach to realizations in general as any standard dissonance (the 4, the 7, the 9 and the 2) implies a third voice going along with the essential dissonant 2-voice scaffolding - more voices can be added but three voices form the crucial core element. If you wanna dive into that style I'd say the Händel's are way more "trio-friendly" as Fenaroli stylisticly tends a lot towards the galant sphere and not every Fenaroli makes a good trio, some do though, but many don't. I made a video on some Partimenti by Händel where I do exclusively trio realizations: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-rtvgATavhRQ.html

@@en-blanc-et-noir Thanks alot! 😀