Yes if you play the IV - I change you will get a strong resolution to end on. I could have made some of the examples end like this without repeating and fading but realise now I forgot to!
i think in the context of a mixolydian scale it’s just the VII! if we were in regular C Major it’d be a bVII but in C mixolydian, Bb is the natural VII chord
I left out the diminished chord because a lot of songwriters don't like the sound of them. Feel free to experiment, I'd start by using some of the basic progressions like I VII IV and mixing in the iii chord. Hope that helps.
Dorian is a minor mode, yes, but built from the 2nd scale degree. It is not the same 'natural minor' (Aeolian), which is built from the 6th degree. The difference is that Dorian has a natural 6th instead of the flat 6th of the Aeolian scale.
@@ChowdMusic help me to understand this, if you build a minor scale starting from 2nd of any major scale which will include b3, b7 and natural 6th then it will be Dorian ? .. but let's take an example of A minor where the 6th is natural right?
@@soumendasgupta2272 You have the right idea. Yes, any major scale with a flattened 3rd, flattened 6th, and flattened 7th becomes the parallel natural minor scale (e.g., C major becomes C minor by flattening those scale degrees). The natural minor scale is also known as the Aeolian mode, mode 6 of the seven modes of major. Dorian is mode 2 of major, with only a flattened 3rd and flattened 7th, with a natural 6th. Don't mistake this with key signatures that already have sharps or flats in them. If you're taking a minor key like A-sharp minor and converting it into its parallel Dorian key (A-sharp Dorian), you would raise the 6th degree (F#) and this note would become FX (F double-sharp). If you find yourself in this situation, there is usually going to be an enharmonically equivalent key that can help you avoid any double sharps or flats if you don't want to deal with them. (Enharmonic equivalence means assigning different letters to the same notes. The note E# is enharmonically equivalent to the note F.) In the case of the key of A-sharp minor, the enharmonic equivalent key is B-flat minor. If you rescored your music for this key, then when you modulated into the parallel Dorian key you would no longer have to deal with the double sharp. But personally I find it more natural to just think about the double sharps and double flats as such when they come up.
hey can I ask you with modes let's say I'm useing a chromatic mediant chord C> A instead of am would that affect the aoelean modes notes into something new like a whole new scale .I hope I got the meaning through I'm still new to this
As far as I understand it will not change the notes in the Aeolian/Natural minor scale. The chromatic mediant is in relation to the existing notes in the key, it doesn't change them. I plan to do a video on this at some point. I hope that helps.
@@WriteASong whew that's a sigh of relief I thought on top of having to know the modes ud also have to slightly alter them to account for the out of key note which maybe is not a bad idea ? edit : I just tried it with G major but instead of a major 3rd I swapped it out for B minor and the only diffrence is the f# so I tried thoes 2 chords over major F# and it sounded really bad so but minor F# aeolian works just fine
