I could not believe my eyes when I saw this thumbnail. I've had in mind for about a year now an arpeggiated vamp between Am and G+, with the seconds in as filler notes. At some point I figured it must be some mode of of the Harmonic Minor scale, but I didn't know then what to call it. I put the idea away for a while but now I'm in the middle of fleshing the idea out into a full track. I only figured out a few days ago that it would be called Dorian #4. I searched YT for videos about this mode but could not find anything useful. Today I look to see what Tommaso's upload for the week was and BAM! I'll be looking to apply this for sure!
Your tip about seeing modes as overlaid arpeggios is top notch. I made the same realization a few months ago that it's much simpler to think of Dorian as "minor 1st chord, major 4th chord, minor 5th chord" than the equivalent collection of 7 notes. Want to modulate to mixo? Easy, just make the I chord major. Easier said than done, you still have to practice the changes but that was a helpful tool that got me to grok the 'how and why' of changing modes.
This is the first time I've ever been on your Channel and I watched the whole lesson... You not ONLY taught me all about the Dorian#4 scale, and its Usage, you made me THINK of how to use OTHER scales, and to be able to write MUSIC!..You are an Excellent teacher, one of the BEST I've ever seen!
One of Satie's favourites. Actually, listening to the Gnossienes is a very good introduction to the kind of eerie atmospheres one can get out of this and similar modes in a not-metal-centric context.
@@michaeldejong2700 As a metalhead, I see you are the kind of person that is capable of thinking in terms of "most " are X. Hypocritical much? The channel-owner is a metalhead btw. Do better.
One of my favorite scales in greek folk music also, it's called "Nikriz" ! In greek "modes", often the V- chord (Em) is becoming E (dominant), if the melody needs it, and you get an Ab in the scale instead of G.
It is used in Greek traditional music. Ποιμενικος is the mode's name (or Nikriz in Turkish). An example, search for έμαθα πως είσαι μάγκας song. Or in greeklish "ematha pws eisai magkas". Enjoy
Hey Tommaso, this Am B/A progression are the first two chords of Piazolla's Libertango! 😉 And Genesis' Ripples uses Dm E/D in the part "for an hour a man may change". I think it's D dorian #11 too
I love these little bits where I can go off and do something with the info without having to go learn something else FIRST before I understand what it's about.
This is my favorite scale because it reminds me both of playing Castlevania Symphony of the Night when I was just entering my teenage years, but it also reminds me of Gabor Szabo's "Dreams" album.
This scale (mode of the harmonic minor) makes me feel like "Arabian nights at the Oasis", while the phrigian dominant mode also created by the harmonic minor makes me feel like the "Egyptian mysterious darkness of the pyramids mortuary rooms"
Definitely a Spanish sound in there, and Turkish, and it seems I've heard this in some form of mediterranean music as well. Something I heard as a kid from my parents records probably.
The only way I can describe how much I love this scale is by dialing in my best lead sound, and shredding this scale non-stop for 5 minutes along with the most expressive bends from #4 to 5 I can muster. It’s hard to prove my point otherwise :)
I think it’s worth noting that when this mode is used in Klezmer, G#s are used to cadence to Am, typically with E7 chords, despite the D# in the melody that clashes with that harmony.
@FU 50cent Using E7 in the harmony to cadence to Am doesn’t make the pieces in different modes, it’s just how Klezmer music handles modes. It’s similar to how “minor” in classical music includes the natural minor scale, but also the major 6, major 7, and (arguably) b2 for the sake of specific cadences/melodic contours. Most modal music written by people that don’t have formal training in modes doesn’t actually follow the modes perfectly because they weren’t interested in following them for the sake of following them.
So I’m 1:52 in, and I’m lost thinking how can I understand this! But I was loving your voice so carried on. Now 3:47 in and so thankful for the way you not only made me understand, but also created the tabs for me. That’s a great sound. 👍
Awesome! Our power was shut down for the last few days here so I missed this video. But yesterday I was experimenting with mixing this with the lydian mode. There is the commonality of the sharp 4, but they are very different sounds otherwise. One distinctly Major, and the other distinctly minor.
Thanks for all the ideas. I often play this chord (Although I've always called it Dorian #11) but these new perspectives will lead to a fresh vista or two
It's funny, the french rapper Uzi in his song "à la fête" use a chord progression which starts with I-min II-Maj Showing that the sound of dorian #4 is not restricted to cinematic or metal styles but can be applied even in more pop contexts
Wow...superb chord progressions in this scale... actually this Dorian #4 scale is very near to Raaga 'Saraswati' in north Indian music..any way... these chord progressions gives unique feel... thanks for sharing.👍👌🙂
Thank you very much. This is one of my favorite scales, I've always felt it has an "evil" sound. Here is a beautiful song in C# dorian#4 : " Bab Darek / Mohamed-Ali Kammoun feat. Eya Daghnouj " you can find it here on youtube.
That's very interested scale. About chord progression of this - at the 3rd chord it can use Major or Minor chord you can see in the mode of Harmonic Minor - the 7th note = b8 then: 6 - 1 - b3 or 6 - b1/b8 - b3 Try this progression: Dm - Fm Dm - E - Fm
I like to make an i diminished with the I bIII and #IV of the scale. And I love to use line cliches starting from the diminished tonic chord as the highest note goes up
AWesome lesson man, I really got into the sound and vibe of what you were putting across a man does this sound have a lot to offer!! Using this in hard rock style seems to work very well. Im going to experiment with it... thanks a lot. Killer lesson.
I have a few thoughts. 1. I think you should turn on the RUclips join section. I've been watching your videos for over a year, and while I can't necessarily swing the 50 to a $100 a month just now to get your course, I would like to be able to support you monetarily in some sort of way; or even a Patreon, PayPal, etc. 2. Perhaps, when you do specific scale lessons, such as this one, or lydian dominant, etc maybe a friendly competition for your faithful community. Like a 30 second composition using that weeks scale, or monthly, however you prefer, really. I just think that will inspire more interaction with your core audience, and even expand the base. Then you can pick a few of the compositions and break down what people got right, and where they may have went wrong. For instance, if they shifted the tonal center to e harmonic minor, when it's supposed to be A dorian #6, as you explained in this video. I've been on the Beato and Signals channels for about 3 years and I've learned and internalized more from you in the past year, than I've ever retained in 20+ years of playing. I'm gonna play around with this scale tonight, as always, thanks so much for rhe inspiration, Tommaso!
@@d.e.dmzunguking644 check out bandlab if you like collaboration. I'll put a link to my page and the latest track I wrote learning to use my recording gear. www.bandlab.com/post/3bcbdb2f-c5d9-ea11-8b03-501ac51fd70d
@@frenchiesfrankieandhenry: Wow, well two things: one is my ears are bleeding that was so loud. Anyone else who is wearing head phones or earbuds be warned, your ears will be damaged. Other than that, once I held mine a half a foot away from my ears, what I could hear sounds really good actually. No joke, I'd like to be able to actually hear it some day. lols
@@aylbdrmadison1051 yeah, that app "masters" your tune. In other words, makes it loud as hell to compete with other loud ass music. Lol The original track is better, imo.
It’s amazing how much my brain keeps trying to go to Em when listening to the examples. After playing around with it a bit you definitely should be careful adding the b7 to the top of a B chord as well, it becomes over whelming wanting to go to Em for my ear.
@@michaeldejong2700 you didn’t watch the video, did you? Pedal tone “drone” chord structures is how Slayer and a lot of metal bands create melody and harmony. Clean sections from Sanitarium and Seasons In The Abyss or 213 are easy examples.
@@michaeldejong2700 in any intelligent discussion, it is forbidden to be a high school age try hard gate keeping the subject. This is the first genuine explanation of the theory behind the methods. It got a heart from the creator. He’s probably shaking his head right now “why can’t I blow up like pewdiepie... oh wait, too many of my viewers are jazz douche bags who push away new viewers.” 😂
I love hoy I came exactly from practicing on my keyboarda and trying weird things like taking a scale and changing a grade, well I just came across dorian with #4 and then, I find this video lol, everything is magic
Maestro, your lessons are priceless. Where are you from in Italy? And do you have any videos about your life story? I know you said you had a PhD in physics. It would be fabulously interesting to know some of the people, places and things that have inspired you.
For a while now, I've been looking for something that, used right, will cause people to run out of the room (other than the quality of my playing, I know some wise-acre was gonna go there, LOL). This could be it... thanks!
so, I have a Romanian Kaval and wanted to know what's this scale name. I just realized that many Romanian kaval music is either in this dorian #4 or regular dorian mode 😁 I wanted to know because the Romanian kaval always sounded a bit exotic but not stereotypical middle eastern, the old dances were played in a scale that was strange and mysterious. sounded minor but with just a tiny eastern sparkle that made it unique compared to the more famous oriental scales. now I know, it's called dorian #4 and I love it
According to my notes Dorian is the second mode of major and the scale that you show is Roumanian minor also the 4th mode of harmonic minor Never mind, I didn't catch the sharp fourth of Dorian but I still think that's a bad way to represent it. I could just call it A minor with a sharp fourth + a sharp sixth. We really need to represent scales in binary and it would end all this confusion.
The Em (vi) doesn’t have a pull per se it is just centuries of classical music have conditioned our ears expectation to seem that way. To prevent this pull from superseding your tonal center (mode) you will need to write the progression in such a manner to overcome it, use proper voice leading, and you may need secondary scales which will reinforce the tonal center and primary mode. The diatonic variant modes are sometimes more difficult to compose progressions from that include the chord representing the scales origin tonal center (harmonic minor in this case) since the scale was built to define it as the tonal center in the first place. All the more useful a role secondary secondary scales might play to perform this.
Most klezmer music uses this scale and it does not sound evil at all. in arabic music this scale/maqam is called Nikriz and is used a lot in Turky, Also used a lot in slavic music and is often called romanian minor. I personaly would rather call it the bombastic scale! It is actually a very versitile scale that packs a lot of personality. It is the minor version of the overtone scale
There's an great blues tune by Hard Swimmin' Fish called Blind Love that, uses something like this in the solo. It's a minor scale with a #4 but then the top is really strange with an aug6 and a maj7. I kinda wonder if they thought it through our if it just happened because it falls nicely under the fingers (if you avoid the weird 6).
@@alsatusmd1A13 you're right. I was thinking (wrongly) of the major 6 as #6 by comparison with the b6 of aeolian, so I didn't know what to call the next semitone up. Its proper name is aug6, which is the same as the b7. So the scale ends up having a "b7", then a maj7, then the tonic. It's still really weird... Thanks for the heads up. I'll correct it now.
![How To Make Music With The LYDIAN Scale [Chords, Progressions, Lead]](http://i.ytimg.com/vi/Y06WBKbm8kI/mqdefault.jpg)
![How To Make Music With The LYDIAN Scale [Chords, Progressions, Lead]](/img/tr.png)
![Ice On My Teeth - ATEEZ エイティーズ 에이티즈 [Music Bank] | KBS WORLD TV 241115](http://i.ytimg.com/vi/c-n92OgbbwA/mqdefault.jpg)
The pull of the Em can actually serve a purpose as being an incredibly organic feeling way of changing keys!
4:41 I thought I was about to hear the forbidden song
Yes.... even though its just an Am arpeggio....
@@petterhouting7484 isnt it ab though? correct me if im wrong
@@victorbitencourt9481 no it is an A minor arpeggio
no stairway, denied!
I could not believe my eyes when I saw this thumbnail. I've had in mind for about a year now an arpeggiated vamp between Am and G+, with the seconds in as filler notes. At some point I figured it must be some mode of of the Harmonic Minor scale, but I didn't know then what to call it. I put the idea away for a while but now I'm in the middle of fleshing the idea out into a full track. I only figured out a few days ago that it would be called Dorian #4. I searched YT for videos about this mode but could not find anything useful. Today I look to see what Tommaso's upload for the week was and BAM! I'll be looking to apply this for sure!
I love this scale, especially when used in Turkish music where it is called Nikriz and in Klezmer.
tam olarak nikriz i karşılıyor mu?
Do you have any axamples of the turkish music/artists who play this?
Always looking for new tunes.
Shut up right now
Also Jewish, as well as Arabic music more generally. Though they are used quite differently.
Your tip about seeing modes as overlaid arpeggios is top notch. I made the same realization a few months ago that it's much simpler to think of Dorian as "minor 1st chord, major 4th chord, minor 5th chord" than the equivalent collection of 7 notes. Want to modulate to mixo? Easy, just make the I chord major. Easier said than done, you still have to practice the changes but that was a helpful tool that got me to grok the 'how and why' of changing modes.
This is the first time I've ever been on your Channel and I watched the whole lesson... You not ONLY taught me all about the Dorian#4 scale, and its Usage, you made me THINK of how to use OTHER scales, and to be able to write MUSIC!..You are an Excellent teacher, one of the BEST I've ever seen!
One of the best teachers in the world ! No riff raff and neither waisting time or moving to fast. Just perfect
One of Satie's favourites. Actually, listening to the Gnossienes is a very good introduction to the kind of eerie atmospheres one can get out of this and similar modes in a not-metal-centric context.
Most metalheads dont have the imagination to compose something like this
@@michaeldejong2700 As a metalhead, I see you are the kind of person that is capable of thinking in terms of "most " are X. Hypocritical much? The channel-owner is a metalhead btw. Do better.
@@TheBaconWizard unironically saying do better is so lame
Thanks for the tip ❤ I love how he changes between dorian #4 and normal minor.
@@sunkintree unironically demeaning constructive criticism is not good.
Holy Crapoloni, a theory video that doesn't make me feel like I'm taking a class on calculus or physics
>..>
Thank you
Ironically, I'm also a physicist ;-)
One of my favorite scales in greek folk music also, it's called "Nikriz" ! In greek "modes", often the V- chord (Em) is becoming E (dominant), if the melody needs it, and you get an Ab in the scale instead of G.
Im a beginner in the theory side, I think you're about to change that
It is used in Greek traditional music. Ποιμενικος is the mode's name (or Nikriz in Turkish). An example, search for έμαθα πως είσαι μάγκας song. Or in greeklish "ematha pws eisai magkas". Enjoy
Now that makes me wanna go take a listen to Greek traditional pieces.
Thanks for the info!!
Have a great day
Isn't there also a scale in traditional Cretan music, that has three doric tetrachords instead of two?
@@hglundahl Sorry, I don't know that. But can you impose 3 dorian tetracords one on top of the other? That would go beyond one octave
@@efstratiosanagnostopoulos6636 It _does_ go beyond the octave.
A B C D
E F#G A
B C# D E
For authentic.
For plagal:
A B C D
D E F G
G A Bb C
Hey Tommaso, this Am B/A progression are the first two chords of Piazolla's Libertango! 😉
And Genesis' Ripples uses Dm E/D in the part "for an hour a man may change". I think it's D dorian #11 too
Libertango is such a good song... I love Piazzolla.
@ TedBoyRomarino : Gotta say, I really love your eclectic musical tastes.
Me: On edge thinking he's playing the song that shall not be named...
Him: Stairway Denied!
This is such a great channel. Not only information but immediate real world application for me... Thanks, man...
I love these little bits where I can go off and do something with the info without having to go learn something else FIRST before I understand what it's about.
If you want to hear this scale used in Flamenco, check the piece Mezquita by Manolo Salùcar. Sounds fantastic!
This is my favorite scale because it reminds me both of playing Castlevania Symphony of the Night when I was just entering my teenage years, but it also reminds me of Gabor Szabo's "Dreams" album.
Thanks for the Dorian Sharp 4 breakdown. Your shared knowledge is appreciated!
This YT channel is by far the best one to boost my theory knowledge 👏
Thank u Sir🤗
Reducing the scale to the two triads is key for me. Easy, fun, and leads to the most creative practicing and songwriting.
This scale (mode of the harmonic minor) makes me feel like "Arabian nights at the Oasis", while the phrigian dominant mode also created by the harmonic minor makes me feel like the "Egyptian mysterious darkness of the pyramids mortuary rooms"
Arabian Nights uses the chromatic mediant Am - Cm which is possible because D# is the same as Eb
I was successful with the Em chord by placing a C or A bass note underneath. It still felt like A was the center.
Hi Tommaso. Good subject of discussion. All modes with a sharp fourth have some magic in them. This one brings us some Spanish magic.
That was the first thing that came to my mind as well.
Definitely a Spanish sound in there, and Turkish, and it seems I've heard this in some form of mediterranean music as well. Something I heard as a kid from my parents records probably.
@@aylbdrmadison1051 Spain has strong links to arab culture.
Mr.Frenchie,no dis i ntended, is an exelent teacher indeed.Merci!
Thank you. I'm Italian ;-)
The is the scale Slash plays on the run in the solo to Sweet Child of Mine . Over the A chord.
Another great lesson from the harmony master including instantly usable chord progressions, thank you and keep up the good work !!
The first two chords sounded like Siouxsie and the Banshees song Night Shift.
This guy always helps me break my musical ruts.
You are a wealth of knowledge Tomasso. Thanks again Maestro.
Amaziiing!please make more videos of these exotic scales😱😱😱😱😍😍😍😍😍😍😍😍😍😍
The only way I can describe how much I love this scale is by dialing in my best lead sound, and shredding this scale non-stop for 5 minutes along with the most expressive bends from #4 to 5 I can muster. It’s hard to prove my point otherwise :)
Spot on! :)
I think it’s worth noting that when this mode is used in Klezmer, G#s are used to cadence to Am, typically with E7 chords, despite the D# in the melody that clashes with that harmony.
@FU 50cent Using E7 in the harmony to cadence to Am doesn’t make the pieces in different modes, it’s just how Klezmer music handles modes. It’s similar to how “minor” in classical music includes the natural minor scale, but also the major 6, major 7, and (arguably) b2 for the sake of specific cadences/melodic contours. Most modal music written by people that don’t have formal training in modes doesn’t actually follow the modes perfectly because they weren’t interested in following them for the sake of following them.
This is a really good lesson and one that I will come back to again for sure.
Thanks for sharing. Very moody...
And the thumb up in the key of G is brilliant... 🙂😉🎶👍
Your channel really helps me not staying trite in my playing. Thank you!
Love your style and teaching, superb
what a superb, enlightening video. thank you mr instructor man!
So I’m 1:52 in, and I’m lost thinking how can I understand this! But I was loving your voice so carried on. Now 3:47 in and so thankful for the way you not only made me understand, but also created the tabs for me. That’s a great sound. 👍
Awesome! Our power was shut down for the last few days here so I missed this video. But yesterday I was experimenting with mixing this with the lydian mode. There is the commonality of the sharp 4, but they are very different sounds otherwise. One distinctly Major, and the other distinctly minor.
Another cool lesson. Thanks for the simple explanations, and composition ideas. Looking forward to the next one!
Thanks for all the ideas. I often play this chord (Although I've always called it Dorian #11) but these new perspectives will lead to a fresh vista or two
It's funny,
the french rapper Uzi in his song "à la fête" use a chord progression which starts with I-min II-Maj
Showing that the sound of dorian #4 is not restricted to cinematic or metal styles but can be applied even in more pop contexts
Wow...superb chord progressions in this scale... actually this Dorian #4 scale is very near to Raaga 'Saraswati' in north Indian music..any way... these chord progressions gives unique feel... thanks for sharing.👍👌🙂
“Danger, Will Robinson” almost made me spray green tea all over my iPad screen. 🤣🤣🦁🌞
HEHEHE, I disclaim every responsibility for water damage or any other kind of hardware, software, or wetware issues ;-)
Your chanel is one off the things there I looking for, at time
love the two triads way of thinking about this very useful
and for me the sound feels is about worry and curiosity at the same time
Hello Tommaso! So nice to see you!
Thank you very much. This is one of my favorite scales, I've always felt it has an "evil" sound. Here is a beautiful song in C# dorian#4 :
" Bab Darek / Mohamed-Ali Kammoun feat. Eya Daghnouj "
you can find it here on youtube.
ruclips.net/video/5J6CjNc8Njo/видео.html
Thank you so much for making me discover this wonderful song.
Man, I love this channel!
Impossible not to love it
That's very interested scale. About chord progression of this - at the 3rd chord it can use Major or Minor chord
you can see in the mode of Harmonic Minor - the 7th note = b8 then: 6 - 1 - b3 or 6 - b1/b8 - b3
Try this progression:
Dm - Fm
Dm - E - Fm
I like to make an i diminished with the I bIII and #IV of the scale. And I love to use line cliches starting from the diminished tonic chord as the highest note goes up
AWesome lesson man, I really got into the sound and vibe of what you were putting across a man does this sound have a lot to offer!! Using this in hard rock style seems to work very well. Im going to experiment with it... thanks a lot. Killer lesson.
Thank you for your videos!! You are appreciated my man
Dorian is by far my most used scale
This reminds me of the band Opeth, they use this type of chord progressions, sounds great..
I thought exactly of this! A Fair Judgement from Deliverance is a perfect example.
I have a few thoughts.
1. I think you should turn on the RUclips join section. I've been watching your videos for over a year, and while I can't necessarily swing the 50 to a $100 a month just now to get your course, I would like to be able to support you monetarily in some sort of way; or even a Patreon, PayPal, etc.
2. Perhaps, when you do specific scale lessons, such as this one, or lydian dominant, etc maybe a friendly competition for your faithful community. Like a 30 second composition using that weeks scale, or monthly, however you prefer, really. I just think that will inspire more interaction with your core audience, and even expand the base.
Then you can pick a few of the compositions and break down what people got right, and where they may have went wrong. For instance, if they shifted the tonal center to e harmonic minor, when it's supposed to be A dorian #6, as you explained in this video.
I've been on the Beato and Signals channels for about 3 years and I've learned and internalized more from you in the past year, than I've ever retained in 20+ years of playing.
I'm gonna play around with this scale tonight, as always, thanks so much for rhe inspiration, Tommaso!
Great ideas, I agree with your suggestions!
If you compose something with this scale I'd be happy to hear it, I'm gonna try it myself
@@d.e.dmzunguking644 check out bandlab if you like collaboration. I'll put a link to my page and the latest track I wrote learning to use my recording gear.
www.bandlab.com/post/3bcbdb2f-c5d9-ea11-8b03-501ac51fd70d
@@frenchiesfrankieandhenry: Wow, well two things: one is my ears are bleeding that was so loud. Anyone else who is wearing head phones or earbuds be warned, your ears will be damaged.
Other than that, once I held mine a half a foot away from my ears, what I could hear sounds really good actually. No joke, I'd like to be able to actually hear it some day. lols
@@aylbdrmadison1051 yeah, that app "masters" your tune. In other words, makes it loud as hell to compete with other loud ass music. Lol
The original track is better, imo.
SOO good! Thank you for these vids
Brilliant lesson.
It’s amazing how much my brain keeps trying to go to Em when listening to the examples. After playing around with it a bit you definitely should be careful adding the b7 to the top of a B chord as well, it becomes over whelming wanting to go to Em for my ear.
Me too. I forced myself to use Cminmaj7 and Ebdim7. It resolves to B real well to my ears.
Just a thought.
Love the videos excellent as always.
That augmented section gives me heavy Opeth vibes
I think that is exactly what is used in the ghost house in some mario games
Well, Opeth normally like to use Hungarian Minor (which is pretty similar) during acoustic sections, so that's probably why.
Minor roumanian scale. The 4th degree of harmonic monor
Super helpful 👌 thank you!!
quite ironic you made this . I was working on donna lee and 4 bars before the head finishes this lick is done
Welcome to Slayer 101. Excellent examination of the scale melodies involved with those sounds.
Sounds nothing like slayer and other metal stuff
@@michaeldejong2700 you didn’t watch the video, did you? Pedal tone “drone” chord structures is how Slayer and a lot of metal bands create melody and harmony. Clean sections from Sanitarium and Seasons In The Abyss or 213 are easy examples.
@@Xplora213 In an intelligent discussion about music theory its absolutely forbidden to start talking about metal bands
@@michaeldejong2700 in any intelligent discussion, it is forbidden to be a high school age try hard gate keeping the subject.
This is the first genuine explanation of the theory behind the methods. It got a heart from the creator. He’s probably shaking his head right now “why can’t I blow up like pewdiepie... oh wait, too many of my viewers are jazz douche bags who push away new viewers.” 😂
I love hoy I came exactly from practicing on my keyboarda and trying weird things like taking a scale and changing a grade, well I just came across dorian with #4 and then, I find this video lol, everything is magic
Thank you very much yet again. You are mega awesomely awesomeness
Maestro, your lessons are priceless. Where are you from in Italy? And do you have any videos about your life story? I know you said you had a PhD in physics. It would be fabulously interesting to know some of the people, places and things that have inspired you.
Nice lesson
Great great great!
For a while now, I've been looking for something that, used right, will cause people to run out of the room (other than the quality of my playing, I know some wise-acre was gonna go there, LOL). This could be it... thanks!
Wooou...this nice , I like this....
Its very hard to avoid Em,... but i'll try,, thanks for very good lesson
3:48 is't like Stairway to heaven but jazz
I newly found your channel
Love your videos
Very nice.
Can u make a video about half notes and their ysages ?? I really enjoy watching ur videos thank you so much☺
great vid!
Reminescent of "Bell, Book and Candle" closing theme.
Ukranian Dorian! One of my favorite examples is the beginning of Egyptian Danza by Al Di Meola. Also a lot of John Zorn
thank you
The best teacher
My dream of being an advanced guitar player continues to shatter .. how does anybody learn this .
You just need to learn things in the right order. Watch this playlist first, and take it slowly :). ruclips.net/video/V7wGIxpW5rM/видео.html
so, I have a Romanian Kaval and wanted to know what's this scale name. I just realized that many Romanian kaval music is either in this dorian #4 or regular dorian mode 😁 I wanted to know because the Romanian kaval always sounded a bit exotic but not stereotypical middle eastern, the old dances were played in a scale that was strange and mysterious. sounded minor but with just a tiny eastern sparkle that made it unique compared to the more famous oriental scales. now I know, it's called dorian #4 and I love it
According to my notes Dorian is the second mode of major and the scale that you show is Roumanian minor also the 4th mode of harmonic minor
Never mind, I didn't catch the sharp fourth of Dorian but I still think that's a bad way to represent it. I could just call it A minor with a sharp fourth + a sharp sixth. We really need to represent scales in binary and it would end all this confusion.
Very beautiful and amazing explanation. But why you don’t add music notes so other not guitar player can understand
Isn't the "First prayer" by Deathspell Omega built just in this scale (but in the key of E) and the same progression?
pls do a lesson on Lydian #2 or #11 the 6th mode of harmonic minor...
thank you for the info brooo!!! ... :)
I got lost halfway through. Back to regular Dorian and pentatonic for me!
The Em (vi) doesn’t have a pull per se it is just centuries of classical music have conditioned our ears expectation to seem that way. To prevent this pull from superseding your tonal center (mode) you will need to write the progression in such a manner to overcome it, use proper voice leading, and you may need secondary scales which will reinforce the tonal center and primary mode. The diatonic variant modes are sometimes more difficult to compose progressions from that include the chord representing the scales origin tonal center (harmonic minor in this case) since the scale was built to define it as the tonal center in the first place. All the more useful a role secondary secondary scales might play to perform this.
Nice tutorial,,,another good one..."danger Will Robinson" haha
Did you watch American TV shows growing up?
That joke is literally the only thing I know about the show ;-) It just popped out in my mind while I was recording.
You explained this better than my teacher
Most klezmer music uses this scale and it does not sound evil at all. in arabic music this scale/maqam is called Nikriz and is used a lot in Turky, Also used a lot in slavic music and is often called romanian minor. I personaly would rather call it the bombastic scale! It is actually a very versitile scale that packs a lot of personality. It is the minor version of the overtone scale
Try this chord progression.
idim -> i -> bVI/I -> VIdim/I
It sounds like creepy footsteps
You play the devils music with your diminished 5th interval sir
Cool thanks, a mode of a harmonic minor....
There's an great blues tune by Hard Swimmin' Fish called Blind Love that, uses something like this in the solo. It's a minor scale with a #4 but then the top is really strange with an aug6 and a maj7. I kinda wonder if they thought it through our if it just happened because it falls nicely under the fingers (if you avoid the weird 6).
##6? Isn’t that normally the same semitone as the major 7?
@@alsatusmd1A13 you're right. I was thinking (wrongly) of the major 6 as #6 by comparison with the b6 of aeolian, so I didn't know what to call the next semitone up. Its proper name is aug6, which is the same as the b7. So the scale ends up having a "b7", then a maj7, then the tonic. It's still really weird...
Thanks for the heads up. I'll correct it now.