Short Sweep Arpeggios: Diminished

man, nice guitar, but your tone is horrible

tone was not so nice i agree, but the lesson was very good for those unfamiliar with diminished and its a lesson so tone isn't something i even look at haha.

Sick lesson man!

tone =/

Really good lesson, I love playing with the diminished scale.
His tone isn't so bad that it distracts from the lesson, come on guys.

hm.
well he knows his theory but sucks at guitar.

Sweet! i hadn't actually learned what makes something diminished... this helped a lot. [=

probaly poor sounding tone due to x lite strings and use of distortion. good lession on dim. apreggios.

good lesson... i now understand my theory

Why won't it play?

Maybe Aaron didn't want his tone to out-shine what it was that he wanted to teach. Anyway . . . it was a well thought out lesson with a lot of useful examples. Mastering this lesson would be good for impressing your friends, but it's not very useful for everyday songwriting usefulness (unless you're Yngwie Malmsteen=)

The tone was good enough for me to hear what he was playing, and it's a good lesson that teaches a good warm-up exercise.

ticklemeemo wrote: Really good lesson, I love playing with the diminished scale. His tone isn't so bad that it distracts from the lesson, come on guys.

I agree

Using the enharmonic names of the notes he's correct that there are only three diminished chords kind of, but thats a horrible way to look at it. Its all about context because c, e-flat, g-flat, and b-double flat isn't always a diminished chord in the key you are playing. Its a fully diminished vii7 in the key of D-flat (major in case you don't know that capital letters are major) which is a borrowed chord from the theoretical key of d-flat harmonic minor because in major you have a half-diminished vii7. And if he calls it a c fully-diminished 7 he can't change the b-double flat to an a. Though it is the same pitch enharmonically it alters the name of the chord. If you have a, c, e-flat, g-flat, now you have an a fully- diminished 7. Which isn't in his list of the three diminished chords you have. a fully- diminished 7 would be the diminished vii for the key of b-flat or borrowed from that key for the key of B-flat. You see its all about context. Thats why the way this guy is teaching the theory this way is misleading. He's trying to give you a shortcut but you can't really cut corners in music. It only hurts in the long run.

stingray104 wrote: Using the enharmonic names...It's all about context...you can't really cut corners in music

Stingray - Excellent point...I totally agree.

Aaron - You have good presence as a demonstrator, but may I suggest you redo the vid to accommodate Stingrays points, and also back of the distortion (turn the vol down a little), and slow down your speech/delivery rate? Keep at it dude, you're getting there!

g.