The difference between Relative and Parallel modes
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- čas přidán 8. 06. 2024
- In music, modes are important because they expand your songwriting palette. But what's the difference between Relative versus Parallel modes. There's a clear distinction -- and also a special connection between them based on the geometry of music.
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THE GEOMETRY OF MUSIC -- AND HOW TO USE IT: • The Geometry of Music ...
🔗 RELATIVE VS. PARALLEL MODES PDF: mikegeorge.locals.com/post/27...
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11:40 holy shit this blew my mind, so the trick is, when you wanna play the parallel mode of a certain key X semitones above Route, you just play the same scale shape X semitones below the route. never seen a better shortcut!!!
Hi Mike,
I have seen other people, very good videos, explaining the circle of fifths. I have not found someone showing and explaining with the clarity you do.
Your apptoach in finding ways to visually explain things, finding parallelism, simetry, geometry, colors, shapes, is beautiful.
I declare you "THE Master Of The Circle Of Fifths". Period!
(The metaphor of the party on this video es brilliant!)
These are some of the best theory videos on CZcams- for sure.
Useful graphics.
I just found your channel and its very cool the way You explain music theory its understanding that this is allready in Nature and not rules, it is fascinating
I'm glad you're here!
I like the graphics. It could be way easier to understand if you used the circle of fourth and fifths to illustrate the difference in the parallel modes and to use the Lydian mode as the first mode. Then it's easier to see that the change is always one note away. This is good stuff. Thanks for sharing
Thanks for your feedback! The circle of fourths and fifths is shown at the 13:23 minute mark.
dude the chart that comes in past about a minute and a half in seems so useful. i just yesterday charted your circle of 5ths with colors include using a fckin pencil and those tools that make perfect circles (painstaking) and this is extremely beneficial to help my interpretation of your method
Tools that make a perfect circle?
A compass? We used them all the time back in the day, before the digital “revolution”.
@@sholland42 A compass to make perfect circles? I thought they just showed North? Oh, you mean just tracing around the body?
LOL.
Good explain... Thanks. That's great
Nice visuals. ❤️
The penny finally drops, thank you so much. Great teaching method. Thank you.
Just joined your community!
Great series.
When I want to play modally, I ask, which major scale do I play? i.e., I want to play Cm Dorian so I play Bb major scale over Cm chord. It's really pretty simple and you only have to know the major scale to be able to do this. Great video.
Excellent!!
Outstanding thank you
An interesting topic, but it still lacks the most important element - how to use this knowledge in practice, in this case, how to create modal music?
Modal progressions,compositions, arrangements etc
and form/genre :)
2 -modes in natural Major are simple,ionian,dorian etc
but all seven scales base names in harmonic Major are ruined :)
minor eolian is no more minor,even eolian is wrong name for mode on 6 degree
because now it is some kind of lydian (a-flat,b,c,d,e,f,g) or mixolyd.#2 #4 #5 :D
anyway, there is no eolian and minor anymore on 6 degree
Four degree,where we can find Major Lydian scale in natural Major key
in harm.Major we have minor mode,no more lydian on 4 degree :)
iv chord could be minor or minor b5 ,two tonic chords for one mode
simple minor or rootless dominant(minor b5)
The nooks and crannies of music theory are fascinating
putting these theories into practice even more
but search for this knowledge are frustrating
and the inability to find answers causes total depression and self-doubt
6:12 If you find some people that conflate the *relative modes* with *parallel modes* is because their first language is German where the *relative* key is called *paralleltonart* (pl. *Parallele* Tonarten) or they've learned from a poor English translation of some music Theory book
I get it but I will probably never remember. But it is very cool to see it.
Had not thought of "parallel modes," like parallel major/minor. Btw, I love your visualizations. What do you use to create these?!
I really love the graphics as it's a very innovative way to show relationships, BUT, I think you MISSED a HUGE point: why should one make this difference? I think any video needs to show the practical implication of a piece of theory, in this case, knowing this information how can help me when playing? I also see this video overcomplicating the modes with the result that you get more confused at the end and it's a pity since the charts are very well illustrated. I see you are trying to highlight the relationships, but it would have been easier to say that each mode is at the same time a relative mode when you set a fix tonality ahead (the host), whereas it becomes a parallel when changing the tonality (guest), but even then, why that would be useful to know? C dorian will always have the same notes, will always start on C and it cannot be relative, because the dorian mode starts from the second grade of whatever tonality is chosen, in the example of C, the C dorian mode can only be found in Bb and can only be a parallel of Bb. So, what's the point of separating relative and parallel when they are basically the same thing? But most importantly, how that can help me play better?
I was also wondering if we took the world and laid out the pyramids would they make the same shapes ? I'm thinking they might
Great series
Thanks, Frank!
@@mikegeorge360 Very very interesting. I will try to work my way through your posts.
Another example of color theory being similar to music! In art, the absolute color is meaningless, as the relationship relative to nearby colors is the only thing we see in context. A grayish patch on a very orange painting will seem very very blue, no matter the actual hue, contextualized against the orange. It seems to be the same way in using the same set of notes to create a certain mode in one scale while it's a different mode in another one. Thank you, it was super helpful! I can play them all on guitar now after memorizing the pattern, as well as say all the presumptuous mode names of course lmao
Colour is part frequency of light, part the red, green and blue detecting cones in our eyes and part the brain trying to make sense of it all. 'The Dress' showed that some people are more absolute while others are relative. The frequency of light isn't meaningless though, nor the frequency of sound. I don't know if having perfect pitch is related to being an absolutist.
You are the best
This is the explanation I've been looking for! Thank you so much for spending your time making this content and turning a subject so difficult for many into something easier to assimilate. You're a great teacher!
Now I have another question: is it possible to tell if a song key is in either of its parallel modes (let's say Eb Major/Ionian and C Minor/Aeolian) or are they one and the same?
I think it's depend on where the center of the gravity is. If it is on C then it's C Minor, and if it is on Eb then it's Eb Major.
But there are time where in example a musician sounds like they're playing in Eb Major but then borrow a Cmaj chord where Cmaj is not even in any of Eb modes. It's likely that the musician is Playing in the C Minor mode but put the center of gravity on Eb. The Cmaj chord comes from the C Major mode, so the musician is actually playing in C modes.
@@rizki.adhipraja Oh I see! And then we have the so-called "modal interchange", right?
Thanks for the response! Since my question, i've been noticing that some songs really have that "minor" gravity center that you talked about and despite having the same chords and even progressions a major mode would normally show, you can feel the "darker" tone.
@@LuizHenrique-sw2me yes, you're right!
It is! Music theory is really interesting isn't it?! 😁
@@rizki.adhipraja Yes, it is fascinating! It's like learning a whole new language!
This is another treat lol
Wow!!!!!
Based on frequency of a note do you think that note would be best played in a time scale to match the waves of the note ? Like say A 440 vibration is 440 per second? Where d is a lower number .. I'm not exactl sure on numbers .. But ya one might sound better played faster or slower based on vibration per second
✨️
I wish you would have let me know that you wanted me to pay for the pdf, before I went through the rigamarole of signing up. A bit more transparency would be the correct way to go about it.......
Can you make pentatonic scales out of the different modes?
my man ...how do you have less subs than me? ....great content....your projection is fantastic though....Socialblade projects 60k subs after 12 months ....no doubt about that!
I'm a piano Nooby and went through my life never understanding music. I've had some understanding of modes, but this took it to another level.
BTW I've got a question that no one has answered yet. I'm colour blind, and pastel stupid. I can't tell the difference in shades, and Red Green are my downfall.
Are their musicians that are also colour blind, or is colour awareness also linked with musical understanding?
I've done some reading about colour theory. Our eyes detect 3 colour peaks, around the frequencies of Red, Green and Blue light then our brains do some calculating/learning the mix patterns, to guess the 'colours' in between. Red-green colour blindness is probably due to your Red and Green cones being out of tune - peaks too close or too spaced. That shouldn't affect your ears. We don't hear in mixtures of 3 colours or 3 tones and calculate. I think Mike is using colours as names for positions in the Circle of Fifths. The old note names are very confusing because medieval monks decided to use C Major for the white notes of an organ and define the other scales as offsets from C, using flats and sharps to express the relationship between them in key signatures. Mike's work has helped to confirm my suspicion that there's nothing special about the white notes. Sharps and flats were invented. All notes are equal.
So... "relative" and "parallel" describe two distinct ways that modes can be related (rather than two distinct families of modes)?
I wonder if you can use that colour wheel for electronic knowlege to hehe😅😆
One question I have is why In Aeolian and Ionian modes can chord progressions be 4 or more chords and still have the modes sound but for Dorian for instance every progression I see is either a vamp or 2 chords max? Im just curious how that works, for instance Dorian has 7 Chords just like the others but it seems they aren’t used in the same way?
These are shapes of reality in ways. Star of David ? Yes lol very cool how connected everything is. God is real. Hear and see the truth .
2 triangles ✡
The husband and wife meets at top
The trinity is the 3 meeting on bottom
Very cool
Sending healing vibes Paula. Get well soon.
When the mania kicks in
Good joke
All I know is each mode in its "Perfectly White Version" on a piano. Like Phrygian is E to E (all white). Any other combination, I need a minute to transpose.
I’m not sure if you’re aware, but they are advertising really wacky pseudoscience stuff on your channel. I’m not sure that your target demographic is more attracted to that sort of thing, but I was taken aback when I clicked on a music theory video and got an ad for something about the pineal gland and “adrenochrome”, or something. It was pure woo-woo in a very well produced ad.
🎹🎹🎹🎹🎹🎹🎹🎹🎹🎹🎹🎹
holy music.. so when i modal interchange to anything darker than major. or lydian i am going going backwards around the circle... What about negative harmony .. im sure you've already covered it with out saying directly?
Yes, it’s motion through the circle of fifths. On negative harmony, I’ll need to address it. 🤘
Got two words for you ...Thank you !
Long beat, long beat long beat / short beat \ long long long / short. 😆😆🎹 I'm going to start saying this now. It helps! 💡
🤘🤘
You are probably aware that the Movable Do solfege system has to two different minor-handling systems. La-Based Minor uses the relative modes, to keep the solfa-to-scale relationship invariant. Do-Based Minor uses the parallel modes, to keep the solfa-to-pitch relationship invariant. Each has advantages and disadvantages. Yet those who learn one system tend to love it and hate the other. A simple, graphical introduction to both -- similar to what you have provided here -- could perhaps cool the rhetoric on both sides.
You forget about drones versus song keys.
That's where the real music is.
The underlying drone.
Music, not geometry.
It's unwise to throw out the formulas without feeling it in the music first.
Good video but information overload. It is a lot to learn and memorize. Phrygian, Dorian, etc. I was waiting for mandalorian.
You could do this in 10 minutes if you didn't 'repeat' the same information so much!
Dude … If I didn’t already know the difference, this would have been confusing as hell. 👎🏼 This longwinded video unnecessarily complicated the distinction, as did the diagrams.