"It's the backing music that allows us to bring out a mode's unique flavour in other words without any musical reference there is no tonal centre" I had to get through 537 videos of blokes in beanies and/or glasses trying to show off to actually get to this very simple explanation. THANK YOU for this sentence!!
I dont mean to be offtopic but does any of you know a tool to get back into an instagram account..? I was stupid lost the login password. I would appreciate any tricks you can give me.
@Alexis Dante thanks so much for your reply. I got to the site thru google and im in the hacking process atm. Looks like it's gonna take a while so I will get back to you later with my results.
There's always one idiot on every page. No matter what you say, they have to be an idiot. Mc Ren, ignore this 2 year old. Justin is just waiting on the day he hits puberty.
To me, this is the most understandable lesson series by far. There's something about the theory mixed with practical tips (like the I ii V in this one) that help me immensely.
These days people learn CAGED for different positions to play major or natural minor scale. In my day I learned the modes - different positions to play major or natural minor scales.
@@matthewcantu3127 CAGED possibly as the scale shapes are built around the chord shapes, but if you can't picture where each chord is on the neck for each song you're playing it's probably useless. I found the mode shapes handy, but most of my music all sounds the same as I use the same three shapes all the time (Ionian, Dorian and Phrygian)
Some additional examples of Dorian mode are "Black Magic Woman" by Carlos Santana (Santana loved using Dorian mode) and "So What" by Miles Davis from the album Kind of Blue. Kind of Blue is a masters thesis on the use of the modes.
I somewhat learned the modes by watching tons of rather obscure videos, and still wasn't sure if I understand them correctly. I only regret I haven't seen this video a year ago. Thank you very much.
Always when exploring a minor progression when you see a i-IV immediately explore Dorian. Some of the best advice I have ever been told is how modes are usually just one to two chords that revolve around and set a mood or a feel. Once you out that into perspective it makes a lot more sense. I tackled aeolian and Ionian first obviously then went on to Dorian and then Phrygian. Know the major scales cold and how the intervals relate across the fretboard will certainly speed this process up
Wise words. These signifiers, such as the i-IV you mentioned are the prompt we need to think "Dorian" or "Mixolydian" (for example) and then move into the right pattern/position, even if it's just a temporary movement. You're right, it's usually just two chords that give us that indicator.
I've known how modes have worked for a long time now, but have never really known how to implement them meaningfully into my music. Now I can because of this video! Thank you for this
Im a very experienced guitar player and this is what I've been looking for man. You actually show how to use the knowledge. I've had most of it understood but how to use it is totally different.
A borrowed chord is one from the parallel major or minor key. In C major, the parallel key is C minor and borrowed chords include E♭ major, B♭ major, and F minor.
Absolutely Brilliant Love it and thank you very much for this gift of knowledge. It has taken me 20 years to get over my fear of music theory because of folks like you..Blessings
Examples of Dorian Mode in Rock: Black Sabbath - Rat Salad, Planet Caravan, Fairies Wear Boots Santana - Oye Como Va, Evil Ways Peter Frampton - Do you feel like we do The doors - light my fire Steely dan - do it again
This is great. I’ve been enjoying your videos a lot and learning from them. Thank you. Although I’d say if you’re writing music, nothing is off the table as far as inspiration goes. If you’re inspired by a particular modal sound, thinking in those terms for writing a piece of music can give you new ideas. Just thinking out loud here and justifying my own desire to write that way. Kind of like saying you want to paint in mostly red for a particular piece of art work. Sometimes limitation can enhance a work.
Another excellent well explained lesson. Thank you! This guy has cleared up so many mysteries of guitar playing I've been able to advance in just weeks and NOT years. To hell with all the other guitar teachers, I've found the best one right here! :)
It seems to me that the chord tones that stand out the most in all the modes are the 4th and 7th scales degree in the parent scales. So in the C major scales its either the B or the F that give the colour to its modes
No dude....those are the odd ball notes taken out the make major pentatonic...Yes they're leading tone notes. In other words...raise the 4th 1/2 step to the 5th. The circle of fifth makes sense now?lol Mixolyian has a -7 th oki doki. Yes, the major 3rd and -7 are the B and F... The chord tone that stands out the most are the ones you let ring or the last note you picked.... That's why you can play minor or mixolyian over a dominate chord or sus chord. Basically your ears are hearing the -7 ring more....So you can go back and forth between maj or min 3rd...kind of like playing the various options blues notes. Trying adding the 3rd , -5th, and 7th options notes to the pentatonic scale.
Well lets take a look at the main colour tones of the C major Modes. D Dorian: The major 6th which is a B E Phyrgian: The flat 2nd which is an F F Lydian: The raised 4th which is a B G mixolydian: The flat 7th which is a F A Aeolian; The minor 6th which is an F So yes the main colour tones are either B or F which are the 4th and the 7th in the parent scale
David Phillips yes, I know the 4th and 7th..are the 2 notes that shifts to change KEYS in the circle of fifth..... if you split the diatonic scale in half... Place the Dominant on top of the tonic. They have exactly the same intervals.... 1,2,3,4 5,6,7,8 So if you go -3....guess what? Dorian.... 1,2 -3, 4 5,6,-7, 8 lets do the -2 Phyrgian 1,-2,-3, 4 5,-6,-7, 8 Lets go diminished.lol 1, 2,- 3, 4 -5 -6, --7, -7 it'll makesense why some people use inversion or sus chords because they going to use the 4th as a sort of drone note..starting the interval from the 4th. Im thinking that's why it's term SUB-dominant...So you can use it as a sub ? Aeolydian... 1, 2, -3, 4, 5 4, 5, -6, -7, 8
So to summarize and hopefully i'm getting this right D Dorian is a mode starting on the second chord in each respective key , so the Dm is the Tone Center of the D Dorian, there are chords within the Dm Tone Center that work well with the Dm Tone Center such as the 5th chord in the key of C. The C major scales are actually the Dorian scales when starting on the Dm Tone Center , but you should not start on the C note while using the C major scales a Dm dorian scale , best to start on the D note maybe ? Am I lost ?
Had a quick skim through your vid. Seems pretty good. I've got my own method for learning modes, so I don't like to confuse myself. I'll probably have a look back later though as I've bookmarked it. As for the Dorian mode. It's pretty important. It's the second position down from the Major scale (mode) so it will tend to be the first one you learn when you study modes. Yes, it's a minor Mode, but if you want to push the boat out, it can be quite ambiguous and doesn't sound half bad over a Major chord. Try it. It's edgy, but, one of those modes that can kind of lend itself to Major/minor voicing. Advanced stuff, but give it a go! Sometimes people call it a Jazz scale, and to an extent it is. But more than that, it makes a really great Funk scale. Keep in mind, it holds all the basic notes of a minor pentatonic shape around it, so you can do a bit of blues as well with it. More! It's one of the other scales used in Irish music (along with Major and minor), the other being Mixolydian. Again, try cutting it down to just Six Notes so it becomes a Hexatonic scale. Works magic. The Diatonic scale and its modes are Heptatonic (7 notes). Next time you find yourself in a boring old minor pentatonic (5 note) blues scale shape, play chords around the shapes of the Dorian scale in that key itself (making it Heptatonic). You may be surprised what you find there. Funk and Jazz and Blues are all related so no real surprises, ditto Irish music. There's Greek and there's Classical in there as well with the Dorian, Oh, and drunken Sea Shanties. You will want to learn this shape though, and it's quite a simple one compared to other modes, as it is actually quite Symmetrical across the finger board. A very versatile mode!
So does that mean each mode has its own scale? From this, I've understood that C Major scale works with every mode. But when you were showing the D Dorian scale, is that separate from C major? Would that mean I'd have to learn that as well? Also, is this the same with all the other modes as well? Do they have different scales? Thanks to anyone who answers, hope this doesn't sound like a stupid question, haha.
TheCriminalSporadic The first degree of any Major scale is the parent of the modes within that scale. Modes are inverted scales, C Major is the parent if it is the first degree. The formulas for the modes were invented to conform to the parent or first degree. Dorian has a b3 and b7 so D Dorian has no sharps or flats after applying the formula.
I get confused at 4:33 where he chooses an F Dorian which has notes that are not in the key of C Major. And isn’t F Dorian scale not in the key of E Major. Do you generally just omit the notes that are out of key here? Or does it still work being out of key in this mode?
I understand the confusion. This example demonstrates how Dorian can be used over minor chords that fall outside the diatonic (i.e. major scale) key, and the minor iv chord is an example of this. A good general "rule" is that whenever you encounter a minor chord that doesn't reside within the natural key, try Dorian on the same root as that chord.
Help please. Thank you so much for the info. I’m confused about the Abm > Bm using Abm Dorian and Bm Dorian. How does this work if it’s using notes outside of the scale? Any help is very very welcome. Edit: is it a key change? It sounds good I just don’t understand the detail of how it fits the scale.
This lesson describes chord scale theory but not modality. Modality is when you use modes to compose music like dorian, phrygian, lydian, ect. Playing modal music is easy. You can play modal music in this way. First, choose a chord and play it over and over again for 16-32 bars. Now, create melodies over the chord vamp. For example, if you are in F lydian mode, play the Fmajor7 chord for 16 bars and then write melodies over the vamp. As a reminder, a vamp is when you repeat one chord over and over again for a long time. Emphasize the #4 in lydian by playing it alot over the chord vamp. In the end, you will hear the sound of the mode and you will learn how to write modal music.
+chris caviness This is a good start for getting to know a mode's colour, but practically speaking it gets boring pretty quick and most songs make use of chord changes, yet still resolve around a modal center. I didn't just want to cover the "static" function of Dorian, although, again, it is a good starting point and I do provide single chord tracks on the lesson page for this. It was definitely worth covering its chord-scale function as an aside as many people don't realise Dorian can be used like other minor scales. I do feel some musicians have an overly narrow definition of modality, and I've debated this many times in the past. A chord progression is just harmonisation, typically of a single scale, but with a changing bass. So it is possible to build "modal progressions" by harmonising a mode around its "1 chord" and this is widely recognised by musicians. Creatively, I don't think we do ourselves any favours by narrowing the definition of modality to merely playing over single chord vamps.
Whether you find it boring or not, that's your opinion. You're over complicating it. The confusion between modality and tonality in the guitar world stems from folks like you. In the end, people fight wars over meaning, so meaning is very important.
+chris caviness I didn't say meaning was unimportant. But I am disputing your definition on the grounds that it is a) impractical to ignore how modes clearly function in contexts other than static vamps, and b) not what the majority of publications accept as the confines of modality, if we are to be dogmatic about it. Modern usage demands that we differentiate the "natural" major and minor keys from those that resolve around a different degree of the scale. Where the confusion lies is in not being clear about what creates this differentiation, or how tonics other than the most common major and minor can indeed exist. What creates the "Dorian sound", for example? It is both a melodic and a harmonic system - I don't see (or hear) how the two can be divorced.
Whether you want to argue over what modality is or what it is not, that's up to you. Certainly, you won't change my mind. If you cannot understand the fact that a dorian sound can be created by using pure melody without the need for hamony, well, that's not a surprise to me based your limited and corrupt knowledge of the subject. My purpose was clear from the beginning. At the end of the day, I am here to teach students how to play church modes, whether or not you agree or disagree with the standard teachings of modality.
+chris caviness I understand perfectly that the Dorian sound CAN be created using pure melody (for example the vocal melody of Scarborough Fair). I wasn't excluding that from my definition. I don't mind being challenged but please don't misrepresent my point.
