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Wait but how do we kick for D?

What a Beautifully arranged composition! Cudos’ to Cameron Coffee’s creation and the ensemble 😊

Nice one. Short and informative. I like it 👌🏻

This is a really great video. I would love some even simpler stuff. You're a good teacher for sure

I was told by someone with a doctorate in music composition that the circle/cycle of fourths was everything - he told me to call it the cycle of resolution. He said it's more useful than the circle of fifths. Do you agree? And Fallout music is incredible! I have a tattoo from a song I first heard in Fallout 3. Those songs changed my taste in music forever when I was a teenager.

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Great vid, keep it up! Very useful video for harmonic beginners such as myself. The circle of 4ths is incredible!

Love it

Great job! Thanks for that. (It's refreshing to see younger people still caring about music theory, i.e., harmony, chord progressions, etc.)

Hey dude, nice work. Video's great, but to be honest, the concept seems a bit redundant. I don't see how it really changes anything; saying "play 'Lydian/2' over a V7 chord" is identical to saying "play mixolydian over a V7 chord". It's the exact same note collection with the same implied root. The way I understood what you were saying is that you've basically reinvented modes but based around Lydian instead of Ionian. I just don't see the impact or benefit of doing that. I mean, Lydian itself is "Ionian/4" as you would say it, and mixolydian would be "Ionian/5". Am I misunderstanding?

Great video, you did a good job with this

Lydian is just Ionian over four 😂

All modes are defined by their unique usage of the tritone.. This is what I think you meant to say.

This was mind-blowing and incredibly useful, One chord cluster to rule them all. 😁 Just subscribed. 😃

Yeah man, loved this! What about a Lydian approach for b2maj7 (in a minor key) and would you still call that a Supertonic? It's my favorite chord btw 😂

"The f*ck are modes?" -Our lord and savior barry harris. I rest my case.

Very interesting and thought provoking idea, although wouldn't this same logic apply for any other mode? Also the voice audio is very quiet, but that might be intentional(?) either way good video!

You communicate perfectly.Well done on great teaching !

Why do you use Lydian as your basis of understanding the modes. Everyone I've ever met uses Ionian as their basis. The only difference between the 2 is the #4 of Lydian. It makes a lot more sense to use Ionian as a basis, because then you can then define modes using just 4 and 7 of the root major scale. Also, one could argue G major is C Lydian, but if it doesn't contain a 4 chord, or if the song resolves to something other than C, it's an unnecessarily complicated way of saying G major.

Very cool! Thanks

Really interesting! I always struggle to make that chord = mode conversion. That's just not how I think about it, but for some reason this makes way more sense to me.

The problem I have is that I am visual. I need the shape of the chord either on guitar or piano to see what notes can be play based on what you said. Showing one example was good, but I need more. Also I want to know how the circle of fifths and fours could be applied to this.

I've never understood why major is considered the parent scale of the modes when Lydian makes more sense. That way it is just a case of flattening one note each time to get to the next darkest scale from brightest lydian to darkest lochrian, cycling around the fourths to flatten first; flatten F# to go from C Lydian to C major, B to Bb for C major to C Mixolydian, E to Eb for C Dorian, A to Ab for C Dorian to C Aeolian, D to Db for C Phrygian, finally G to Gb for C Lochrian. Carry on the pattern would be C to Cb which move it to Cb Lydian. So Lydian is the one to treat as the one that contains all the other as if you start on C major and follow this cycle of fourth you dont get C Lydian you get Cb Lydian, and the flattening one note at a time to get progressively darker seems logical too.

I mean… There are melodic modes, there are harmonic modes. There are at least 62 different unique hepratonic scales, multiply it by 7 and u got modes. Soo… not all. Onlu diatonic.

I can't believe that in all my studies it never jumped out at me that the tritone interval that you can find in a major scale is comprised of the two notes that will characterize all seven of the modes, that is crazy. And when it comes to the lydian locrian dilemma... I would say the tritone works just fine to differentiate lydian from the other happy neighbor modes where is the locrian, many times being considered the odd man out, is distinctive enough that I don't think it would be confused for Lydian and especially if you're just using this technique for good comping or if you want to quickly identify the best notes to put on the strong beats of your Improv lines. Not that I can think that fast yet but the theory is there

This lesson was so cool it got me wood shedding all afternoon. Tons of implications with this understanding. On top of that this has major implications for a way to quickly grab chords and know the exact Associated scale. I'm likely going to make a lesson my channel where I definitely Point people back to this lesson that was such an eye-opener. I'll leave a comment when I do

Check out Rick Beatos take on modes .

I wish you had annotations, so those of us who already know undersrans modes can get to the meat of your ideas. Also it would be cool if the background music matched the chords that you were talking about, when you're talking about them.

Wow. So interesting. I’ll play around. Thank you so much. .

Check out the book Modal Jazz Composition and Harmony by Ron Miller

Agree with the other comments. This is absolutely amazing. I don't understand it.

Everyone thinks about music differently, personally I think this way of thinking is redundant. You can say every mode is Dorian, Phrygian etc. you can do it with any mode not just Lydian. So why would you pick Lydian instead of the major scale? V chords are F Lydian over G but they're also C major over G. The advantage of thinking in terms of the major scale is that I think you get all the advantages you discussed plus you are grounded in the key of the song, you don't have to do the extra mental gymnastics of thinking about offsetting and arbitrary mode over a bass note. Like I stead of thinking "this is V of C major so play Lydian on the note a whole step below the V aka F Lydian" you can just think "this is V of C major so I play C major". This is why I and many others dislike chord scale theory, it is just a short sighted way of trying to simplify improvisation that ends up overcomplicating it. Instead you can just keep track of the key you are in, so instead of thinking of chords as the "origin" object that you pick a scale to play over, i.e. instead of thinking of the scale coming from the chord, you just think of the chord coming from the scale. If you play a V chords that means play the 5th, 7th, 9th, 11th notes in whatever key you are in. So you think of the scale first, and derive the chords from it.

nice video, fix your sound tho..

I mean you can say the same for every mode. This is not exclusive to Lydian. This is one of the main diferences between the George Russel method and the Berklee method.

What if I put A on the bass. Then I have an Asusb13 chord? shouldn't it be a minor chord for aeolian?

do not use background music while explaining something. It's awful. Especially in videos explaining any musical context it's nogo.

Great video! Can you explain a little more about the C^7#11 example? How did you determine the chord is actually in the key of G vs another key with an F#?

i get the concept, but how is it any better then thinking of other scales or modes

Cool vid. I guess you only really two notes a tritone apart (or that and one extra note) on the top to imply any mode because then you're reaching the brightest and darkest notes of each mode every time. The only time it becomes ambiguous is when you have either a lydian or locrian bottom note, but if you just add one more note in the chord then it'll indicate which scale you're in no matter what - and this can be any note in the scale. Ie. w/ C Major modes F will always be the darkest note of a mode and B will always be the brightest. If you have an F and B on top of a C it can only exist in Ionian (4 and 7), F and B over a D can only exist in Dorian (b3 and 6), F and B over E can only exist in Phrygian (b2 and 5), F and B over F can exist in F Lydian or F Locrian, but if you add in any note of C D E G or A then it can only exist in Lydian, F and B over G is only in Mixo (b7 and 3), F and B over A is only in Aeolian (b6 and 2) and F and B over B just needs that extra note to not be possibly Lydian.

Man, as a music theory nerd, this blew my mind. What a cool concept! You deserve more much subs

super interesting! hard to wrap my mind around, it would be cool if you gave a demonstration of how to use these lydian chord clusters to compose music!

I barely understand any of this as I am mostly just curious about music theory, but I like videos like this that explain relationships between different concepts throughout music theory. This is awesome, I'm definitely exctied to see more from you!

Hi, found you on IG, got curious by the theme of the video, got on the piano and now I’m here

Thank you for this video

❤❤😂lol too fun

Good tips.👍

I could totally see this as a soundtrack for a Hitchhiker's Guide to the Galaxy-esque short film, where the cast flies to different planets. Banger

I love it

Thanks, my band teacher wants to wait to teach us until everyone has one but the one person that doesn’t have it doesn’t go to that school anymore

19000😔 (I have other pets but that’s just cats and dogs/ I live on a farm)