I can appreciate what goes into producing such videos and the desire to make them entertaining. However, I am impatient and more interested in getting the information in a shorter period of time. The comedy and graphics defeat that purpose.
I’ll make sure to be less comedic in the future. You might be more interested in this series, which is info dense and straight to the exercises. I add to it every other week. ru-vid.com/group/PL40pFkWbVtdlAY_g71Pf9RBy97mqXpQHK&si=B06bUEpzeoglEltg
Maybe others appreciate the comedy. My take is if we are viewing this video, likely we view many others and the time adds up. Given multiple videos on the same topic, I'm likely to first see if the shorter one is worthwhile. I will say your content is clearly presented and valuable. My issue with modes is that while I understand them architecturally, it seems impossible to identify a particular mode if a solo is not starting on the root of the mode. It doesn't seem likely that that is a requirement for soloing in a mode though. @@joeluegersmusicacademy
@@kenzeo I have mixed opinions! :D I actually appreciate the humorous bits; the problem is that I tend to watch these videos a few times regularly, so the second and third times through I appreciate them less :) Either way, great video. Thanks!
So I am cooking and listening to this in one ear bud. I have the over head fan on blasting. Your video made me notice the fan is tuned perfectly to C! (I even got out the tuner and bang on C2) I thought i was being stupid but nope... just weird.
You owe me big time!!! Just kidding. Let me know if there are any topics that would help people like you even more. I think the biggest things I’m missing are melodic and rhythmic dictation.
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Hey Joe! Really enjoyed this video. I'm learning about some modes like Lydian #2, 8 Note Dominant/half-whole, Lydian Dominant, 8 note diminished/Whole-Half. I'd love a similar video on these types of modes. Thanks for all of your hard work
1:56 Ionian and major are technically the same, but they are also technically different. Here’s how: For example, a score in C Ionian will ONLY use the notes CDEFGAB. However, a score in C major will use the notes CDEFGAB, but you might have some accidentals, even if it’s only in the chords. A A major chord would be fine in C major, but not in C Ionian.
@@joeluegersmusicacademy ok ok, but there are 3 diatonic scales right? (Major, Melodic Minor, and Neapolitan Major) so there are 21 diatonic modes And according to tradition you must discard the 9 without a perfect fifth giving us 12 authentic modes. Then double that bc there are plagal (prefixed with hypo) forms of each of them. So depending on how you look at it there may be 21 or 24 diatonic modes 😅
Lol- 7 diatonic modes of the Major scale. Perhaps one day I will atone for my grave injustice to the Lydian augmented mode. I can only hope, but I fear the damage is done.
Excellent lesson! I could identify all modes in the last exercise! Now, real world is another matter, but we'll get there eventually. Thank you so much, this was huge!
Ok it's been literal years since I studied modes in a commercial music theory class but willing to take a crack at explaining why Ionian and Major aren't the same thing. Forgive me if some of this is incorrect or poorly explained. There's this concept known as a modal cadence which is essentially a progression that resolves to the I of a given mode and strengthens it as the home key. A modal cadence highlights one or both of the color tones of the respective mode, which happen to always be the two notes that make up the tritone(B and F in C Ionian for example) but in a non-functional manner, meaning no V-I or V7-I as those are functional resolutions. Instead a modal cadence involves chords that contain those tones but aren't a dominant of the key center. For example, IV-I, also known as a plagal cadence, would be an example of a modal cadence, because it's emphasizing the 4th scale degree without resolving down in fifths. However, you can make it even stronger modally by including the diatonic 7ths in the chords. IVmaj7-Imaj7. Now both the 4th scale degree and 7th are represented in the progression in a way that is unique to the ionian mode. No other mode has IVmaj7-Imaj7 in it natively. The progression has a sense of tension and release due to the modal cadence, which helps to define it as Ionian instead of just any music in a major key. For an example of how this sounds, check out "Gymnopedie No. 1" by Erik Satie. The entire first section of that song is just IVmaj7-Imaj7 in D. I think it can be extra confusing because C major is a broader term than C Ionian. The former is just a set of notes with a home point whereas the latter is that too but also defined by lack of functional harmony and emphasizing of character tones that bring out the color of the mode. It's more ephemeral in nature. So to boil it down, all C Ionian music is in C major, but not all C major music is Ionian.
Yes to all of that. To make matters more confusing, modes pre-date ideas of traditional tonality but were “rediscovered” and used frequently in jazz, although jazz musicians are using them differently than originally intended. Using older terms to explain how modern music is made can be tricky because very few popular musicians are thinking about the “rules” of how chords and notes are supposed to function.
Locrian mode might as well sound as if a piano student started (and ended) with a wrong note a minor scale since it sits snugly between parallel major and minor key. Like, A minor, B locrian, C major. I only learned to discern this scale by memorizing its first 5 steps, nothing else worked.
The thing that I do is as soon as I hear the final note, I sing a note up a half step. If it sounds totally resolved, it’s Locrian. If it sounds a bit off, it’s Phrygian (singing up a half step here resolves to the Lydian mode.)
@@joeluegersmusicacademy Might be a working method, but right now recognizing a short pattern is easier than trying to add something to overlapping notes and make out what I get.
There’s a lot of modal mixture going on in “Nights in White Satin”. Sometimes it sounds a bit Phrygian, other times it borrows from Dorian. I’ve seen them in concert twice; they’re great!
