Music Theory: Finally Understanding the Modes!
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- čas přidán 9. 10. 2020
- In today’s livestream we take a closer at modal scales and modal chord voicings.
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I love how the first 30 seconds of Rick’s live streams always looks like it’s his first time streaming.
Lol.
Don't judge a book..
By a couple chapters..
@@justah2668 I know.. don’t worry. I literally own the Beato Book so.. hahaha!
lmaooooo
You probably dont care but does anyone know of a way to get back into an Instagram account..?
I stupidly forgot the account password. I would appreciate any assistance you can give me.
Rick, I’m 60 years old. At the age of 15, I learned basic music theory from a crusty, classically trained piano teacher from Hayward, CA named Alfred Haldeen. What he taught me in the six months I studied with him gave me the gift of playing by ear. Your lesson here, 45 years later, was the single greatest epiphany I’ve had in understanding music since learning the 1-4-5 basic chord progression in 1975. Granted, I’ve taken a lot of time away from music in the interim, but Aha! moments like this are crucial to revitalizing latent interests and reigniting the fire in an older belly. Thanks, and kudos also for the livestream you did in the minutes following the announcement of EVH’s passing. Reminds me we need to revere and appreciate the musical treasures we still have on this earth while we can.
A truly well written comment, John! I wholeheartedly agree with everything you stated about the content exhibited in this video, as well! Take care!
If you learned everything in music in 6 months you are a genius. It usually takes yrs and if you go to a top music institution where you just do music full time you can do it in 2 yrs. Music gets very complex when you are doing classical studies. Then after that you can learn all styles and become a professor of music. This takes over a decade.
The =worst= musical advice from a music teacher, which I unfortunately listened to at the time, was: "Don't Play By Ear!"
It was not until many, many years later that I realized that "this is the only way to play." If you merely content yourself with exactly reproducing what is on the printed page - although this "copy-typing" is a useful skill to develop - you're just a copy-typist. You also need to close your eyes and LISTEN to what you are playing.
Shoutout east bay
@@mikerobinson9504 What are you talking about?
I was in orchestra for 12 years playing double bass. I have never had modes explained so well. You teach like a musician, not like a teacher. It works man.
That's Ricks greatness in a nutshell. He breaks down things in a way that even people like me (that play by ear) can understand.
He's brilliant
There's so many professional classical musicians who go years without really knowing what the modes are. Definitely a huge gap in the formal "music theory" courses taught at universities and conservatories.
For those struggling to follow along - I wrote this out for a few commentors who also struggled to follow. Maybe it can act as a supplement to the video and hopefully be of some help.
Modes are scales that are derived from a parent scale, in this case, the Major Scale.
Each mode has a unique tonality, they are akin to colours on a painters palette. Knowing what the modes are allows you to pick the colours you want and adds depth and interest to your music.
Just as the Major Scale might be described as sounding "happy and joyfull" or the minor scale might be described as sounding "sad and sombre", you might describe the lydian mode as sounding "spacy and disconnected" or the mixolydian mode as having a "hippy vibe".
The concept of modes is actually pretty simple if you know what the major scale is and what intervals are.
The notes of the C major scale are
1 2 3 4 5 6 7
C D E F G A B
The modes of the C major scale are
1. C Ionian (Major)
2. D Dorian
3. E Phrygian
4. F Lydian
5. G Mixolydian
6. A Aeolian (Minor)
7. B Locrian
The key to deriving the modes and understanding what makes them different to the parent scale is intervals.
Intervals are more important than the actuall notes of the scale.
The notes of any scale are seperated by distances called intervals, which are measured in Whole Steps (W) and Half Steps (H).
All Major Scales are made up of this sequence of intervals - demonstrated using the C Major Scale.
W W H W W W H
/ \ / \ / \ / \ / \ / \ / \
C D E F G A B C
By starting on the note (C) and playing to its octave using the pattern of Whole Steps and Half Steps, we are playing the first mode of the Major Scale, or the Ionian Mode.
Now, if we play C Major Scale, but this time we play it starting on the D note, we are playing the second mode of the Major Scale, or the Dorian Mode.
By starting on D instead of C, our ear now hears
W H W W W H W
Instead of
W W H W W W H.
So, the reason the modes sound different to the parent major scale, even though they contain the same notes, is because our ear hears the new starting note as the root note, and perceives the distances between all notes that follow in relation to the new root note.
If you play the C Major Scale, but you start on E note and play to its octave, you are in the third mode of the major scale, or the Phyrgian Mode
If you play the C Major Scale, but start on the F note, you are playing the 4th mode of the Major Scale, or the Lydian mode.
And so on...
Hope this helps, if confused about anything let me know.
This is exactly how I learned the Modes. Take any Major Scale and start playing from the 2nd to 7th notes and you are playing 'Modally'.
Yours was an incredibly helpful supplement and perspective on Rick’s excellent lesson. As a computer scientist educated in the 80s and 90s, I liken your description to an assembly language expression of what’s going on with the modes vs a higher level compiler language, or even more obscure, a GUI interface. The goal is to have mastery of the machine’s instruction set. The assembly version enables you to see and understand what’s happening within the machine itself as it follows each instruction in a procedure to produce an outcome. The elemental building blocks, if I may mix my metaphors. Knowing that imparts the greatest power to the programmer to produce a succession of desired, predictable outcomes. Thus the greatest power to the musician to invoke a mode and produce the precise, desired musical outcome/sound. Thanks a ton!
@@TheGrandPoohPaw
Thanks John! Glad this was of help to you.
I like the "from the ground up" approach. It really is the key to understanding so much in music theory, whether it be scales, chord building, modes etc.
Intervals are the core concept on which everything else is understood.
This is a very nicely put, succinct and welcome explanation.
I will always believe that music theory may be interesting but is ultimately unnecessary* ...but I decided to go curious on the appearance of this latest (SALE!) video from Beato (SALE!). And, though, not to be too critical, I found it was way too assuming. Anyone who might be ready to follow Rick's rambling( ~XD~) would already be of an understanding...
But I'm still appreciative of the video (SALE!) in giving me an opportunity (SALE!) to give a little theory a little look-see.
Now, I want to know whywhat the Greek region-names came to be associated. If you know let me know. Meanwhile I'm Wikipidian Phrygian...
Thanks
*"The piano ain't got no wrong notes" - Thelonious Monk
Thanks for this
Bought your book a while ago to remind me of all the musical knowledge I once had . It's all flooding back, I'm feeling like a new man. Better than buying a Porsche to make me feel relevant!
One of the basic things to know, for those who don't understand modes, is that although a song may be in C, the other chords in the progression may make it so that playing a different scale will sound better. When you play other scales in C, those scales are called modes of C and have names. So if you play an F scale over a C chord, you're playing a C Mixolydian mode. If you play a Bb scale over an F chord, that's an F Mixolydian mode.
Rick is showing the opposite side of the same coin - You can play a C scale over other chords and that C scale becomes a mode of that chord. Play a C scale over a G and it's G Mixolydian, play a C over an A and its A Aeolian, etc..
@FU 50cent To someone who has little or no music theory, that was as clear as mud. My comment was just intended to give a novice an idea of what modes are all about.
@FU 50cent That goes so far over my head it's not even funny. I'm just starting to learn music theory and I don't think I'll ever be able to think like that. Not enough time in my life to learn all that!
Thanks Kilroy I will revisit this comment..i had a flash of understanding then got confused again will keep trying.
@@Billy-ho5ms Ya know, my intent was to make a simple comment and I realize I still went too far. Let me try to sum up what I said in one short sentence - Just because a song is in, say, the key of C, that doesn't mean you can only play notes in the C major scale.
And for a bit of encouragement... you don't need to understand modes to use them, and you probably already are using them - when you play the blues pentatonic scale in A (i.e., A Blues, also call A minor blues), you're playing 5 notes in the C major scale. That's a mode! That's A Aeolian.
If you play the A major pentatonic blues scale (where C and F are sharps), you're playing 5 notes in a D Major scale - that 's A Mixolydian.
I think I agree with you, but a coin only has two main sides whereas the modes of a major scale have 7 🤔
Dude, The way you “Talk” about music, has totally changed the way I “Listen” to music. Thank you so much!
Quick list of the mode structures of the major scale modes that someone wanted to video description.
Ionian 1 2 3 4 5 6 7 (major scale)
Dorian 1 2 b3 4 5 6 b7
Phrygian 1 b2 b3 4 5 b6 b7
Lydian 1 2 3 #4 5 6 7
Mixolydian 1 2 3 4 5 6 b7
Aeolian 1 2 b3 4 5 b6 b7 (natural minor scale)
Locrian 1 b2 b3 4 b5 b6 b7
Btw. I bought all the Rick's coffee mugs with different modes for different scales. Easy way to memorize modes or refresh your memory if you don't know all the mode for different scales. I have coffee mug always at my computer, so it's easy to look at anytime. I knew the major and some of the melodic minor ones the coffee mugs have helped me to memorize other ones too. I'm not Rick's second account trying to sell his mugs :).
THANK YOU!!!
Music theory is soooo much easier to understand when taught on a keyboard...it's more visual.
Agree and to that I’ll add learning to read sheet music is so invaluable.
@Naki Ryan - to each his own. I started on both about the same time and the keyboard is visual, simple and repetitive.
@Naki Ryan - if you're requiring "gymnastics", you're doing something wrong...
@Naki Ryan "Your fingering for every key changes" Exactly! I'm also a guitar player who's currently in the process of learning to play keys and this is exactly what I'm finding most challenging about it.
I do appreciate the simple layout of the keyboard and I would say that learning some of the basics such as the major scale, triads and chords is even easier than it is on guitar. However when you go to apply what you've learned in the key of C major (which is where most people start) to other keys it's almost like starting over from scratch. Sure it's easy enough to figure out how to transpose a chord or scale you already know in C to a new key by simply applying the correct formula for construction as Rick is doing in this video, but in order to play something proficiently (especially at a fast tempo) you need muscle memory. The human brain just doesn't work fast enough to be constantly applying formulas in order to know which notes to play.
Of course over time I will get to know the different fingering patterns that each key creates and they will eventually become second nature but this is a challenge that doesn't even exist on the guitar. Through my many years of guitar playing whenever I would learn something new, I would always apply it to the key of C major first. Once I have fully integrated the new concept into what I already know, moving it to another key is easy peasy. It almost requires no extra thought or effort at all.
Of course the guitar has its own unique challenges as well but I think the fact that you're fingering remains constant regardless of which key you're playing in is one of its greatest strengths.
@Naki Ryan I've always particularly described the layout of a guitar's fretboard as if you were to make all of a keyboard/piano's black keys, white! I actually feel that due to the layout of a keyboard being unable to utilize 'shapes', akin to a guitar player, in order to quickly identify a particular scale/key signature or chord voicing, they're instead fundamentally forced to familiarize themselves with any scale/chord's intervallic structure instead! IMHO I find this more beneficial than memorizing 'shapes'!
I think the main mistake in teaching the modes is connecting C ionian right away with D dorian. Instead, compare C ionian with C dorian. People just get confused because they are the same notes. And once they get confused with that, it takes a really long time. Even half the music theory educators that did videos on the modes, I wonder if they actually get it or not.
I kindof agree, but feel like instead of starting with Dorian, start with Aeolian. Most every musician knows how to play in a minor key already and is familiar with how it feels. Show how A-minor shares the same notes as C-Major. Most guitar players know, for a minor key, you just shift the scale up 3 half steps. No need to remember which intervals to flat, no new patterns to learn. Now show G-Mixolydian by shifting up 5 half steps then jam over a G-major chord. D-Dorian, shift down a whole step then jam over a Dm chord. It maybe skips some of the theory, but allows one to play a mode and feel it without requiring understanding/memorizing all the intervals.
@@randajiThanks, I think it's important to mention like you did " now jam over .......... chord " We need to know what chord to jam over with this mode. Most guys leave that part out. I think Rick did leave that out here too.
Ionian is not the major scale and it doesn't sound anything like it, as so as the other modes. Modes cannot be expressed with 7 notes, otherwise you end up masking/spoiling the intervalic structure which comprises them and impart their characteristic sound.That's one of the misconceptions common and widely spread about the topic. Btw, to emphasize intervals while playing is definitely not modalism.
Unfortunately they don't my friend. Absolutely none of them.
If you look at each mode intervalically, you can get the same results. D dorian makes a min7(9,11,13) while C ionian makes a Maj7(9,11,13), same notes but still multiple perspectives to explore, but both work!
My "eureka" moment with modes was when someone years ago said, "They are just scales like any other scales, stop tying them back to a major scale." He pointed out as an example D Dorian. He said the fact that it has all white keys and makes you want to tie it in some way back to C major is a coincidence. He said to forget the coincidence, it's just a scale like any other scale. That was when they finally began to make sense to me.
That gives you no understanding. Then it's only memorizing patterns, that's not understanding music... like on a deep and natural level.
Matt Markus It does help at first. The fact that modes are related to the major scale is often brought up too early and ends up confusing people instead of helping them.
If I teach you the minor pentatonic scale on the guitar, I won’t go on a ramble about how it is related to the major scale or how the A minor pentatonic scale is just a C major scale starting on A without the fourth and the seventh. It’s just too clumsy. You can learn that later on.
@@majav15mg Exactement!
Tying back to a major scale has been a point of confusion for me too, until my current music teacher used the terms “relative Dorian” and “parallel Dorian”’ to explain them. D Dorian is the relative Dorian scale to C major because it shares the same notes - just as A minor is the relative minor to C major. C Dorian is the parallel Dorian scale to C major as it shares the same tonic, but has different notes. In my mind it’s much easier to grasp the concept of parallel mode scales than it is to find a use for the relative modes. You want a Dorian sound beginning with C, that’s C Dorian which can be considered either C major with a flat 3 flat 7 or equally a C minor with a natural 6 instead of a flat 6
@@majav15mg i'm the opposite... learning that D Dorian or F Lydian is just C Ionian shifted helped me understand music theory 100x better.
i even went into Microsoft Excel and spent like half a day just mapping out every mode to every note (sharps and flats included) so i can understand this shift better - for instance things like how Gb Major is the same thing as Ab Dorian, or Bb Phrygian, or B Lydian, or Db Mixolydian, or Eb Aeolian, or F Locrian... there are patterns that arise that help you understand it better. i'm sure learning about this shift confuses some people, but it helps people like me out more than anything. various people learn differently.
So.... I was taught modes this exact way, and although I committed this information to memory, I didn't fully understand it until I cross-referenced all the modes with common tonics (I probably screwed up the wording on that). What really opened up my understanding of modes was playing them back to back in order from most major to most minor:
Lydian (1-2-3-#4-5-6-7) (ex C-D-E-F#-G-A-B)
Ionian (1-2-3-4-5-6-7) (ex C-D-E-F-G-A-B)
Mixolydian (1-2-3-4-5-6-b7) (ex C-D-E-F-G-A-Bb)
Dorian (1-2-b3-4-5-6-b7) (ex C-D-Eb-F-G-A-Bb)
Aeolian (1-2-b3-4-5-b6-b7) (ex C-D-Eb-F-G-Ab-Bb)
Phrygian (1-b2-b3-4-5-b6-b7) (ex C-Db-Eb-F-G-Ab-Bb)
Locrian (1-b2-b3-4-b5-b6-b7) (ex C-Db-Eb-F-Gb-Ab-Bb)
It was in arranging the modes in this way that helped me grasp the degree of happiness or sadness a mode possesses and allowed me to understand how to manipulate a mode to make it more happy or sad to reflect whatever mood I wished to portray. I hope that this may be helpful to other people.
That's a really cool idea Christopher cheers my man! I'm going to try that.
Many years ago, there was an article in Guitar for the Practicing Musician that gave a basic crash course in modes much in the same that you started this video. Over the years, and especially since I've been watching your videos, I've learned how to apply them.
You explained modes better in 28 minutes than any teacher I've had or book I've read in the last 15 years. It makes so much more sense to me now.
Love the diminished...resolves over so many chords making it possible to move around and introduce so many different sounds.
You are impressive. I come from famous bloodline and have been playing for 49 yrs and teaching for 39yrs so its always nice to see a true player in action. God Bless
CROPPER
Amazing addition, having the notes played on-screen. Thank you Rick, you are the man!
one of my favorite tricks is when rock songs written in aeolian that use IV (i.e. the minor scale's sixth chord) a lot, just, resolve to IV at the end, a great way of pulling out the lydian feeling without needing to use modal harmony anywhere
also love chord voicings that have semitones in them
Thank you for all your knowledge sharing, Rick! It's amazing what you do here.
Thankyou for the insight of playing modes Rick! You are an awesome teacher 💪
Thank you so much
The way you showed the modes using all the white keys totally changed my understanding of the modes
Rick. I am not a musician. I was searching the tube for examples of guitar solos for my sixteen year old. I really appreciate how much music theory and teaching you do. I introduced my son to your site and he now wants to purchase your book. Thank you for making learning music engaging and correlating to modern music it really made a connection!
I didn't know you had a book. I picked up your mega bundle today to support the channel. I've learned so much already, I appreciate your videos, your teaching style, and how you wore your heart on your sleeve for EVH a lot.
Fabulous ! This is an excellent review of basic modes for those already familiar, and is a very useful way of looking at modes.
Just picked the beato book up and honestly its a wealth of knowledge coming from this man.. thanks Rick ! I'm picking up new things and I haven't even scratched the surface of the book
I purchased the Ear Training Course after watching this video. Exactly what I have been looking for. It's very user friendly. Thank you for the program and for the sale!
Lots to take in on that and 5 mins from the end you brought it all together really nicely. Thanks Rick 🤘
I watched so many videos and tried to understand what modes are, this video finally made me realize how they work. It's way easier to see it with the Piano. Thank you 👍
The best video on modes that I've ever watched, i needed this thirty years ago. Thanks Rick
THANK YOU SIr for another BIG lesson! You have a very open heart and mind... and ear.
Great video!
As video says, there are two common ways to think about modes. One is parallel mode, where you keep your center note the same and change the notes you play. Other is relative mode where you keep the same notes but you move your center. In both cases you end up playing a different shape and get a different feel. Very common question I've had and others have had is given relative mode changes, what's really the difference? Three possible answers (at least) that can make it meaningful to say you are in a mode like D Dorian versus C Ionian or another mode from C Major note set:
Level 1: You work to make the note d your center note and try to get the feeling that the d note is your home.
Level 2: You play D Dorian over the Dmin chord or something similar with chord and scale combining to get a harmonic vibe that feels Dorian.
Level 3: You think of Dmin as your home chord while in D Dorian and you work to get flavors of cadences that treat Dmin as your home chord; you avoid dominant chord that would take you to Ionian tonic; you consider notes that are characteristic to D Dorian and emphasize them; you possibly avoid other chords that are too characteristic to other modes; you probably avoid root motion by fifths and fourths in favor root stepwise motion in your cadences back to Dmin.
Other methods exist but people have a good question when they ask what's the difference between C Ionian and D Dorian.
So well explained in quite a lucid manner. I could draw some equivalence with Indian ragas though they are different with regards to movement from one note to the other.
The way I explain modes vs scales (before jumping into the chord-scale relationship):
A "scale" is a specific pattern of note intervals. No matter where you start the pattern, that pattern remains consistent.
A "mode" is a scale that uses the same intervals as the host scale, but starts the pattern using a different note as its root to give it a different sound.
For example:
Major scale pattern: (Root) - tone - tone - semitone - tone - tone - tone - semitone (to root); also called the Ionian mode.
Dorian mode (start with the 2nd degree as the root): (Root) - tone - semitone - tone - tone - tone - semitone - tone (to root)
Phrygian mode (start on 3): (Root) - semitone - tone - tone - tone - semitone - tone - tone (to root)
Lydian mode (start on 4) (Root) - tone - tone - tone - semitone - tone - tone - semitone (to root)
... etc.
Same principle applies when you use the minor scales which alter the Aeolian mode):
Harmonic Minor: (Root) - tone - semitone - tone - tone - semitone - minor 3rd - semitone (to root)
Second mode: (Root) - semitone - tone - tone - semitone - minor 3rd - semitone - tone (to root)
Third mode: (Root) - tone - tone - semitone - minor 3rd - semitone - tone - semitone (to root)
... etc.
Actually, the Fifth mode is most used:
Third mode: (Root) - semitone - minor 3rd - semitone - tone - semitone - tone - tone (to root)
Can also do the same with jazz melodic minor, which different from classical is the same going upwards and downwards:
Melodic minor: (Root) - tone - semitone - tone - tone - tone - tone - semitone (to root)
Second mode: (Root) - semitone - tone - tone - tone - tone - semitone - tone (to root)
It's easier to hear than to write, but understanding this helped me learn them so I could use them more quickly.
The way I like to explain modes is that they're alternate perspectives on the same scale, like the same way the moon looks different depending on what time of day it is or where you're located in the world. And chords are just modes being played at the same time, and scales are modes being played note by note, but the modes produce the chords. Ionian makes a Maj7(9,11,13), Lydian augmented (3rd mode of melodic minor) generates Maj7#5(9, #11,13), etc.
fantastic lesson brought the sounds of modes alive for me, thank you Rick
This is so super clear! I'm 7 mins in and starting to get my head around the modes.
Loved your lessons abouth the modes and the sound and meaning of the half steps ...great work
Thanks for video. I saw this on my TV yesterday when it just came out. I really like the keyboard lighting up on bottom of screen. Great way to teach n to learn. .I'm no musician but play keyboard by ear and can figure out and play along any song with 1 hand lol. You're teaching an old dog new tricks now. Its gr8. Good 4U.
Thanks a lot.
The keyboard is a gigantic help! Thank you for all of your hard work and dedication to educating the world.
Thank you Rick for sharing your knowledge and for the way you present it. You have reinvigorated my lust for growth and learning in all aspects of song writing and production.
I am an admirer of both your work and the energy you emit. It is worth interupting my sleep to catch you live.
Ode Gold
Newcastle Australia
I so wished I could have learned this stuff decades ago. Thank you Rick from the bottom of my heart for your time and generosity in educating the thousands and thousands of so many of us self-taught guitar players. If I’m teaching someone guitar today, I’m starting them the C Major scale and a song like Simple Man by Lynyrd Skynyrd as the melody is off of the relative A minor. C Major seems like a great place to start with no sharps. My grandpa knew this stuff in the 1970s! He was a professional banjo player and had a permanent gig at Shakey’s Pizza Parlor in Rochester, MN (also 70s). I recall him always mentioning the Circle of Fifths but never had any clue what he was talking about. I remember him saying in G Major that D could also be D7 but I had no idea that D was V and Mixolydian. I should have listened to Grandpa more or asked him more questions but I assumed his Skakeys Rag Time wouldn’t translate to the Van Halen licks I was trying to learn while locked up in my bedroom on. Saturday for 8 hours (ear to cassette - play, pause try and hack it out, rewind and repeat) - way before CZcams. I also own all of your courses and have trouble determining which parts of it some of us older players need to focus on. Understanding that all modes are the same scale and which half steps and notes to focus on is so fantastic to learn. I now know if I’m writing in G Major when going to the IV chord C that I’m going to sneak in that F# which is so beautiful. Thank you sir!!!!
While listening to the video, two things came to my head all the time: Eric Satie and The Köln Concert. I think, they might be great for practicing hearing modes. Thanks, Rick, great job!!
That was great Rick. Love the addition of the keyboard on screen. Wow. Fantastic! Great lesson. Thanks!
By Jove I think I've got it! From 5'11" in, up to 7'30" and then 12' 55" to 13'43" is what I've been waiting for. Bravo! This is it! Thank you Mr. Beato. Kudos. Sincerely.
Rick! Great video as always! Could you do a video expanding on this with melody writing over modes within a scale? Just you explaining these things is so much clearer than reading about it.
love the new on screen keyboard format, Rick. Super helpful!
That first bit of piano you are playing reminded me of a Prince song called the ladder off Around the world in the day, quite haunting and beautiful thanks for another great lesson.
I think of them as pentatonics + extensions.
Major Pentatonic: + 4/7 = Ionian, + #4/7 = Lydian, + 4/b7 = Mix
Minor Pentatonic: + 2/6 = Dorian, + b2/b6 = Phrygian, +2/b6 = Aeolian.
Locrean is kinda it’s own thing. B5 Minor Pentatonic + b2/b6.
Works for me. In my mind, it simplifies the common denominators. Might not be for everyone.
That's actually kind of genuis. Simple and effective.
Thanks for sharing.
Ian McLean Very kind, thanks! Just a different approach. Maj and Min Pentatonics are just Maj6/9 and Min7sus arpeggios basically - We learn those at the very beginning. After that, it’s just 4s/7s, or 2s/6s. Lol. Super easy, and requires me to think a lot less. (Thinking = bad!) hah!
Just to clarify...are you using these formulas to identify the notes that are contained in a specific mode ( eg what are the notes of A dorian ?) or for some other purpose in the use of modes?
Maximuscottius I just use them as colors. Since pentatonics are literally innate to most guitarists, you get 5 of the 7 skeletal notes automatically. Then it’s just about adding the 2 “modal extensions.” You can use it for note identifying, or comping, or whatever.
Again, it’s a skeletal ergonomic approach. You don’t get the “modal sound” with a pentatonic. You get everything else, lol. Then you just add in the color needed for that sound.
For me it’s easier to think “minor + color” or “major + color” as opposed to fiddling with names and 7 note algorithms. Those are quicker for me.
@@liontone Sounds like something Guthrie Govan advocates.
This new series has my interests peaked...thanks Rick! Wonderful examples sir
Thanks for the overhead keyboard view, I've been wishing for this for a long time!
The keyboard view is really great!
In working on my own music, I think of modes instead of chords. For example in a ii V I, I would just think of Dorian, Mixo, and Ionian, instead if working out 7th, dom 7th chords and what the possible extensions might be. When working from a modal perspective, all the possibilities are just so easy to “visualize”, for me, anyway. Add in the other scales and their modes in parallel, and it’s all there.
Love Your Channel Rick... sharing with all my music minded friends!
Love it when Rick starts "noodling around" You can really feel the passion in his music !
good refresher and nice recap of the most relevant modes to learn. perhaps I would have clatified how the lydian dominant, altered dominant and mixo b6b9 are used in secondary dominants, but perhaps that would have confused more people than the amount of people would have helped. great content and great to see the keyboard also, massive upgrade.
Great video ! I've been nothing but a ear musician all my life but you are ever so slightly gradually getting me pulled toward theory. Never thought it would happen but you make it interesting. Like a great teacher once said: if you're not interested then i have failed as a teacher. You're a mage Rick! Thank you
Love the visible keyboard addition. Absolutely necessary and brilliant to be able to see it.
The Parallel approach is what I’ve been missing. Super helpful
Great lesson!!
Good to see you feeling better!
Indian Pentatonic is one of my favourite Pentatonic scales.. 1 3 4 5 b7 (Mixolydian with the 2nd and 6th removed)
Rick, everytime I watch your video's like this one I'm awed by your knowledge. You must have an external hard disk linked to your brain to have all this stuff at the tips of your fingers! Huge respect man !!
Thank you for sharing your knowledge and passion for the language of music. I consider myself privileged to be able to access your writings, videos, and ear training course. Keep up the good fight!
Thanks! I understand modes now. It has taken me a while. I never learned them in my childhood piano lessons. It all makes sense.
Nothing short of perfection. It cannot be done any better than this.
This was such an eye-opener. I have so much to learn. Thanks, Rick! Rest in peace, Eddie.
I knew Rick would be the first to innovate the VERY flawed legacy modal theory that had produced generations of confused music theory students. The aha moment is when Rick presses the point of using ONE TONIC and using interval formulas to achieve ALL the modes without having to change key OR move your left hand. (guitar etc) That is it. Rick cracked it. FINALLY I have seen hundreds of vids over the years and they all fall down the rabbit hole of "begin on next note in scale method" which adds milliseconds to "improvisational decision making" and they NEVER play all modes over the SAME DRONE without moving the top and bottom 1st last note. Would be nice to hear Rock whipping thru all the modes with the same drone. Like a whole video taking the intervals without changing key and running thru all the modes without moving the left hand. Best modes video to date!
thank you for all what you provide here in CZcams . I'm following you from Middle east
Hi Rick...love your videos and show them often to students. Been doing lots of virtual teaching lately, like everyone, and am wondering if you wouldn’t mind sharing what you use to display the keyboard keys on this video....would be a super helpful tool. Appreciate it, thanks so much.
Such a fantastic video, made sure to share it with my bandmates
Everything I know about music and the music industry I learned from Rick Beato... and multiple viewings of Spinal Tap
FINALLY I know how I can use all modes. thank you, Rick.
This channel musical gold. I highly suggest the Beato book. Thank you Rick!
Rick you are a great talent that nobody outside of studios would have ever discovered without youtubes
Thanks, very clear explanation.
Until you broke off into the different voicings, which is beyond my level at this time, I was finally able to grasp the idea that the modes reside within a scale set of notes. Recently, while practicing "two hands" for the major scales, I inadvertently started my right hand on E while starting the left hand on C, and I wondered which musical term applied to that right hand as it began on E, and now I know that it was Phrygian. Thanks.
Watching this with the Beato book open on page 31.
Love your channel.
It's important to see the two sides of the coin with Modes. The Major Scales Modes, and The Modes as an Alteration of the Major Scale. With those we got the formulas to use in any key.. nicely explained Rick.
Rick, thank-you for this lesson. I’m getting that the different modes are determined by either the starting notes of the scale or the scale accidentals you substitute, but what I’m inferring from listening to the sounds of the modal chord types is that one would typically NOT choose modal chords that share the same tonic note for a given key (in a typical one key composition). Is this inference for the most part correct?
I discovered your channel this summer from a random CZcams suggestion while watching the SpaceX splashdown. Your channel has gotten me on a Van Halen kick for the past 2 months. I'd heard of them before, obviously, but never really paid much attention to them (I was born in 1981 fwiw). Thanks to you and your channel, Rick, I've come to the conclusion Eddie Van Halen is the greatest rock guitarist of all time. I'm so glad I had a chance to discover and really appreciate this amazing talent before he died. Thank you!
If i would of never discovered Rick's channel my goals and moves would be dead id be dead but I just got the beato book(logically how don't you...) the most str8 forward way to learn just dont take too much at once little by little
I'm sure I'm not alone here, but, somehow, even when you've known and have understood all of this for x amount of time.. It's just cathartic to hear it all explained.
Thanks for another great video, Rick!
Your channel is great Rick. I bought myself and my dad your book. He plays clarinet and piano, jazz. I'll play any instrument in my hands whether I know how to play or not (brass, bass guitar, piano). Its about fun and you get to the point logically and fluently. Keep it up
Hey Rick, btw, do you know Robbie Ameen? He is a session drummer in NYC.
So kind of you to share this Rick. It's really helpful seeing the layout of the keys as you play and describe them. Oh, and I couldn't help thinking that the Dorian mode was the sound of Joni Mitchell :-)
Very helpful with the visual component added. So much simpler to grasp on piano than guitar!
Love the way it spins my head around.
Great video as always 👌 today i bought your Rick Beato book Bundle with 50%. You are the man 👍
Love the video. Thanks!
Off topic, finally bought the Beato Book! Wow this thing is awesome great job, can’t wait to dig in!
Thanks for your work rick ❤️
I really like the way the piano on the screen works. very nice.
You are an amazing teacher. Listen to a U tube where you explain the Lydian scale and the pin dropped. Thank you
Appreciate your teaching.
Thank you Rick. More importantly thank you to everyone in the comments. By reading them all , I have a really good understanding. Sometimes it just takes a different approach for me to get it through my thick scull. Thanx
Thank you for making these videos!
Thanks Rick. Great birthday present for me turning 68. I'd like to get a handle on the different types of minor scales.
I always like to think of the white note modes in relation to the circle of fifths and key signatures. Eg E major has 4 sharps therfore the phrygian mode has 4 notes flattened relative to a major scale.
If you take F lydian as your starting point, then C major, G myxolidian, D dorian, etc (moving around the circle of fiths) then the modes get progressively darker, flattening one more scale degree with each step. First we lose the sharp 4, then we flatten the 7, then 7 and 3, then 7, 3 and 6, etc. You travel from lydian (brightest) to locrian (darkest) by flattering one scale degree at a time in the order 4,7,3,6,2,5.
Another great and essential video rick thank u!!!!
So much easier to understand on the piano, rather than a guitar neck. Thank you Rick!
Most excellent video! Even though I theoretically know all this, it still made me connect some dots in a really clear way :-) Thank you!
Great stuff, thanks Rick
I have found after studying modes for a while, it really helps to get familiar with what they SOUND like. What I do in my own original music, on piano I will pick a mode, build chords from the notes in that mode and solo over those chords using the same notes the chords are built from. You can get charts online that show for example a Dorian scale in whatever key you want on piano, or guitar. But I think it helps to HEAR what they sound like....for example Scarborough Fair by Simon and Garfunkel is a DORIAN sound. Fire on the mountain by the DEAD is MIxolydian. Get those intervals embedded in your brain. The only tricky mode is Lydian cause it seems to me you really need to use Lydian voiced chords to keep the Lydian vibe in the listeners ears. Otherwise it sounds too close to Ionian. Emphasize the sharp 4. Personally my favorite scales are from Melodic Minor!
In Simplest term I can come up with is basically, You just play C major Scale over each degree of C Major scale.
C major scale is C-Dm-Em-F-G-Am-Bdim or I ii iii IV V vi vii*
if you are in a key of C, Play C Major scale over it and its Ionian 1st degree
If you are in a key of Dm Play C Major scale over it and its Dorian 2nd degree
Em and C Major scale over it will be Phyrgian 3rd degree
and if you are in a key of F, Play C Major scale over it then it will magically become Lydian the 4th degree
G and C major scale over it will be Mixolydian 5th degree
Am and play C major scale over it will be Aeolian the 6th degree
and lastly, When you are in Bdim, play C major scale over it, then it will become Locrian the 7th degree