great video. i don't know how you keep making all these videos. so much information. it's just really good because instead of regular lessons or exercises you are teaching us techniques how to improvise upon them
This video, and many of your others, are in credibly helpful and inspire a lot of creative exploration. I took one example from this one and didn't leave my studio for three hours -- I barely scratched the surface. Thank you!
Very good lesson. This needs to be put on vinyl and played for the kids. My mom used to play me a bedtime story when I was a kid. It sounds divine and relaxing. Thanks again!
superb as usual, chris. thank you for consistently offering us this knowledge. i feel my music has improved considerably since learning i began watching your videos
So much info, and im so new to this, i just pause on the chords and learn those, halfway through i get lost in learning just the tip of the iceberg of knowledge you share and i end up playing some improve that sounds decent enough to me to scratch up a melody. Thank you for all your work, truly
I Don't Play Loud Music After Lunch A useful mnemonic for remembering the order of the modes of the major scale (Ionian). Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aoelian, Locrian. Great video tutorial as always. Thanks Chris.
First let me say... Wow! And, fascinating! I'm an old hard rock guitarist from the 70s and 80s, and I love music theory. I would say I have a strong understanding of the basics, but that's as far as it goes. I would summarize this topic as playing according to key signature, which allows for a "floating" tonic. For instance, your first two examples would be playing in the key of ii, so the tonic was allowed to "float" from I to ii. (This floating could occur dynamically, as well.) As far as example 3, your video's title is avoiding the I chord, but example 3 seemed to be playing in the key of I, so I got lost. I closed my eyes and just listened, and found the pitch that sounded like the tonic to me, and it ended up being Bb, so, I don't know...
"Glowing ball of harmony" is good imagistic poetry...Could maybe adapt that to a simple challenge for composers: "can you create an absorbing glow ball of harmony" using modal ?
Oh Chris, I'm such a huge fan of modal composition! I did experiment with avoiding I altogether. I haven't yet rolled the music examples, but couldn't wait before writing this comment. P.S. After the famous 12 variations on, essentially, _Twinkle, twinkle…,_ I once composed 4 modal variations of it (excepting Ionian, Aeolian, and Locrian that I had stuck at, as I recall). I sometimes think of continuing the experiment with other scales, unrelated to cyclic rotations of the major scale, like DHM or Hungarian Minor, with their 1½-tone intervals. And maybe I'll tackle that unwieldy Locrian, too!
I do prefer keeping it in a tonal center world,the KEY one.That way I can work out the placing of a song in secs or mins.Then make the chords etc and get to playing along. I do understand modes but find them an unnecessary detour in a SONG view. I say this as my view only and appreciate your channel immensely !
There seem to be a lot of possibilities here but there is something missing in the result , I think the song I would play after playing something that worked this way would be full of dominant 7s to compensate. The Windham label in the late 80s had a lot stuff that sounded like this.
Hi Chris, fascinating video as usual and since you encouraged us to ask questions and also it sort of relates to the subject of this video, I was wondering if you would consider making a part 2 to the Kate bush / Philip Glass video about prolongation. In that video, you talk about prolongation as being a very interesting concept especially in the context of a modal progression. I wonder if you could elaborate a bit more on that. Thank your for all the amazing work you put out.
Interesting... For the first examples, as a guitar player, my ear is dragged towards playing dorian or even clashing with mixolydian with blue notes on top of that. That feeling breaks together as soon as you bring in the Glass arpeggios though.
In the midst of your already well prepared lessons you drop along the way some serious gems. Love the exercises and encouraged by your passion for music, Chris. Thanks again!
The first one makes me think that it's just Dorian mode. But it comes down to the composer's choice. But I wonder how these would sound if they ended on the I chord.
@@ImpliedMusic The cool thing about these is that they can be perceived as various modes. Even though you stated the first one is C major (Ionian mode), it could also be A minor (Aeolian mode), G Mixolydian, F Lydian, E Phrygian, B Locrian, and of course, D Dorian. It's crazy how many things scales and modes can fall under given what the composer intends.
thanks mike. i'm sure i'm not confusing you... you've obviously got a handle on this stuff. the modes are often taught as a rigid system, but i'm suggesting, and this may be unimportant for your own work, that a looser interpretation could be interesting.
great video. i don't know how you keep making all these videos. so much information. it's just really good because instead of regular lessons or exercises you are teaching us techniques how to improvise upon them
This video, and many of your others, are in credibly helpful and inspire a lot of creative exploration. I took one example from this one and didn't leave my studio for three hours -- I barely scratched the surface. Thank you!
Very good lesson. This needs to be put on vinyl and played for the kids. My mom used to play me a bedtime story when I was a kid. It sounds divine and relaxing. Thanks again!
Your channel has been an amazing discovery !! Really great info…clear & on point !!
superb as usual, chris. thank you for consistently offering us this knowledge. i feel my music has improved considerably since learning i began watching your videos
Great to hear!
So much info, and im so new to this, i just pause on the chords and learn those, halfway through i get lost in learning just the tip of the iceberg of knowledge you share and i end up playing some improve that sounds decent enough to me to scratch up a melody. Thank you for all your work, truly
Can’t wait to leave work to my piano thanks👌🎸🎹
Your creativity and musical enjoyment is much more important than the financial interests of a CEO or capital owner
Your creativity and musical enjoyment is much more important than the desires of a ceo or capital owner lining their pockets with cash from your labor
Excellent stuff! Thank you 🙏🏻🎶
I Don't Play Loud Music After Lunch
A useful mnemonic for remembering the order of the modes of the major scale (Ionian). Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aoelian, Locrian. Great video tutorial as always. Thanks Chris.
@@ianmyers1190 that’s a jem!
First let me say... Wow! And, fascinating! I'm an old hard rock guitarist from the 70s and 80s, and I love music theory. I would say I have a strong understanding of the basics, but that's as far as it goes. I would summarize this topic as playing according to key signature, which allows for a "floating" tonic. For instance, your first two examples would be playing in the key of ii, so the tonic was allowed to "float" from I to ii. (This floating could occur dynamically, as well.) As far as example 3, your video's title is avoiding the I chord, but example 3 seemed to be playing in the key of I, so I got lost. I closed my eyes and just listened, and found the pitch that sounded like the tonic to me, and it ended up being Bb, so, I don't know...
Inspiring to use for new creations
Excellent❤
"Glowing ball of harmony" is good imagistic poetry...Could maybe adapt that to a simple challenge for composers: "can you create an absorbing glow ball of harmony" using modal ?
Oh Chris, I'm such a huge fan of modal composition! I did experiment with avoiding I altogether. I haven't yet rolled the music examples, but couldn't wait before writing this comment.
P.S. After the famous 12 variations on, essentially, _Twinkle, twinkle…,_ I once composed 4 modal variations of it (excepting Ionian, Aeolian, and Locrian that I had stuck at, as I recall). I sometimes think of continuing the experiment with other scales, unrelated to cyclic rotations of the major scale, like DHM or Hungarian Minor, with their 1½-tone intervals. And maybe I'll tackle that unwieldy Locrian, too!
locrian is such a beast!
I do prefer keeping it in a tonal center world,the KEY one.That way I can work out the placing of a song in secs or mins.Then make the chords etc and get to playing along.
I do understand modes but find them an unnecessary detour in a SONG view.
I say this as my view only and appreciate your channel immensely !
There seem to be a lot of possibilities here but there is something missing in the result , I think the song I would play after playing something that worked this way would be full of dominant 7s to compensate. The Windham label in the late 80s had a lot stuff that sounded like this.
Hi Chris,
fascinating video as usual and since you encouraged us to ask questions and also it sort of relates to the subject of this video, I was wondering if you would consider making a part 2 to the Kate bush / Philip Glass video about prolongation.
In that video, you talk about prolongation as being a very interesting concept especially in the context of a modal progression. I wonder if you could elaborate a bit more on that.
Thank your for all the amazing work you put out.
thank you! super thought. i'll put that into the hopper!
@@ImpliedMusic thank you, I"m looking forward to that ;)
Very helpful. I'm the first example I didn't feel any home at all, it's like a sentence with no period, the E minor is saying 'and'...
Interesting...
For the first examples, as a guitar player, my ear is dragged towards playing dorian or even clashing with mixolydian with blue notes on top of that.
That feeling breaks together as soon as you bring in the Glass arpeggios though.
New sub here …… like your style
Chris, what software are you using to be able to see the musical information at the bottom of your screen?
Thanks
i'm running the 'chordie' app at the same time as Logic.
Nice One!!! Thanks
What VST instrument is used here?
@@gstyle11 thanks! pianoteq with a pad layer
🤩
In the midst of your already well prepared lessons you drop along the way some serious gems. Love the exercises and encouraged by your passion for music, Chris. Thanks again!
I appreciate that!
The first one makes me think that it's just Dorian mode. But it comes down to the composer's choice. But I wonder how these would sound if they ended on the I chord.
yes! great songwriter's hack for chorus resolution.
@@ImpliedMusic The cool thing about these is that they can be perceived as various modes. Even though you stated the first one is C major (Ionian mode), it could also be A minor (Aeolian mode), G Mixolydian, F Lydian, E Phrygian, B Locrian, and of course, D Dorian. It's crazy how many things scales and modes can fall under given what the composer intends.
Btw,the names of these modes are very important, seriously, also ur kinda making this more complicated than it is
thanks mike. i'm sure i'm not confusing you... you've obviously got a handle on this stuff. the modes are often taught as a rigid system, but i'm suggesting, and this may be unimportant for your own work, that a looser interpretation could be interesting.
I think the overtone series looms large here . Thanks Chris - great post!