This channel is growing into your go to place for learning the inner workings of musicians as human beings and using music as a foreign language. See you around!
Good video and lesson I'll re-watch as enormous amount of data Also, everything was going fine until +/-10:00, when the Thrash Metal screaming voice kicked in Then it all jumbled into a fur ball and became indistinguishable Maybe, rework and leave out the screaming parts Just an idea Otherwise, informative regarding an complex subject Thank you
Good vid. I never really thought about the main distinction being the major third, so that made it worth it. But the self ego-stroking in the beginning was insufferable. Like, what do karate and muscle shirts have to do with musical modes. Less about how cool you are, more about your audience.
Hey, James - thank you for your feedback and I am glad that you learned something from this video - I think that is the most important thing :) All the best and keep rocking!
This might be a stupid question. What's the point of deriving these modes from the Major scale, if, for example, E Phrygian is completely the same as C Major, or D Dorian, etc. I checked some other keys: for example, if we take E Major scale and build a Phrygian mode from the 3rd degree we get G# Phrygian and it is completely the same as our original E Major. Notes and chords. What's the difference then? Thank you.
Hey there! It's not a stupid question at all, but a very often encountered one! The principle is the following: when you think D Dorian for instance, all the notes that normally make up the C major scale (the parent scale of D Dorian), are being judged in relationship to a new tonal center which is D. From a derivative perspective, which is the one I have dissected in this video, the chord progressions are also built in respect to having D as 1, instead of C. So whenever you have a Dm Gmaj progression - this provides the right kind of harmonic environment for the Dorian mode. Now, if you start improvising in D minor pentatonic over this - it will sound great, because D minor pentatonic is the skeleton of the D Dorian mode. If you wanna make things sound truly Dorian, add a B note to the D minor pentatonic (that being the major 6th interval). Now both the harmonic and the melodic contexts match. It is a matter of establishing a new tonal center FROM AMONG the notes in the mother scale and relate all the other notes to that new tonal center and then exploit the harmonic and melodic possibilities that arise. Please let me know if this is clear and if I can help further. All the best!
@@CosminLupuMMGG Ahhh now I'm starting to get it. This part was completely new to me, and it changes the perspective. Thank you for such a detail answer! And for your videos as well, they are very instructive
@@8w6good8 Happy to have helped! Also, check out my latest vids, as they are oriented towards framing the minor pentatonic as the skeleton for minor modes. Cheers!
complexitatea unei note : sunet, nume, poziție. Domnule, așa este. pentru că atunci când avem trei elemente avem o realitate complexă și nota este o realitate complexă.
Hey there - it's a beatboxing sample I found on a stock sfx site (I'll try to remember where and I'll link you) which I have played around with, a bit by adding some delays.
@@CosminLupuMMGG prima dată când algoritmul de la youtube a fost util. M-am uitat puțin la tine pe canal și chiar depui efort și faci treabă bună, m-ai câștigat ca subscriber și dau vorba mai departe!
Nice chops and helpfully communicated. To my ears, Phryg sounds 'Western classical' and PhrygDom sounds 'eastern'. And in terms of feel it's kinda like 'moody' vs 'otherwordly'. I'm a huge fan and explorer of the modes of the harmonic minor and always come back to PhrygDom for its consistency of inspiration
Thank you for your input, @WolfgangRP ! Also, glad you liked it! I'm a bit on the outside in respect to the other modes of the harmonic minor and the melodic minor, as well, for the mere fact that I haven't yet used them extensively, so I am looking forward to making some time to explore and experiment! Rock n roll!
@@CosminLupuMMGG Yeah since I started composing a couple of years back I purposefully avoid Aeolian and Ionian and looked at the more obscure scales for inspiration. Current faves are Messaien 3 and Bebop Dominant. Look forward to seeing your takes on those
@@WolfgangRP Haha! That's very nice, man! I have NEVER tried those and honestly, barely heard about them :D But hey, sure, I'll do my best in a future video! Thank you for the inspiration!
The experience that comes from meeting something you don't know for the first time and that feeling of alienation is Rare (cause you can't unseen) and undervalued.
@@CosminLupuMMGGhe's jokingly praising the video's duration. I don't actually get the joke though, maybe he's saying it's a reference to a prog time signature (13/12)
@@bigspice4419 hahaha, thanks! I haven't thought of it like that, especially since time signatures are usually written by having common denominators of 2 ex: /2 /4 /8 /16 . I've just researched though and found out about irrational time signatures which might be something in the lines of the example above :)) One learns every day!
I like phrygian dominant plus major 7 note (like harmonic minor), so there would be 2 minor third intervals in the scale, create even more tension, sound even more sick!
@@CosminLupuMMGG I guess by your name you're Romanian, so you probably are familiar with it, phrygian it for the americans :p we have something similar but better over here in the "east". Greetings from greece
The only people that say this are those who don't really listen to 'middle eastern' music. A more accurate statement is it sounds like whay westerners are led to believe middle eastern music sounds like based on media/Hollywood portrayal.
@@adamguitar1498 I do believe you are right to an extent - I've been following an amazing guitarist called Gabriel Akhmad Nur Marin, who plays all sorts of middle eastern traditional instruments besides electric guitar and him alongside a lot of other players, seasoned in the middle eastern culture, are using other scales as well as microtonal guitars or non fretted instruments which allow THOSE sounds to shine, in a way in which the phrygian dominant can't :)
@@CosminLupuMMGG I think the other thing to mention is that scales are only a small part of achieving a sound. Rhythm has a huge role in this, as well as other things like melodic development, phrasing/articulation and timbre. It's like saying the pentatonic scale has some heavy rock vibes. It absolutely can, but it's also shown itself to be able to capture and create many other feelings and styles.
@@adamguitar1498 Yeps, definitely! I agree with you and thank you for the inspiration :) I plan on making some videos around these topics and aspects soon! Keep rocking!
phryg dom? it's just harmonic minor for the key 4 notes above the "root". iow, what you played starting on D was just G harmonic minor notes. Kind of simplifies it for me to not memorize so many different labels. Just know WHERE to position these things. Just call it harmonic minor mode 5. ie, you start the harmonic minor scale on the 5th note of the minor key. anyway... a rose by any other name...
Thanks for the input! The thing is that while you are indeed using the same bunch of notes like the ones in the harmonic minor, which is the parent scale of the phrygian dominant, all those notes answer to a different tonal center and thus, other possibilities are born. That's why modes actually exist, otherwise we'd just stick to the major scale, the harmonic minor and the melodic minor, completely neglecting the other 18 modes that are born out of these 3 parent scales. It's a matter of perspective and possibilities, even though, technically you are right :D My two cents: As long as we have access to the tools to explore and develop what we create as far as we can, why not use them?
@@CosminLupuMMGG Yes, you can argue that it's important to memorize the same shapes as something new. I just prefer to understand that A harmonic minor is just harmonic minor in one particular position of the 12 possible spots and same for the other keys. Like, if someone said hey, let's jam in E lydian. I don't really need to memorize what lydian is so much as understand where to shift my major scale so I AM playing lydian. Then part 2 of this would be to understand that we are implying a tonal root of E yet playing the notes of B major. So, you can play in B major with an EAR for the chords that are going to be happening and not feel like oh, I'm playing a NEW scale or mode. Same intervals, then no need to rename it is all I'm saying. ? if the structure is different from major scale, then yeah, you have a new scale and 7 modes of it. So, I guess the end result might be the same or not. I would just know that I can play in a major key for any of the standard modes IF I position myself to that spot. Good thing I'm only doing music for myself! hahaha No need to write it down or try to communicate anything to anyone else. Thanks and good luck with everything!!!
@@TruthSurge Whatever gets the job done, as I like to say :D Each person has their own subjective experience in respect to anything in this world - our own inner map of reality. The way we choose to augment it and expand it in the time given to us in this life is a constant choice. I like to share my map and if you guys find it useful, it only makes me happy! Thank you for your thoughts and enjoy the music!!!!
Another way to find / see the derivatives tonalities: For the Phrygian, we shall know it's the third mode (so E Phrygian relates to C major). So if you're in D Phrygian (so D is one step below E), it's going to relate to C down a step, so Bb. For the Phrygian dominant, if we just keep in mind that it is related to the minor harmonic scale, then we get G minor being the relative minor scale of Bb for which we have taken the harmonic version. So D Phrygian relates to Bb, but also to Gm and so D dominant Phrygian relates to Gm as well but in its harmonic version. They are both related to Gm.
Thanks for the analysis! I usually like to use the derivative approach for understanding modal chord progressions and the parallel approach in respect to becoming able to discriminate between the sound of each mode. I have met a lot of people who use the derivative approach in all that regards modes and tend to want to relate to any mode as it is its mother scale which does not help in understanding those differences one bit. Still, I think it's an exploratory endeavour and being able to listen and tell the differences by picking up on the sounds of each mode is the way to go. Keep rocking!!
Foarte interesant! Eu vreau sa invat sa fac piese ambientale in care sa pun si cateva note de chitara, dar sa nu iasa in evidenta ca o melodie care duce undeva. Poate ideea asta cu sextele ar fi utila.
Salutare si multumesc pentru ganduri! E foarte posibil ca sunetul intervalului de sexta sa fie potrvit, mai ales daca ai intentia de a obtine o stare melancolica, in piesa respectiva. Ca prim pas, te incurajez sa te rezumi la a gasi o linie cu note putine si care mai degraba sa contribuie la constructia ambientului, decat sa iasa in fata. Canta linia respectiva in context si apoi adauga sextele notelor respective, ca sa auzi daca se potrivesc cu contextul. E un punct de pornire :) Spor maxim sa ai si astept orice intrebare ai avea!
This is exactly what I need in my life at this point in my musical journey. LITERALLY woke up out bed today, played a single note “riff”. Then tried adding onto it by ear, playing what “felt” right. Now using this technique, it will fortify my ability as a musician and not just a guitar player!!! It’s gonna take some work and of course time to fully absorb, and I can’t thank you enough for the clarity and sincerity of your presentation!
Cosmin is only an insane guitarist, educator, martial artist and polyglot? He needs to work on more skills!! Just kidding he is insanely talented. OMG. Glad I found this channel. Super helpful. I can’t wait to learn Phrygian dominant in Japanese.
The bridge maybe could be called double harmonic? The main riff is definitely Phrygian but the bridge used the major third and the major 7th. The verse also uses a flat 5th like essentially every Metallica song lol. Ultimately it ends up using every single note lol.
Chiar nu mă așteptam să dau peste canalul tău, dar sunt fericit că mi-a fost recomandat. Am invățat extrem de multe lucruri despre chitară și denumirile române corecte pentru intervale și ritm ! Mam abonat instant fiindcă canalul tău chiar o să mă ajute foarte mult ! Nu am o chitară dar aș vrea să iau una in viitorul apropriat ( in cel mai bun caz ) dar sunt și foarte ok să invăț pasiv . Dar chestia este că vreau o chitară MICROTONALĂ, adică o să am 41 de note intro octavă in loc de 12 ! Genul ăsta de chitară se numeșe ( the Kite Guitar ) . Chiar cu toate astea , nu e foarte diferită de chitara normală așa că videourile tale incă o sa fie de ajutor ! Mulțimesc mult ❤
Salutare si multumesc pentru gandurile bune! Ma bucur sa aflu ca video-urile sunt de folos. Te incurajez sa incepi cu o chitara obisnuita, pt simplul fapt ca ai un numar mai mic de optiuni legate de ceea ce poti face cu ea, prin contrast cu una microtonala. E doar un gand pe care ti-l transmit cu cele mai bune intentii! Spor si multumesc pentru sustinere!
@@CosminLupuMMGG Da, O să încep cu una normală de începători ! Pentru că știu că asta este cea mai eficientă cale de a începe călătoria mea in lumea chitări (: Mulțumesc mult pentru răspuns să ai o zi fantastică !
