If you loved this video, you'll love The Song Science Series! musiciansinspired.teachable.com/p/song-science-1-2-3-4-and-5-bundle/?product_id=1308946&coupon_code=YTFAM (Still on discount for RUclips fam) In The Song Science Series we'll cover all types of chord tricks that songwriters use to tell stories with their music. We'll go much deeper into modal interchange and cover topics such as...back-cycling, diminished passing chords, secondary dominants, Neapolitan and Lydian II, bVII and bVI chords, pedal point, slash chords, harmonic rhythm, eleven and a half bar verses, pivot chord modulation, chromatic mediant modulation, modulation distance, refrain song form, and much, much more...and I'll show you how all these concepts are used in real pop songs. If you're ready to join me in the course, enroll today! musiciansinspired.teachable.com/p/song-science-1-2-3-4-and-5-bundle/?product_id=1308946&coupon_code=YTFAM P.S. Thanks for all the love on this video. Glad it's been helpful for a lot of you!
Hi thanks for the great video ; but i think some examples you have given might not be modal compositions . For example; green day broken.... i think it doesnt sound modal. Diffrence between minor scale and dorian scale is the 6TH note . You have to exactly hit that 6th to make it sound modal . And the consept of using minor and major chords doesnt fit modal hearing .I didnt check the full greenday song if they hit 6th or not . this is just my opinion :)
Thank you so much mate, after 24 years of playing various instruments I feel like my musical knowledge is going through a big-bang-like expansion, everything has sort of come together and it feels incredible! This video really helped me put the pieces together of modes, looking forward to another 2 hours of mind blowing info. I really appreciate your efforts, great job!
Simply the best lesson on modes on RUclips, have watched 100’s of people trying their best to explain modes to us normal mortals but failed miserably. Thank you so much and by the way it’s guitar I play but you have at long last given me a clear insight into The mysteries of the “Modal World “ 👍👍👍
Roman numerals come in both uppercase and lowercase forms, while Arabic numerals (0-9) do not distinguish between cases. Lowercase Roman numerals like i, v, x, l, c, d, and m, are traditionally often used in contexts like footnotes or outlines.
Good job explaining this. Finally i understand how the chord progression works in the different modes. For 5 years , i have attended the youtube music university, and only now, b/c of this vid, does it all makes sense to me. Im serious, thank you!🤙
Thank you, thank you, thank you. This video may be 7 years old (as of writing this in 2023), but it is the most easy-to-understand, basic breakdown of modes that I've seen on RUclips.
By far the best perspective and visual development on modes I've seen. Thank you for honing in on what makes each specific mode unique, and then zooming it out to an overall use and application, and two examples! Thank you, seriously...
Man, I wish I had found your video sooner. Such a clear, amazing presentation of how to actually use Modes in a useful way. You're a gifted teacher man, thank you so much!
It's terrible insight. The part about modes is correct, but the applied theory on it is shit. If you want to actually understand modes, here are two awesome videos: ruclips.net/video/yS83fcFhG0E/видео.html ruclips.net/video/VPWQC4pdEco/видео.html
@@Septimius "terrible" is a bit harsh considering this video is more accessible than the usual theory babble. However the first video you linked to IS very good and the other has a few good pointers despite the tiny phone-hostile scribbles so thanks for posting.
9:33 I play the guitar and every time I'm on a IV chord I play the iv before resolving to I, just because it helps in the feeling of resolution, but I never learned the scale theory behind it. Thanks!
That's a very useful insight to me, thank you. I also wanted to say that a scale has a dominant interval relationship, so you can think of scales in that way too (like myxolidian and aeolian are "dominated" (if you will) with fifths). and the scale inversion that helps to find accidentals within that key shares that interval between them.
This is an EXCELLENT video on the modes. I haven't seen the modes presented so clearly anywhere before. I will definitely be checking out more of your videos! (subscribing!)
I've been playing for 15 years now,always picked up all kinds of stuff along the way.But only over the last year had I decided to become more educated about how music works. Still felt so lost about alot of it,but then I came across your videos. You have some kind of way of teaching things that makes it easier to understand. I have so much to learn,and thank you for helping me understand so much I struggled with to start. Awesome teacher and musician.
Good stuff! I've been learning a ton of theory lately and came across the idea of modal interchange and the chords of different modes. You made this pretty simple. Thank you
So funny, I know all of this but you make me understand it more. Straight to the point and I love the comparison of running through Lydian to Locrian modes, really highlights the "tone" of each mode (dark, bright, happy, etc.). Don't know how this isn't at a million
Best explanation on modes yet.. your's is the only one I've found with a chord progression built for playing a mode while the others just use a single chord then play a mode. So it helps when you want to jam along
I never realized that going up/down the modes is basically traversing the Circle of Fifths until I watched this video. For example, going from C Ionian/C Major to C Lydian gives you the same key signature as G Major. I've always been taught modes as "the major scale, but the tonic starts on a different note", which is simple but never really helped me understand how the modes functioned. This video gives an alternate perspective on modes and how they work. Fantastic video! I feel like I've just reached a whole new understanding of music theory.
5 years later and a lot of complicated videos and hours of theory just to find this today. Well better later than never, now this concept is crystal clear to me. Thanks a lot
I studied this at college and didn't quite understand it and why it was important, you've explained it perfectly and i'll now be using in my songwriting. Thanks! x
I didn't watch the full course but you're such a good teacher man. You just did summarize the quintessential things I'd love to know all put into interesting infos. I'll still need to read these hundreds of pages but that's very nice to watch your video.
When composing or riffing in a mode, visualize it as its parent scale - keeping in mind the root note of the mode. For ex: If you're in the C Mixolydian mode, think of the key as F Major. If in C Dorian, think of it as Bb Major. If in C Lydian, think of it as the key of G. If in C Phrygian, then you're in Ab. If in C Aeolian, then you're in the relative minor mode of Eb Major (Ionian).
@Jo If the mode was A Aeolian, the chords constructed would be the same as the chords generated by the C Major scale, but starting on the 6th degree: Am (i) A minor B° (ii°) B Diminished C (bIII) C Major Dm (iv) D Minor Em (v-) E Minor F (bVI) F Major G (bVII) G Major In that chart, they are using the upper and lower case Roman numerals to refer to the degree and chord type. Lower = minor, Upper = Major. "b" = minor degree (minor 3rd, minor 6th, minor 7th) Ex: The note C is a minor 3rd from A. The chord built upon the root of C, doing the 1-3-5 formula, would be a Major chord (C-E-G). So, C Major is the bIII chord of A natural minor (Aeolian mode). Hope this helps.
That's useful to a degree as a scaffold but remember there's no functional harmony in modal harmony. Especially one needs to avoid the trap of making the listener focus on the parent. This usually happens when you use tritone intervals such as dominant 7th or half-diminished. In functional harmony, the want to resolve to the tonic. But in modal harmony, that would be the "parent" tonic, in other words the "wrong" tonal center. Example: In D Dorian, its IV would be G7. The problem is, that G7 wants to resolve to C, and resolving to Dm7 instead will sound weaker or unsatisfying.
@zendakk I get ya, just like in "Spooky" by the Classics IV. Yes, I look at that as Em Dorian (I play it in Em, not the original key of Fm) w/ the blue notes added, and taking care to hit the notes of the E° when it arrives in the progression.
Is this video helped you understand that modes are simply rotations of a fixed looping interval sequence, read on. Also check out these additional diatonic (seven-note) scales: Harmonic Minor, Melodic Minor, Double Harmonic Major, Harmonic Major, Neapolitan Major, Neapolitan Minor, and Enigmatic. Using your knowledge that the seven modes of the major scale are actually rotations of the same fixed interval pattern, notice that these seven scales also have seven unique modes each. So for the price of learning seven more scales, you'll actually receive 49 new modes to play with now that you understand how modes work, adding your total to 56. The diminished scale is an octatonic (eight-note) scale, but it counterintuitively doesn't yield eight modes. This is because the pattern already internally repeats itself before even reaching the next octave. So funnily, it has only two modes: Half-whole diminished and whole-half diminished. That takes you to 58. And pentatonic scales are just diatonic scales with two notes omitted, usually the ones that don't give the defining character to the corresponding diatonic scales. So essentially, if you learn just eight diatonic scales and the diminished scale, while understanding modes, you are now equipped to play virtually the entirety of 12-TET music (our familiar evenly spaced 12-note system within a single octave).
One of the best videos on modes I found so far! In the last days when focussing on modes I already found out that a piece I wrote is most likely in dorian mode, the only chord not from the dorian mode is an A7 chord. That one is most likely a borrowed chord. Further the last chord before the sequence starts again on the tonic (G minor) is F, which is one of two "major 7" chords in a minor mode, similar like in the example of Boulevard of Broken Dreams. The other possibility would be aolian, but as this is very familiar as "minor" I'm very sure that it's in dorian. (Chord progression is Gm Dm C Bb A7 C Edim F or i v IV III II IV vidim VII )
Also check out these additional diatonic (seven-note) scales: Harmonic Minor, Melodic Minor, Double Harmonic Major, Harmonic Major, Neapolitan Major, Neapolitan Minor, and Enigmatic. Using your knowledge that the seven modes of the major scale are actually rotations of the same fixed interval pattern, notice that these seven scales also have seven unique modes each. So for the price of learning seven more scales, you'll actually receive 49 new modes to play with now that you understand how modes work, adding your total to 56. The diminished scale is an octatonic (eight-note) scale, but it counterintuitively doesn't yield eight modes. This is because the pattern already internally repeats itself before even reaching the next octave. So funnily, it has only two modes: Half-whole diminished and whole-half diminished. That takes you to 58. And pentatonic scales are just diatonic scales with two notes omitted, usually the ones that don't give the defining character to the corresponding diatonic scales. So essentially, if you learn just eight diatonic scales and the diminished scale, while understanding modes, you are now equipped to play virtually the entirety of 12-TET music (our familiar evenly spaced 12-note system within a single octave).
Very nice introduction to modes and modal interchange for pop songwriting. From a jazz perspective, a couple of things: First, all the chord types would be 4 notes, with a b7 or Maj7 added. That makes, for instance, a IMaj7 a different chord type than a V7 chord type, and a Half-diminished 7 (m7b5) a different type than a diminished 7. Secondly, there are also another 7 modes generated from (ascending) melodic minor, and another 7 modes generated from Harmonic minor. All of those can be used in modal interchange as well. Without Melodic and Harmonic minor modes and chords, you wouldn't have access to min(Maj7), Dim7 (VII of harmonic), Maj7+ (augmented Maj7).
Yes agree 100%. I also found it strange that the mn iv chord was identified with the Aeolian mode when interchanging with Ionian. I always use the melodic minor scale for when that happens. For soloing, that is. But then I remembered the author was only going within the confines of the Major scale. In truth this is a very cool video, but it just scratches the surface. When you get to more intricate stuff, like more complex chord tensions, secondary dominants, tritone substitution, you REALLY have to get a good grasp of the Harmonic and Melodic minor scales. Especially the Melodic minor. That´s where you get the Lydian Dominant and Mixolydian b6 modes, for instance. Or the ever useful Super Locrian... But by no means am I taking away from the merit of the video. If it serves as inspiration for people to learn proper music theory more power to this channel.
I found this video very helpful. This explains very clearly to me how you harmonise a melody written in one of the Modes. Also you explain clearly the characteristic feature of each mode. Thank you very much. Maurice
Thank you for this very clear if brief discussion of modes. To me, there's always been an unnecessary air of mystique (possibly due to the greek names?), that you cut thru like butter! Hats off! Look forward to your longer class!
finally i find one video that is easy-to-understand, hitting the point, short and comprehensive. RW studio, thank you very much! support your work! : D
Thank you for having this tutorial on modes and modal interchanges. Studying music production and working on adding more interest in my compositions....
Good luck! Also check out these additional diatonic (seven-note) scales: Harmonic Minor, Melodic Minor, Double Harmonic Major, Harmonic Major, Neapolitan Major, Neapolitan Minor, and Enigmatic. Using your knowledge that the seven modes of the major scale are actually rotations of the same fixed interval pattern, notice that these seven scales also have seven unique modes each. So for the price of learning seven more scales, you'll actually receive 49 new modes to play with now that you understand how modes work, adding your total to 56. The diminished scale is an octatonic (eight-note) scale, but it counterintuitively doesn't yield eight modes. This is because the pattern already internally repeats itself before even reaching the next octave. So funnily, it has only two modes: Half-whole diminished and whole-half diminished. That takes you to 58. And pentatonic scales are just diatonic scales with two notes omitted, usually the ones that don't give the defining character to the corresponding diatonic scales. So essentially, if you learn just eight diatonic scales and the diminished scale, while understanding modes, you are now equipped to play virtually the entirety of 12-TET music (our familiar evenly spaced 12-note system within a single octave).
Agreed. For example, Lydian is often described as "bright", if not brighter than major, but I feel it's actually best described as "divine". It typically evokes a heavenly sound so of course it gets labeled as bright, but in the right context it sounds like the most evil of the seven modes of the major scale by far, more than Phrygian even, because it then has a fallen angel sound, but still divine. I have similar feelings about virtually every mode of all useful diatonic scales. Also check out these additional diatonic (seven-note) scales: Harmonic Minor, Melodic Minor, Double Harmonic Major, Harmonic Major, Neapolitan Major, Neapolitan Minor, and Enigmatic. Using your knowledge that the seven modes of the major scale are actually rotations of the same fixed interval pattern, notice that these seven scales also have seven unique modes each. So for the price of learning seven more scales, you'll actually receive 49 new modes to play with now that you understand how modes work, adding your total to 56. The diminished scale is an octatonic (eight-note) scale, but it counterintuitively doesn't yield eight modes. This is because the pattern already internally repeats itself before even reaching the next octave. So funnily, it has only two modes: Half-whole diminished and whole-half diminished. That takes you to 58. And pentatonic scales are just diatonic scales with two notes omitted, usually the ones that don't give the defining character to the corresponding diatonic scales. So essentially, if you learn just eight diatonic scales and the diminished scale, while understanding modes, you are now equipped to play virtually the entirety of 12-TET music (our familiar evenly spaced 12-note system within a single octave). Also, I think you likely already knew a lot of this but I'm using phrasing like "now that you know how modes work" for the benefit of the typical viewer of this video which cleared some things up for them.
GOD DAMN FAM THIS TUTORIAL IS LIT. been getting really bored of writing stuff in minor keys, this is gon help i screen shotted dat chord chart, got it on my desktop now
this video is fantastic and very informative . your video has given me the confidence to keep trying to write music. if I could suggest only one thing , it would be to compare the different modes to scales but other than that, I love that you listed all of the chords for each mode and played through them, it gives me a better idea of what the modes sound like. you also included a chart of the chords for each mode which is really helpful. this video has helped me so much and thank you.
My teacher taught me to use: Ionian the Dorian to the Phrygian and took the Lydian off the Mixolydian (mixed nuts) and an Aeolian went Locrian on me, as a way to remember what scale degree the modes start on
thanks - excellent explanation of modes. I'm a jazz musician not a song writer - but this adds a point of clarification for me. also - I believe modes are applied differently with a different purpose in jazz ... but still relevant. thank you!
Great video! I've been playing guitar for 10 years now, however I only spent the last year now teaching myself theory and this helped a lot with reinforcing my understanding.,
for peoples information. As a rule of thumb, larger intervals sound brighter (more happy), smaller intervals sound dark (sad), hence why as the modes get darker, there are more flats, creating smaller intervals. [EDIT] These are also all parallel modes, (start in the same tonic).
Thanks man! If you liked this video, definitely checkout the course! I cover secondary dominants, diminished passing chords, back-cycling chords, parallel motion, etc. Temporarily running a discount, here's the links: www.udemy.com/songtheory1/?couponCode=INTERMODESYT www.udemy.com/songtheory2/?couponCode=YTMODES3 Good luck
Isn't it vice versa ? This vid tho made me rethink the same as you... but then we go to "D dorian of C major" and that seems like a mode lies within a scale. I'm confused again 🤔
@@renomtv yeah, "subset" is wrong and really a mode is just another type of scale. Ultimately, a scale is just a series of notes that follow a pattern. For example the Major scale uses this pattern of steps: whole, whole, half, whole, whole, whole, half. Same with a Mode, it is really just a type of scale that has a certain pattern. There are other scales such as Pentatonic and Blues scales that have nothing to do with this and have different patterns. It happens that two of the modes are the same thing as two commonly used scales: Ionian Mode = Major Scale, and Aeolian Mode = Minor Scale (the natural minor scale), so that is sort of why I said subset.
I don't think song writers think like this; especially writers writing Top 40 Pop. Those guys just flatted the 3 by accident most likely and said something like, "dawg that sounds dope." But maybe your right?! And this is pretty awesome that you discovered this!
![Writing Progressions with Borrowed Chords: Songwriting Lesson [MUSIC THEORY - MODAL INTERCHANGE]](/img/1.gif)
If you loved this video, you'll love The Song Science Series! musiciansinspired.teachable.com/p/song-science-1-2-3-4-and-5-bundle/?product_id=1308946&coupon_code=YTFAM
(Still on discount for RUclips fam)
In The Song Science Series we'll cover all types of chord tricks that songwriters use to tell stories with their music. We'll go much deeper into modal interchange and cover topics such as...back-cycling, diminished passing chords, secondary dominants, Neapolitan and Lydian II, bVII and bVI chords, pedal point, slash chords, harmonic rhythm, eleven and a half bar verses, pivot chord modulation, chromatic mediant modulation, modulation distance, refrain song form, and much, much more...and I'll show you how all these concepts are used in real pop songs.
If you're ready to join me in the course, enroll today! musiciansinspired.teachable.com/p/song-science-1-2-3-4-and-5-bundle/?product_id=1308946&coupon_code=YTFAM
P.S. Thanks for all the love on this video. Glad it's been helpful for a lot of you!
I learned more about how use modes and modal interchange watching your video than in my entire music college.
Thank you very much.
Hi thanks for the great video ; but i think some examples you have given might not be modal compositions . For example; green day broken.... i think it doesnt sound modal. Diffrence between minor scale and dorian scale is the 6TH note . You have to exactly hit that 6th to make it sound modal . And the consept of using minor and major chords doesnt fit modal hearing .I didnt check the full greenday song if they hit 6th or not . this is just my opinion :)
The clearest lesson on modes that I have ever found in such a short time! Good job!
Yesss
Je confirme.
100%
True! It makes sense finally!!
Thank you so much mate, after 24 years of playing various instruments I feel like my musical knowledge is going through a big-bang-like expansion, everything has sort of come together and it feels incredible!
This video really helped me put the pieces together of modes, looking forward to another 2 hours of mind blowing info. I really appreciate your efforts, great job!
Simply the best lesson on modes on RUclips, have watched 100’s of people trying their best to explain modes to us normal mortals but failed miserably. Thank you so much and by the way it’s guitar I play but you have at long last given me a clear insight into The mysteries of the “Modal World “ 👍👍👍
you know what else i like? i like that you include the roman and letter notation for the chords. its really really helpful
Roman numerals come in both uppercase and lowercase forms, while Arabic numerals (0-9) do not distinguish between cases. Lowercase Roman numerals like i, v, x, l, c, d, and m, are traditionally often used in contexts like footnotes or outlines.
Good job explaining this. Finally i understand how the chord progression works in the different modes. For 5 years , i have attended the youtube music university, and only now, b/c of this vid, does it all makes sense to me. Im serious, thank you!🤙
Thank you, thank you, thank you. This video may be 7 years old (as of writing this in 2023), but it is the most easy-to-understand, basic breakdown of modes that I've seen on RUclips.
By far the best perspective and visual development on modes I've seen. Thank you for honing in on what makes each specific mode unique, and then zooming it out to an overall use and application, and two examples! Thank you, seriously...
Man, I wish I had found your video sooner. Such a clear, amazing presentation of how to actually use Modes in a useful way. You're a gifted teacher man, thank you so much!
Someone finally explains the relationship between Modes and the Minor and Major scales!
I went through 8 videos to find this insght. Thank you!
It's terrible insight. The part about modes is correct, but the applied theory on it is shit. If you want to actually understand modes, here are two awesome videos:
ruclips.net/video/yS83fcFhG0E/видео.html
ruclips.net/video/VPWQC4pdEco/видео.html
@@Septimius "terrible" is a bit harsh considering this video is more accessible than the usual theory babble. However the first video you linked to IS very good and the other has a few good pointers despite the tiny phone-hostile scribbles so thanks for posting.
9:33 I play the guitar and every time I'm on a IV chord I play the iv before resolving to I, just because it helps in the feeling of resolution, but I never learned the scale theory behind it. Thanks!
Everyone wants validation of genius ranking
This is the clearest description on modes I have found in 50 years. Well done !!!!
That's a very useful insight to me, thank you. I also wanted to say that a scale has a dominant interval relationship, so you can think of scales in that way too (like myxolidian and aeolian are "dominated" (if you will) with fifths). and the scale inversion that helps to find accidentals within that key shares that interval between them.
Aside from the first couple minutes this is an excellent tutorial.
This guy just changed my life with all his videos
This is an EXCELLENT video on the modes.
I haven't seen the modes presented so clearly anywhere before.
I will definitely be checking out more of your videos! (subscribing!)
I've been playing for 15 years now,always picked up all kinds of stuff along the way.But only over the last year had I decided to become more educated about how music works. Still felt so lost about alot of it,but then I came across your videos. You have some kind of way of teaching things that makes it easier to understand. I have so much to learn,and thank you for helping me understand so much I struggled with to start. Awesome teacher and musician.
Good stuff! I've been learning a ton of theory lately and came across the idea of modal interchange and the chords of different modes. You made this pretty simple. Thank you
Wow! You make something hard so easy to understand. Genius.
So funny, I know all of this but you make me understand it more. Straight to the point and I love the comparison of running through Lydian to Locrian modes, really highlights the "tone" of each mode (dark, bright, happy, etc.). Don't know how this isn't at a million
I just saved this tutorial.....will come back to this often to enhance my musical journey. Awesome. Well worth the entire watch.
Best explanation on modes yet.. your's is the only one I've found with a chord progression built for playing a mode while the others just use a single chord then play a mode. So it helps when you want to jam along
I never realized that going up/down the modes is basically traversing the Circle of Fifths until I watched this video. For example, going from C Ionian/C Major to C Lydian gives you the same key signature as G Major.
I've always been taught modes as "the major scale, but the tonic starts on a different note", which is simple but never really helped me understand how the modes functioned. This video gives an alternate perspective on modes and how they work. Fantastic video! I feel like I've just reached a whole new understanding of music theory.
5 years later and a lot of complicated videos and hours of theory just to find this today. Well better later than never, now this concept is crystal clear to me. Thanks a lot
I studied this at college and didn't quite understand it and why it was important, you've explained it perfectly and i'll now be using in my songwriting. Thanks! x
I didn't watch the full course but you're such a good teacher man.
You just did summarize the quintessential things I'd love to know all put into interesting infos.
I'll still need to read these hundreds of pages but that's very nice to watch your video.
When composing or riffing in a mode, visualize it as its parent scale - keeping in mind the root note of the mode. For ex: If you're in the C Mixolydian mode, think of the key as F Major. If in C Dorian, think of it as Bb Major. If in C Lydian, think of it as the key of G. If in C Phrygian, then you're in Ab. If in C Aeolian, then you're in the relative minor mode of Eb Major (Ionian).
Underrated comment
@Jo The "b" refers to the interval on which the chord is built. So, in Aeolian, for ex: the bIII is a Major chord built on the minor 3rd interval.
@Jo If the mode was A Aeolian, the chords constructed would be the same as the chords generated by the C Major scale, but starting on the 6th degree:
Am (i) A minor
B° (ii°) B Diminished
C (bIII) C Major
Dm (iv) D Minor
Em (v-) E Minor
F (bVI) F Major
G (bVII) G Major
In that chart, they are using the upper and lower case Roman numerals to refer to the degree and chord type. Lower = minor, Upper = Major. "b" = minor degree (minor 3rd, minor 6th, minor 7th)
Ex: The note C is a minor 3rd from A. The chord built upon the root of C, doing the 1-3-5 formula, would be a Major chord (C-E-G). So, C Major is the bIII chord of A natural minor (Aeolian mode). Hope this helps.
That's useful to a degree as a scaffold but remember there's no functional harmony in modal harmony. Especially one needs to avoid the trap of making the listener focus on the parent. This usually happens when you use tritone intervals such as dominant 7th or half-diminished. In functional harmony, the want to resolve to the tonic. But in modal harmony, that would be the "parent" tonic, in other words the "wrong" tonal center. Example: In D Dorian, its IV would be G7. The problem is, that G7 wants to resolve to C, and resolving to Dm7 instead will sound weaker or unsatisfying.
@zendakk I get ya, just like in "Spooky" by the Classics IV. Yes, I look at that as Em Dorian (I play it in Em, not the original key of Fm) w/ the blue notes added, and taking care to hit the notes of the E° when it arrives in the progression.
Thank you for this video. Now after years I finally get what modes are all about.
That was actually a great way of explaining something that a lot of educators seem to struggle with getting through in a good way. Thumbs up!
Why aren’t all lessons this clear and concise?
Is this video helped you understand that modes are simply rotations of a fixed looping interval sequence, read on.
Also check out these additional diatonic (seven-note) scales: Harmonic Minor, Melodic Minor, Double Harmonic Major, Harmonic Major, Neapolitan Major, Neapolitan Minor, and Enigmatic.
Using your knowledge that the seven modes of the major scale are actually rotations of the same fixed interval pattern, notice that these seven scales also have seven unique modes each. So for the price of learning seven more scales, you'll actually receive 49 new modes to play with now that you understand how modes work, adding your total to 56.
The diminished scale is an octatonic (eight-note) scale, but it counterintuitively doesn't yield eight modes. This is because the pattern already internally repeats itself before even reaching the next octave. So funnily, it has only two modes: Half-whole diminished and whole-half diminished.
That takes you to 58. And pentatonic scales are just diatonic scales with two notes omitted, usually the ones that don't give the defining character to the corresponding diatonic scales.
So essentially, if you learn just eight diatonic scales and the diminished scale, while understanding modes, you are now equipped to play virtually the entirety of 12-TET music (our familiar evenly spaced 12-note system within a single octave).
Thank you so much, out of everyone ive heard explain how to use modes you have been the clearest
You make the best piano lessons around here! As a visual learner with zero knack for music I find the color metaphor super inspiring!
Brilliant. This is the clearest explanation of modes I've come across. It's been a lightbulb moment for me. Thank you!
He explained everything in steps, clarity, and in depth. Also putting it into practise. Great teacher. Thank you.
This video is probably one of the most clear and simple explanation of this topic I have found this far... THANK YOU 🙏
Definitely the best tutorial on modes I've encountered.
I think you just broke me out of a 40 year+ songwriting habit! Thank you so much for this great video.
This is by far the second best video I've seen on modes
This video seriously helped alleviate my writer's block. I just don't focus so heavily on scales now!
I LOVE you, your explanation is the best I've found out there! I'm literally crying
Thanks for explaining the modes so beautifully! It was really helpful for revising my concepts of modes and modal interchange.
One of the best videos on modes I found so far!
In the last days when focussing on modes I already found out that a piece I wrote is most likely in dorian mode, the only chord not from the dorian mode is an A7 chord. That one is most likely a borrowed chord. Further the last chord before the sequence starts again on the tonic (G minor) is F, which is one of two "major 7" chords in a minor mode, similar like in the example of Boulevard of Broken Dreams. The other possibility would be aolian, but as this is very familiar as "minor" I'm very sure that it's in dorian.
(Chord progression is Gm Dm C Bb A7 C Edim F or i v IV III II IV vidim VII )
I was aware of the 7 different modes...but the modal change has just opened up a piece of knowledge I was never aware of. Excellent vid!!!
Also check out these additional diatonic (seven-note) scales: Harmonic Minor, Melodic Minor, Double Harmonic Major, Harmonic Major, Neapolitan Major, Neapolitan Minor, and Enigmatic.
Using your knowledge that the seven modes of the major scale are actually rotations of the same fixed interval pattern, notice that these seven scales also have seven unique modes each. So for the price of learning seven more scales, you'll actually receive 49 new modes to play with now that you understand how modes work, adding your total to 56.
The diminished scale is an octatonic (eight-note) scale, but it counterintuitively doesn't yield eight modes. This is because the pattern already internally repeats itself before even reaching the next octave. So funnily, it has only two modes: Half-whole diminished and whole-half diminished.
That takes you to 58. And pentatonic scales are just diatonic scales with two notes omitted, usually the ones that don't give the defining character to the corresponding diatonic scales.
So essentially, if you learn just eight diatonic scales and the diminished scale, while understanding modes, you are now equipped to play virtually the entirety of 12-TET music (our familiar evenly spaced 12-note system within a single octave).
Very nice introduction to modes and modal interchange for pop songwriting. From a jazz perspective, a couple of things:
First, all the chord types would be 4 notes, with a b7 or Maj7 added. That makes, for instance, a IMaj7 a different chord type than a V7 chord type, and a Half-diminished 7 (m7b5) a different type than a diminished 7. Secondly, there are also another 7 modes generated from (ascending) melodic minor, and another 7 modes generated from Harmonic minor. All of those can be used in modal interchange as well. Without Melodic and Harmonic minor modes and chords, you wouldn't have access to min(Maj7), Dim7 (VII of harmonic), Maj7+ (augmented Maj7).
Yes agree 100%. I also found it strange that the mn iv chord was identified with the Aeolian mode when interchanging with Ionian. I always use the melodic minor scale for when that happens. For soloing, that is. But then I remembered the author was only going within the confines of the Major scale.
In truth this is a very cool video, but it just scratches the surface. When you get to more intricate stuff, like more complex chord tensions, secondary dominants, tritone substitution, you REALLY have to get a good grasp of the Harmonic and Melodic minor scales. Especially the Melodic minor. That´s where you get the Lydian Dominant and Mixolydian b6 modes, for instance. Or the ever useful Super Locrian...
But by no means am I taking away from the merit of the video. If it serves as inspiration for people to learn proper music theory more power to this channel.
THIS IS THE BEST MUSIC THEORY I VE EVER COME ACROSS . EVERTHING SEEMS CLEAR NOW .
I found this video very helpful. This explains very clearly to me how you harmonise a melody written in one of the Modes. Also you explain clearly the characteristic feature of each mode. Thank you very much. Maurice
Thank you for this very clear if brief discussion of modes. To me, there's always been an unnecessary air of mystique (possibly due to the greek names?), that you cut thru like butter!
Hats off! Look forward to your longer class!
finally i find one video that is easy-to-understand, hitting the point, short and comprehensive. RW studio, thank you very much! support your work! : D
Thank you for posting that chart I had been looking for my whole life
I know I'm way late to the party here, but this is by far the best and to the point explanation on this topic, and believe me, I've seen many.
Dude, you're what I've been looking for, for 21 years!
Thank you very much! That was a great lesson! This is the first time I understand what modal interchange is. Thanks again!
Thank you for having this tutorial on modes and modal interchanges. Studying music production and working on adding more interest in my compositions....
Good luck!
Also check out these additional diatonic (seven-note) scales: Harmonic Minor, Melodic Minor, Double Harmonic Major, Harmonic Major, Neapolitan Major, Neapolitan Minor, and Enigmatic.
Using your knowledge that the seven modes of the major scale are actually rotations of the same fixed interval pattern, notice that these seven scales also have seven unique modes each. So for the price of learning seven more scales, you'll actually receive 49 new modes to play with now that you understand how modes work, adding your total to 56.
The diminished scale is an octatonic (eight-note) scale, but it counterintuitively doesn't yield eight modes. This is because the pattern already internally repeats itself before even reaching the next octave. So funnily, it has only two modes: Half-whole diminished and whole-half diminished.
That takes you to 58. And pentatonic scales are just diatonic scales with two notes omitted, usually the ones that don't give the defining character to the corresponding diatonic scales.
So essentially, if you learn just eight diatonic scales and the diminished scale, while understanding modes, you are now equipped to play virtually the entirety of 12-TET music (our familiar evenly spaced 12-note system within a single octave).
The different modes have more character differences than just ‘dark’ and ‘bright’. They each have a unique sound.
Agreed. For example, Lydian is often described as "bright", if not brighter than major, but I feel it's actually best described as "divine". It typically evokes a heavenly sound so of course it gets labeled as bright, but in the right context it sounds like the most evil of the seven modes of the major scale by far, more than Phrygian even, because it then has a fallen angel sound, but still divine. I have similar feelings about virtually every mode of all useful diatonic scales.
Also check out these additional diatonic (seven-note) scales: Harmonic Minor, Melodic Minor, Double Harmonic Major, Harmonic Major, Neapolitan Major, Neapolitan Minor, and Enigmatic.
Using your knowledge that the seven modes of the major scale are actually rotations of the same fixed interval pattern, notice that these seven scales also have seven unique modes each. So for the price of learning seven more scales, you'll actually receive 49 new modes to play with now that you understand how modes work, adding your total to 56.
The diminished scale is an octatonic (eight-note) scale, but it counterintuitively doesn't yield eight modes. This is because the pattern already internally repeats itself before even reaching the next octave. So funnily, it has only two modes: Half-whole diminished and whole-half diminished.
That takes you to 58. And pentatonic scales are just diatonic scales with two notes omitted, usually the ones that don't give the defining character to the corresponding diatonic scales.
So essentially, if you learn just eight diatonic scales and the diminished scale, while understanding modes, you are now equipped to play virtually the entirety of 12-TET music (our familiar evenly spaced 12-note system within a single octave).
Also, I think you likely already knew a lot of this but I'm using phrasing like "now that you know how modes work" for the benefit of the typical viewer of this video which cleared some things up for them.
GOD DAMN FAM THIS TUTORIAL IS LIT.
been getting really bored of writing stuff in minor keys, this is gon help
i screen shotted dat chord chart, got it on my desktop now
Minor scale song writing will come to end when you're out of puberty
this video is fantastic and very informative . your video has given me the confidence to keep trying to write music. if I could suggest only one thing , it would be to compare the different modes to scales but other than that, I love that you listed all of the chords for each mode and played through them, it gives me a better idea of what the modes sound like. you also included a chart of the chords for each mode which is really helpful. this video has helped me so much and thank you.
My teacher taught me to use: Ionian the Dorian to the Phrygian and took the Lydian off the Mixolydian (mixed nuts) and an Aeolian went Locrian on me, as a way to remember what scale degree the modes start on
Thank you so much for the charts in your video! This video is one of the best videos on youtube that covers the modes in music.
I saw a lot of videos about Modes and this one really brings a lot of useful information! Thank you!
All of your videos are super in-depth and clear. Best of the best 👍
Finally a video on modal chord progressions that isn't overcomplicated. This helped a lot. Thank you!
Super clear explanation. Thank you. No need to speak to much and you go direct to the point. Thx.
this is EXACTLY what i was looking for!...very clear, to the point, easy to understand....thanks!
Despite what some other RUclips comments might have you believe, THIS is the best video on this topic.
This is fantastic......well and truelly explained.....i also love that you also explained the minor modes.....brillant.......love the visuals....
This is really brilliant !! you have just taken a major chunk of knowledge and put it in a 10 min vid , Great work !!
One of the best video! Modes explained in a very clear way! Many many thanks!!
I love the way u teach.
You make every topic very clear.
Anybody can easily understand.
But.. I only play the triangle.
I guess I use the Pythagorean mode.
ammusionist The triangle instrument is an equilateral triangle. The Pythagorean Theorum refers to triangles with a right angle.
ChaoticKreg Darn it. I'd better take this one back then. No wonder it never hung straight.
Well there are two right angles in the triangle.. just bisect it. 90 30 60.. Oh those were the days doing proofs of Euclidean Geometry. .
Perhaps that makes it the Euclidean mode? :-P
PIANOSTYLE100 That's my boi
respecc✌
Excellent. Clear and concise and easy to understand. The best tutorial on this subject. Thanks
The best video I've seen that tackles this topic. Many thanks!
Give this man a medal
Don't you mean modal?
This was so helpful! I finally understand where different modes come from. Thankd man!
Finally, someone explaining clearly what modes are...thanks
Thanks for the must watch video. You certainly deserve hundreds of likes for such an elaborate discussion.
Great video man! Loved that you explain the theory, play it and show examples in real songs. Makes it a lot easier to understand
Other people say Half of this but you explain a clear complete insight. Thanks
the best explaination of modes i have ever seen
Thank you so so much💐💐💐💐🌹🌹🌹🌹🌹🌹🌹🌹🌹🙏🙏🙏🙏🙏🙏🙏🎀🎀🎀🎀🎈🎈🎈🎈🎈🎈🏵️🏵️🏵️🏵️🏵️🏵️🎶🎶🎶🎶🎶🎶🎊🎊🎊
“Your guys knowledge and relate-able presentation is a blessing 🙏🏾”
this is an EXCELLENT video on practically applying the modes, and extremely clearly explained
well done and bravo
thanks - excellent explanation of modes. I'm a jazz musician not a song writer - but this adds a point of clarification for me. also - I believe modes are applied differently with a different purpose in jazz ... but still relevant. thank you!
The first video I found with a good explanation!
Great video! I've been playing guitar for 10 years now, however I only spent the last year now teaching myself theory and this helped a lot with reinforcing my understanding.,
You are incredible. You made me smh..master your message is clear and strong.. thank you..
music is life!
Keith
Absolutely awesomely clear and informative video. Thank you so much!
Most simple and understandable explanation of Modes I've ever seen. Thanks a lot!
for peoples information. As a rule of thumb, larger intervals sound brighter (more happy), smaller intervals sound dark (sad), hence why as the modes get darker, there are more flats, creating smaller intervals.
[EDIT] These are also all parallel modes, (start in the same tonic).
Thank you this was so practical and useful, all of a sudden modes don’t seem that daunting anymore!
Thank you so much for this video! It has he;ped me understand modes better than any other video or private lesson.
This is the best explanation of modes i have encountered! Thank you!!!
Whew ! Found a video that clearly explains this highly confusing topic!! Thanks! I got it!!
You my man, are an excellent teacher with very useful information. You deserve grandeur.
Thanks man! If you liked this video, definitely checkout the course!
I cover secondary dominants, diminished passing chords, back-cycling chords, parallel motion, etc.
Temporarily running a discount, here's the links:
www.udemy.com/songtheory1/?couponCode=INTERMODESYT
www.udemy.com/songtheory2/?couponCode=YTMODES3
Good luck
My brain is like huh!🤔 didn't see it like that before. Good job!!👍
same, I don't get shit but I feel like I am on to something ya know that feeling? :D
@@inthefadeproductions tbh i feel depressed bc i know how 2 sing and im good and when it come to the deep i know nothing duhhhh im such an idiot
Fantastic lesson! I feel like I have learned and earned something. Thank you! Keep em coming :)
Super clear and concise, thank you! Also, finally realizing that really scales are really subsets of modes.
Isn't it vice versa ? This vid tho made me rethink the same as you... but then we go to "D dorian of C major" and that seems like a mode lies within a scale. I'm confused again 🤔
@@renomtv yeah, "subset" is wrong and really a mode is just another type of scale.
Ultimately, a scale is just a series of notes that follow a pattern. For example the Major scale uses this pattern of steps: whole, whole, half, whole, whole, whole, half.
Same with a Mode, it is really just a type of scale that has a certain pattern. There are other scales such as Pentatonic and Blues scales that have nothing to do with this and have different patterns.
It happens that two of the modes are the same thing as two commonly used scales: Ionian Mode = Major Scale, and Aeolian Mode = Minor Scale (the natural minor scale), so that is sort of why I said subset.
Awesome explanation, and now it makes more sense seeing actual examples. Much thanks!
This was the best video explaining clearly the modes...
It's a chance for me improving my music theory skills.
Thanks a lot!
Best tutorials I ever seen.Thanks so much
I don't think song writers think like this; especially writers writing Top 40 Pop. Those guys just flatted the 3 by accident most likely and said something like, "dawg that sounds dope." But maybe your right?! And this is pretty awesome that you discovered this!