Thank you thank you thANK YOU!!! This is exactly what I’ve been looking for. I’ve known all my modes on guitar for about a year now but what I struggle with is changing my modes over chords to actually play the changes, and not just play tonic major/minor for every solo. Your RUclips channel is truly a gift from God to theory nerds like myself. Please never stop, you are such an inspiration, which is what we need more of in the age of the internet, where haters are quick to discourage those that actually want to make it somewhere in the industry. Instead of being discouraged at seeing someone play better than myself, you actually share those skills and make it enjoyable. God bless you sir.
🎹🎷🎺🎶 A half step is the strongest resolution!!! That's huge. This should be the first rule of music. I can't believe it's taken me this long to realise that. LOL.
Watching videos like this, clearly presented by someone who knows music inside out and upside down, begs this question: When learning musical structures on the guitar, a student gets inundated with no end of patterns and shapes, but rarely much else. It is a confusing mess of "what pattern goes where for a given scale in a certain area of the neck, that does not at all lend itself to freedom over the fretboard or deep understanding. Having been exposed to CAGED patterns, boxed patterns, octave patterns, 2 octave patterns, etc etc, I came to the realization (suspicion?) that none of it was the "end all be all" that would lead to the kind of fluidity and freedom and ease of playing that I was after. It seems that the only way to freely and effortlessly flow around the fretboard in a musical way, not dictated by some prebaked pattern or shape, is to know the notes on the neck, know the keys and scales and arpeggios and chords, not only in terms of note names but how each note functions in a given context (scale degrees, intervals, and chord tones) inside and out without hesitation, and knowing how the intervals lay out on the fretboard like the back of your hand. Everything I have been pursuing short of this seems to be a fruitless, half-hearted measure that has resulted in YEARS of spinning my wheels trying to solve the puzzle. Watching someone like John Petrucci flow across the fretboard in a mind-blowing, tasteful, melodic, and expressive way, I can't imagine that he went the "box pattern" or other mindless shape route. It is so difficult to see what route someone like him DID take, short of going to Berklee myself, which sadly won't happen! I am know resolved to taking a step back, slowing down, and really LEARNING all of the above, in everything I play. The patterns and shapes will naturally occur, but should not be the focus of the effort. Does it sound like I'm on the right track? Watching amazing musicians and teachers like Rick makes me think so.
Tom4349 I think you’re right. I’ve had the same journey, and it’s fruitless. Maybe the patterns help when you’re lost, but it’s all an extra unnecessary layer on top of actually understanding the instrument and theory in general. I’m going back now and “filling in the blanks”. Someday...
The most and productive seems to be transcribing lines, getting them up to speed,understanding how they work (intervals in relation to chord) and then tweaking them in your own way. I've done some videos on that.
Simplifying is the answer to your problem. Everyone learns different lessons at different stages, this goes for life as well as music. Traditional music theory terminology, and sheet music is an artisan interpretation, but the math is logic. Put these things in the simplest terms, and practice knowing them. This doesn't really require an instrument in hand, and you, like many composers, should be able to compose without an instrument is hand. I like fretboard charts in Excel, and you can make them easily on notebook paper. There are 7 intervals of a key, sometimes called modes. The pentatonic scale skips the 4th interval and the 7th of ever key. Study what other notes you can eliminate, and what factors of notes you can remove from modes which aren't 4 and 7. This is really refined composition. For composing rhythm you should learn CAGED and the 7th chord shapes. Diatonic setup is important. There's a lot of cool micro-intervals you can tap into when playing different diatonic variation of the same chord. 4152637 is the circle of fifths. if you shift it 5263741 you can see that relative to the 2 that 1 is in the 7 spot, and 5 is in the 4 spot. These are relative factors. you can also elaborate it this way 52637#4#1. This would modulative, as the #4 is 2's relative 3rd, and changes the composition to 2 as 1 would be instead of staying 2. You can compose in ways which allow you to play different modes on notes other than their basic one, and also modes on the notes not in the key at all. This is especially pertinent in making music that utilizes "movements" or shifts of relativity, and adding notes in this manner when travelling through octaves. It's tough game to play and simplification is really more important in making music that people will like, but when practicing to get to where you want to intuitively play lead like you don't care. Just play! hit wrong notes and keep going. Play with haste, and move around often. You want to train your subconscious understanding. Eventually you will notice you naturally play the shapes you have studied. Concepts like major third, minor third, major third, minor third, minor third, major third are some of the patterns you will pick up on. Whole step, whole step, minor third, whole step whole step, minor third is another way of looking at that. Think about intervals in simplest terms. All the fancy alterations are a lot easier to understand the more you refine basic information. Alternate Pentatonic deductions occur on notes, and their 4ths and 5ths. 2 and 5, or 2 and 6 for example. These are adjacents on the circle of 4ths and 5ths. There are a lot of strange things you can do, but these are the most pleasing, therefore logical deductions, the adjacents. Compartmentalizing, and allocating your time for education is important. I have never learned a song! This is all stuff you learn by studying. Learning other people's licks helps with technical ability. Study the logistics until you can explain things like i have off the top of your head. The simplest shapes you need to know to fly are the one string segments of the 7 note heptatonic scales. (whole step, whole step, half step, whole step, whole step, whole step, half step). The jazzy modes that Rick Beato likes, and melodic minor, and harmonic minor; when to play them and what not are a lot easier to think about when hearing it relative to the tonic. When jamming to a song, sometimes you find the root, but it feels like it's "leaning" in a direction. There's also compositions that utilize tonicism through addition, which are compounded with instrumentation. Synths especially are known for their identity of being more than a one note sound. The harmonies of the sound make it so that it naturally makes whatever song it is in have a certain tonic texture. Working on your ear for that stuff is important, and happens naturally as you listen, play , and study. Drums are especially important computationally for this reason as well. I have my own theory on modulation, if you are interested message me for my website, it's free. In short, there are logical modes you can play on every interval relative to a key, depending on where the music is moving, which are different than the basic 4, 1, 5/ 2/ 6, 3, 7. For example: you can play locrian on every note, play lydian all up through the circle of 4ths, and 5ths, or mixolydian the same way, also play the 5th as a the third. These work best with reasonable deductions, and produce the emotional dissonance Rick Beato has spoken of. Try this weird example: 1, ionian normal pentatonic, 2 as mixolydian deduct the same 1's 4 and as normal, (which in this case coincide with 4 and 7 in dorian), then play 3 as ionion removing it's 4 and 7. This was made by using something I have defined as Universal Modes. They are four modes which are that of the 1, #1, #4, and 5. I came across them by flipping, and inverting the major scale represented on a circle of notes (not circle of 4ths, and 5ths). Another example is playing dorian on the #1, and phrygian on 2, and so on. There are many other mathematical extrapolations we can do to music to make logical sequences of notes; these, I believe, are only the immediate ones. Because of all of the mathematical possibilities, just playing will get you somewhere. Play, play play. Desensitize your ear to a certain degree. The post important thing about playing fluidly is sounding like how you want to sound. I find the normal pentatonic hokey, but I tend to be a little notey 😈. Don't focus on being perfect, focus on getting a handle on things, then work on the arpeggiation up and down the neck. Get your fingers used to flying, then you can learn the crazy tricks of your favorites. I've been meaning to get to that, but I don't listen to a lot of lead guitar oriented music, nor want to learn other peoples licks and solos. Composing is really important trial and error, and those instant access improvisational skill are greatly. Bends are so important to your compositions, they are intervals, and kinda diatones on their own! You can learn this! I have only been playing music for 5 years, and that's like 2 years of open chords! 👍
Gone to this lesson tracing back from your latest "Premiere: So You Really Want to Learn How To SHRED? Dorian b2 STYLE! 11/04/18. i understand more and more by weaving between and re-visiting your brilliant videos. You are the no.1 teacher for clarity of explanation for challenging content. = You make me believe I can learn and master something I don't yet understand. "Turning the Knowledge gain knob up to 11" Thanks so much for your continued hi-output.
Rick, this is such great information. Your videos have rekindled a spark... This and your other videos make great review material to get the ball rolling when in a slump. Inspiring. Thanks, it's much appreciated!
It never fails, the cool jazzy diminished thing i was working on a few months back works on that concept of playing it in thirds, though i use it out of a minor scale with a bunch of distortion in a more metal feeling tone
The video I have been looking for! I finally have a good understanding and usage of the modes but just need to make them flow. I have a song written but when I do test solos it sounds choppy. I think this will help.
No wonder that 154K subscribe. The knowledge you impart is invaluable! Thank you so much for presenting all musical info so clearly for my ears & my mind.Your 1/2 step resolution concept opens another door. I'm beginning to integrate new music theory content chunk by chunk with understanding and feel satisfaction during piano practice and performance.
Watched your seminars for last week wonderful like fly in a soup ! unfortunately it reminds me of my old teacher 39 years ago a hated him lol top up love it .
any strongly dissonant interval is a good transition tone, not necessarily just a half step. a major 7th, tritone, and minor 6th are personal favorites of mine as well
Can you discuss the topic of rhythm? More specifically the strong beat vs weak beat theory/the concept of forward motion? Ex. take a walking bass line (in 4/4) where the root and fifth might be played on the down beat of the 1 and 3 while the down beat of the 2 and 4 might be approach notes coming from a half step above/below, up from a 4th, down from a 5th, or, if applicable, one of the scale tones a whole step above/below. From what little I understand about it, I've found knowing where a note/rest falls is at least as important as what the the note is. Can you expand on this? Thank you.
Rick, that intro you use on all or most your tutorials, it sounds a lot like a Keith Emerson piano riff, could you do a tutorial on how he gets that type of sounds, it's very interesting, thanks...:)
Thanks Mark! I have a Lav mic but it doesn't sound good because of the phasing with the guitar amp. I don't always record in my live room on my guitar videos but I like the ambience. I might increase my production value a small amount but decrease my content output. I will boost some of the mids the next time I make a video in that part of the room. Best, Rick
Basically for this video to be relevant to you, you just have to know the weirdest and most random scales by heart or something idk, that's why I'm not a jazz player lol I always use arpeggios to solo over jazz because of all the quick chord changes, but somehow rick just knows 10 million different scales by heart, that works too I guess
Great video! can you make one about how to flow between modes in composition? I suggest you to listen the second melody from sinister footwear 2nd movment by frank zappa. It seems like he is flowing between different modes over one chord. Keep making videos!
Choosing what chords create the changes is where I am stuck. I love to write melodies, and I can naturally do it and figure it out. What I can't do it conscious arrive at meaningful chord progression changes, like this one on my own. I can write melodies over them all day, but I struggle to write chord progressions that allow for modulation. Any tips for how to get better at that? Is there some kind of compendium of chord progressions out there?
What is Dominant Diminished? What mode is it and which notes does it contain? Suppose I play G7b9 and want to resolve to CMaj7, what notes should I play in G7b9?
when your improvising do you know everynote your playing? im sure your using your ear to resolve and go to your next chord, but are you actually able to know the notes in your head and know what notes that your using as your switching modes this quickly.
Very unlikely most likely muscle memory. He probably just knows what they are seconds later due to just practicing reading music or other fretboard learning practice.
I was looking for a meme of somebody trying to drink water from a fire hydrant that I could post on Rick's videos. But can't figure out how to post pictures on the comments.
Switching from one mode or scale to another is somewhat difficult I find. But not so much with the 7 modes (Ionian to Locrian) compared to Melodic Minor modes. If I were to change to the latter, I find that I need to start at the root all the time for reference. I know it's for the lack of fretboard knowlege, but how do you master this. I have been practising them up and down the neck and can do them flawlessly. But when comes time for real application I struggle very much. Any tips that are apart from the obvious you can share to people like me Rick? Thanks! BTW I am a Nuryl subscriber and I purchased your Beato Book.
For me something that has helped tremendously has been practicing the living crap out of the triads or seventh chords for the tune I am working on. That way the triads can really act as a framework for filling in the rest of the non-chord tones with the notes described in the chord symbols and you can slowly introduce dissonances into your lines and chords.
O.K. I need an explanation. In a previous lesson it was stated that one should play chord tones on the strong beats(1-2-3-4)and scale tones or passing tones on the weak beats(the "and" beats), yet here we have a G# on the downbeat of a G7b9 chord which is a note that is not in the chord, unless it were a G7b5b9(or a G7b5#11), but it isn't. So...What gives?
I know the first position of the major, minor, pentatonic, Hungarian gypsy, Byzantium scales pattern. I even understand why the relative minor is important to whatever key you're in. I just don't understand how the corresponding mode shapes allow you to play up and down the fretboard.
Now wait a second. Feel like I should add something here. When practicing you see D dorian as a C major that starts and stops on the note D. I get that, it's essential to finding out which notes you should play. However, I consider dorian to be VERY different from any other mode of the major scale. That goes for every mode, of course. They all have different feelings because they use different formulas/intervals relative to the root of that mode. That is WHY you should think of "D dorian" when playing C major from D to D. It's a different scale with a different feeling, even though it looks a whole lot like C major. This is easiest to notice when, for example, you play the minor modes (dorian, phrygian, aeolian) over a minor triad. Same goes for major modes over a major triad. (ionian, lydian, mixolydian). Locrian is a weird one, since it doesn't get used a lot (or at all?). Mixolydian is a bit different as well, since that goes over a dominant chord instead of a major chord (though you might've known that already, Randall)
Randall Schoverling it sounds like you need to practice position playing and note recognition if you're having trouble playing across the fretboard. Modes don't exactly help you with that, because they are their own sound and should be an exercise for your position playing. Good luck to you bro, keep pushing and you will find what you're looking for.
Its like a clock that goes to 7 instead of 12. Take the major scale in any key and assign the first note to the 1 and the second to the 2.. etc. If you start on the 1 then you have the ionian. Start on the 2 you have dorian, start on the 3 you have phrygian. This connects the fretboard because the fretboard is just 12 notes repeated. All you have done is selected 7 different notes and chosen a starting point.
Everything you said is true but I feel it's a bit confusing, I had the same problem, this is a good way of learning what modes are, but then if you wanna learn how to use modes then this explanation starts getting misleading, because if you're playing D dorian over a C major groove then you are making no difference at all, you are still playing the exact same notes. To make a difference you have to play different modes with the same root, for example playing C dorian over a C major groove, you are essentially getting out of the scale, and this bit was a big part of my confusion, I used to wonder, if you play different modes with the same root then how are you gonna be in tune? but the answer is you're not in tune and that's the whole point. You add tension by getting out of the scale and what makes it work is connecting it back home to the main scale. You sure know all of this better than I do, I'm a begginner, but this is meant for those who read your comment and are still left with the doubt :) I hope I made no mistakes.
Man!!!! That’s way higher than my knowledge about Music. And....... sorry man I decided to unsubscribe and will come back again for sure after I get far more better than what I am now 😅
![Megan Thee Stallion - Bigger In Texas [Official Video]](http://i.ytimg.com/vi/QxTkZTLWdo4/mqdefault.jpg)
Thank you thank you thANK YOU!!! This is exactly what I’ve been looking for. I’ve known all my modes on guitar for about a year now but what I struggle with is changing my modes over chords to actually play the changes, and not just play tonic major/minor for every solo. Your RUclips channel is truly a gift from God to theory nerds like myself. Please never stop, you are such an inspiration, which is what we need more of in the age of the internet, where haters are quick to discourage those that actually want to make it somewhere in the industry. Instead of being discouraged at seeing someone play better than myself, you actually share those skills and make it enjoyable. God bless you sir.
Such practical advise. Great lesson. Easily understood and much to practice! Awesome.
Outstanding. Rick doesn’t just show you examples, he teaches concepts that are transferable.
I'm going to have to watch this 100 times to try to absorb all of the info in there. Thanks for the great lesson.
🎹🎷🎺🎶 A half step is the strongest resolution!!! That's huge. This should be the first rule of music. I can't believe it's taken me this long to realise that. LOL.
Pétra Gaffney - Even with my limited skills and knowledge, there is always gem or a pearl of wisdom in Rick’s videos.
Totally agreed. I've never thought of this at all but it's these little things that mean so much.
Your videos always give me the explaination of how exactly the things i like work in a way that actually gets thru my thick head
Totally
Watching videos like this, clearly presented by someone who knows music inside out and upside down, begs this question:
When learning musical structures on the guitar, a student gets inundated with no end of patterns and shapes, but rarely much else. It is a confusing mess of "what pattern goes where for a given scale in a certain area of the neck, that does not at all lend itself to freedom over the fretboard or deep understanding. Having been exposed to CAGED patterns, boxed patterns, octave patterns, 2 octave patterns, etc etc, I came to the realization (suspicion?) that none of it was the "end all be all" that would lead to the kind of fluidity and freedom and ease of playing that I was after. It seems that the only way to freely and effortlessly flow around the fretboard in a musical way, not dictated by some prebaked pattern or shape, is to know the notes on the neck, know the keys and scales and arpeggios and chords, not only in terms of note names but how each note functions in a given context (scale degrees, intervals, and chord tones) inside and out without hesitation, and knowing how the intervals lay out on the fretboard like the back of your hand. Everything I have been pursuing short of this seems to be a fruitless, half-hearted measure that has resulted in YEARS of spinning my wheels trying to solve the puzzle. Watching someone like John Petrucci flow across the fretboard in a mind-blowing, tasteful, melodic, and expressive way, I can't imagine that he went the "box pattern" or other mindless shape route. It is so difficult to see what route someone like him DID take, short of going to Berklee myself, which sadly won't happen!
I am know resolved to taking a step back, slowing down, and really LEARNING all of the above, in everything I play. The patterns and shapes will naturally occur, but should not be the focus of the effort. Does it sound like I'm on the right track? Watching amazing musicians and teachers like Rick makes me think so.
Tom4349 I think you’re right. I’ve had the same journey, and it’s fruitless. Maybe the patterns help when you’re lost, but it’s all an extra unnecessary layer on top of actually understanding the instrument and theory in general. I’m going back now and “filling in the blanks”. Someday...
The most and productive seems to be transcribing lines, getting them up to speed,understanding how they work (intervals in relation to chord) and then tweaking them in your own way. I've done some videos on that.
Simplifying is the answer to your problem. Everyone learns different lessons at different stages, this goes for life as well as music. Traditional music theory terminology, and sheet music is an artisan interpretation, but the math is logic. Put these things in the simplest terms, and practice knowing them. This doesn't really require an instrument in hand, and you, like many composers, should be able to compose without an instrument is hand. I like fretboard charts in Excel, and you can make them easily on notebook paper. There are 7 intervals of a key, sometimes called modes. The pentatonic scale skips the 4th interval and the 7th of ever key. Study what other notes you can eliminate, and what factors of notes you can remove from modes which aren't 4 and 7. This is really refined composition. For composing rhythm you should learn CAGED and the 7th chord shapes. Diatonic setup is important. There's a lot of cool micro-intervals you can tap into when playing different diatonic variation of the same chord. 4152637 is the circle of fifths. if you shift it 5263741 you can see that relative to the 2 that 1 is in the 7 spot, and 5 is in the 4 spot. These are relative factors. you can also elaborate it this way 52637#4#1. This would modulative, as the #4 is 2's relative 3rd, and changes the composition to 2 as 1 would be instead of staying 2. You can compose in ways which allow you to play different modes on notes other than their basic one, and also modes on the notes not in the key at all. This is especially pertinent in making music that utilizes "movements" or shifts of relativity, and adding notes in this manner when travelling through octaves. It's tough game to play and simplification is really more important in making music that people will like, but when practicing to get to where you want to intuitively play lead like you don't care. Just play! hit wrong notes and keep going. Play with haste, and move around often. You want to train your subconscious understanding. Eventually you will notice you naturally play the shapes you have studied. Concepts like major third, minor third, major third, minor third, minor third, major third are some of the patterns you will pick up on. Whole step, whole step, minor third, whole step whole step, minor third is another way of looking at that. Think about intervals in simplest terms. All the fancy alterations are a lot easier to understand the more you refine basic information. Alternate Pentatonic deductions occur on notes, and their 4ths and 5ths. 2 and 5, or 2 and 6 for example. These are adjacents on the circle of 4ths and 5ths. There are a lot of strange things you can do, but these are the most pleasing, therefore logical deductions, the adjacents. Compartmentalizing, and allocating your time for education is important. I have never learned a song! This is all stuff you learn by studying. Learning other people's licks helps with technical ability. Study the logistics until you can explain things like i have off the top of your head. The simplest shapes you need to know to fly are the one string segments of the 7 note heptatonic scales. (whole step, whole step, half step, whole step, whole step, whole step, half step). The jazzy modes that Rick Beato likes, and melodic minor, and harmonic minor; when to play them and what not are a lot easier to think about when hearing it relative to the tonic. When jamming to a song, sometimes you find the root, but it feels like it's "leaning" in a direction. There's also compositions that utilize tonicism through addition, which are compounded with instrumentation. Synths especially are known for their identity of being more than a one note sound. The harmonies of the sound make it so that it naturally makes whatever song it is in have a certain tonic texture. Working on your ear for that stuff is important, and happens naturally as you listen, play , and study. Drums are especially important computationally for this reason as well. I have my own theory on modulation, if you are interested message me for my website, it's free. In short, there are logical modes you can play on every interval relative to a key, depending on where the music is moving, which are different than the basic 4, 1, 5/ 2/ 6, 3, 7. For example: you can play locrian on every note, play lydian all up through the circle of 4ths, and 5ths, or mixolydian the same way, also play the 5th as a the third. These work best with reasonable deductions, and produce the emotional dissonance Rick Beato has spoken of. Try this weird example: 1, ionian normal pentatonic, 2 as mixolydian deduct the same 1's 4 and as normal, (which in this case coincide with 4 and 7 in dorian), then play 3 as ionion removing it's 4 and 7. This was made by using something I have defined as Universal Modes. They are four modes which are that of the 1, #1, #4, and 5. I came across them by flipping, and inverting the major scale represented on a circle of notes (not circle of 4ths, and 5ths). Another example is playing dorian on the #1, and phrygian on 2, and so on. There are many other mathematical extrapolations we can do to music to make logical sequences of notes; these, I believe, are only the immediate ones. Because of all of the mathematical possibilities, just playing will get you somewhere. Play, play play. Desensitize your ear to a certain degree. The post important thing about playing fluidly is sounding like how you want to sound. I find the normal pentatonic hokey, but I tend to be a little notey 😈. Don't focus on being perfect, focus on getting a handle on things, then work on the arpeggiation up and down the neck. Get your fingers used to flying, then you can learn the crazy tricks of your favorites. I've been meaning to get to that, but I don't listen to a lot of lead guitar oriented music, nor want to learn other peoples licks and solos. Composing is really important trial and error, and those instant access improvisational skill are greatly. Bends are so important to your compositions, they are intervals, and kinda diatones on their own! You can learn this! I have only been playing music for 5 years, and that's like 2 years of open chords! 👍
@@astrolabellc7195 good grief
@@RichardMcLamore yeaap.
Gone to this lesson tracing back from your latest "Premiere: So You Really Want to Learn How To SHRED? Dorian b2 STYLE! 11/04/18. i understand more and more by weaving between and re-visiting your brilliant videos. You are the no.1 teacher for clarity of explanation for challenging content. = You make me believe I can learn and master something I don't yet understand.
"Turning the Knowledge gain knob up to 11"
Thanks so much for your continued hi-output.
Rick, this is such great information. Your videos have rekindled a spark... This and your other videos make great review material to get the ball rolling when in a slump. Inspiring. Thanks, it's much appreciated!
i really miss this kind of videos that Rick used to play and explain. Lots of knowledge from this man.
It never fails, the cool jazzy diminished thing i was working on a few months back works on that concept of playing it in thirds, though i use it out of a minor scale with a bunch of distortion in a more metal feeling tone
wow. downbeat=melody, upbeat=dissonance.
INSTANT JAZZ.
(:oO
great lesson!
AWESOME, RICK!
Great lesson. I need to search back in time to try and find these older lesson based videos, unless they are available as a subscription
just stumbled upon this...wow...thanks for consistently making the hard easy
Amazing lesson Rick!!!! You're my newest guitar instructor. I have been scale/chord transition ideas. Thanks so much
Rick is unbelievably prolific... inspirational, my man
As my theory and knowledge off music has gotten better the more Rick makes sense
Hi Rick many thanks for making the understanding of modes so simple.Thanks Aspi
Thanks for another action-packed, no-nonsense lesson, Rick!
Really opened my mind to the other dominant scales available. Thank you!
Great teaching again Rick. Also, P90’s through Vox amps. What a tone!
The video I have been looking for! I finally have a good understanding and usage of the modes but just need to make them flow. I have a song written but when I do test solos it sounds choppy. I think this will help.
Great video Rick! I would love if you could make a video about delayed resolutions or non chord tones resolutions. Thank you!!!
Eduardo Díez Done! I'll get to it this week.
You talking like deceptive cadences?
Thank you Rick for the brilliant lesson! I am enjoying The Rick Beato book and slowly learning the ropes.....
No wonder that 154K subscribe. The knowledge you impart is invaluable! Thank you so much for presenting all musical info so clearly for my ears & my mind.Your 1/2 step resolution concept opens another door. I'm beginning to integrate new music theory content chunk by chunk with understanding and feel satisfaction during piano practice and performance.
Watched your seminars for last week wonderful like fly in a soup ! unfortunately it reminds me of my old teacher 39 years ago a hated him lol top up love it .
This is a great lesson, with kick-ass playing included. RB rules!
Thanks Rick, very useful and well explained. Sheet music is a big plus!!!
any strongly dissonant interval is a good transition tone, not necessarily just a half step. a major 7th, tritone, and minor 6th are personal favorites of mine as well
Hi Rick! thank you so much for making me understand music much more! Lg!
this is totally out of my level,but i enjoyed it so much.
Jazz is challenging. It is above my level also..I understand a fair portion at a slow pace, but not at full speed.
Can you discuss the topic of rhythm? More specifically the strong beat vs weak beat theory/the concept of forward motion? Ex. take a walking bass line (in 4/4) where the root and fifth might be played on the down beat of the 1 and 3 while the down beat of the 2 and 4 might be approach notes coming from a half step above/below, up from a 4th, down from a 5th, or, if applicable, one of the scale tones a whole step above/below. From what little I understand about it, I've found knowing where a note/rest falls is at least as important as what the the note is. Can you expand on this? Thank you.
Great lesson Rick!
Great material Rick, I'm your new fan.
This all makes good sense. Wish I was still in my twenties. Damn.
Why, u would probably not even pay attention to him if u were lol But I get your point
You are a great teacher. Thanks
I don't play guitar but i found this info very practical! Thank You :)
That les paul jr is so cool, i have one from the early 90s...its an epi. though
Excellent tutorial - thank you !
Using a whole step for a resolve is strong if you break it down into halfsteps with a slide from say fret 3-5
This is GOLD.
you are a great teacher - very helpfull
I love videos like this ,,,Thanks Rick....ron
Rick, that intro you use on all or most your tutorials, it sounds a lot like a Keith Emerson piano riff, could you do a tutorial on how he gets that type of sounds, it's very interesting, thanks...:)
Amazing stuff, Rick. A decent lav mic would increase your production value tremendously.
Thanks Mark! I have a Lav mic but it doesn't sound good because of the phasing with the guitar amp. I don't always record in my live room on my guitar videos but I like the ambience. I might increase my production value a small amount but decrease my content output. I will boost some of the mids the next time I make a video in that part of the room. Best, Rick
Great, like always.
Basically for this video to be relevant to you, you just have to know the weirdest and most random scales by heart or something idk, that's why I'm not a jazz player lol
I always use arpeggios to solo over jazz because of all the quick chord changes, but somehow rick just knows 10 million different scales by heart, that works too I guess
This was such a good lesson
I'm always a half step away from the right note. What's up with that?
great stuff. Thx!!
Great video! can you make one about how to flow between modes in composition? I suggest you to listen the second melody from sinister footwear 2nd movment by frank zappa. It seems like he is flowing between different modes over one chord. Keep making videos!
Choosing what chords create the changes is where I am stuck. I love to write melodies, and I can naturally do it and figure it out. What I can't do it conscious arrive at meaningful chord progression changes, like this one on my own. I can write melodies over them all day, but I struggle to write chord progressions that allow for modulation.
Any tips for how to get better at that? Is there some kind of compendium of chord progressions out there?
I realy like the 1dim on the G to
great stuff. but is the delay effect necessary? wwjpd? (& that's joe pass, not petrucci)
Hi Rick, interesting lesson, I hear nothing of the accompanying music(Biab?), sorry.(compressed by YT?)
Awsome
What is Dominant Diminished? What mode is it and which notes does it contain? Suppose I play G7b9 and want to resolve to CMaj7, what notes should I play in G7b9?
when your improvising do you know everynote your playing? im sure your using your ear to resolve and go to your next chord, but are you actually able to know the notes in your head and know what notes that your using as your switching modes this quickly.
Very unlikely most likely muscle memory. He probably just knows what they are seconds later due to just practicing reading music or other fretboard learning practice.
The only question about making actual music with modes that "just listen to more Indian classical music" doesn't answer
I was looking for a meme of somebody trying to drink water from a fire hydrant that I could post on Rick's videos. But can't figure out how to post pictures on the comments.
Best comment 😂
YT doesn't do pics in comments but point taken and sympathized w. Good thing is, u can always pause and come back
Interesting!
Now yer talkin'!
This is jazz vocabulary vital info
This Dude is
Rick is this what they also do in progressive rock ?
@W 9797 fink ployd
Switching from one mode or scale to another is somewhat difficult I find. But not so much with the 7 modes (Ionian to Locrian) compared to Melodic Minor modes. If I were to change to the latter, I find that I need to start at the root all the time for reference. I know it's for the lack of fretboard knowlege, but how do you master this. I have been practising them up and down the neck and can do them flawlessly. But when comes time for real application I struggle very much. Any tips that are apart from the obvious you can share to people like me Rick? Thanks! BTW I am a Nuryl subscriber and I purchased your Beato Book.
For me something that has helped tremendously has been practicing the living crap out of the triads or seventh chords for the tune I am working on. That way the triads can really act as a framework for filling in the rest of the non-chord tones with the notes described in the chord symbols and you can slowly introduce dissonances into your lines and chords.
Rick, do you use any TAB on any of your lessons?
Damn I really need to learn all those scales perfectly so I can manage to do it. Until then I’m still confused as hell.
Is the G7b9 coming from G harmonic minor. ?
Who recognises as well the lick @9:45 😁
O.K. I need an explanation. In a previous lesson it was stated that one should play chord tones on the strong beats(1-2-3-4)and scale tones or passing tones on the weak beats(the "and" beats), yet here we have a G# on the downbeat of a G7b9 chord which is a note that is not in the chord, unless it were a G7b5b9(or a G7b5#11), but it isn't. So...What gives?
1 is chord tones, the other is melody- 2 different things, my friend!
Does the dominant diminished scale contain the flat 9 of the V chord?
how i found all modes scales (like myxolydian b7 and dominant diminished) links pls
i think u mean mixolydian b6 , its the 5th mode of the melodic minor scale and dominant diminished is also known as the half, whole step scale .
mixolydian b6 is : root, 2nd, 3rd, 4th, 5th, b6 (b13th), b7th
dom diminished is: R, b2, b3, 3, #4, 5 , 6, b7
@@levnik7739 nooo, i need all scales from all modes
ionian, lydian, lydian b7, dmoninant diminished and etc...
Rick how do you learn tunes...standards? Thx
I'd say, ear training and/or sheet music
Ha, are you playing through a pathfinder in this?
Why is he in black and white?
Target notes
ok, lost me ridght there the moment "dominant diminished" got mentioned
Yup
1:05
Off subject ... Les Paul Jr?
Yes
Feel like I'll never understand modes.
I know the first position of the major, minor, pentatonic, Hungarian gypsy, Byzantium scales pattern. I even understand why the relative minor is important to whatever key you're in. I just don't understand how the corresponding mode shapes allow you to play up and down the fretboard.
Now wait a second. Feel like I should add something here.
When practicing you see D dorian as a C major that starts and stops on the note D. I get that, it's essential to finding out which notes you should play. However, I consider dorian to be VERY different from any other mode of the major scale. That goes for every mode, of course. They all have different feelings because they use different formulas/intervals relative to the root of that mode. That is WHY you should think of "D dorian" when playing C major from D to D. It's a different scale with a different feeling, even though it looks a whole lot like C major. This is easiest to notice when, for example, you play the minor modes (dorian, phrygian, aeolian) over a minor triad. Same goes for major modes over a major triad. (ionian, lydian, mixolydian). Locrian is a weird one, since it doesn't get used a lot (or at all?). Mixolydian is a bit different as well, since that goes over a dominant chord instead of a major chord (though you might've known that already, Randall)
Randall Schoverling it sounds like you need to practice position playing and note recognition if you're having trouble playing across the fretboard. Modes don't exactly help you with that, because they are their own sound and should be an exercise for your position playing. Good luck to you bro, keep pushing and you will find what you're looking for.
Its like a clock that goes to 7 instead of 12. Take the major scale in any key and assign the first note to the 1 and the second to the 2.. etc. If you start on the 1 then you have the ionian. Start on the 2 you have dorian, start on the 3 you have phrygian. This connects the fretboard because the fretboard is just 12 notes repeated. All you have done is selected 7 different notes and chosen a starting point.
Everything you said is true but I feel it's a bit confusing, I had the same problem, this is a good way of learning what modes are, but then if you wanna learn how to use modes then this explanation starts getting misleading, because if you're playing D dorian over a C major groove then you are making no difference at all, you are still playing the exact same notes. To make a difference you have to play different modes with the same root, for example playing C dorian over a C major groove, you are essentially getting out of the scale, and this bit was a big part of my confusion, I used to wonder, if you play different modes with the same root then how are you gonna be in tune? but the answer is you're not in tune and that's the whole point. You add tension by getting out of the scale and what makes it work is connecting it back home to the main scale. You sure know all of this better than I do, I'm a begginner, but this is meant for those who read your comment and are still left with the doubt :) I hope I made no mistakes.
This is like gibberish to me. Could someone direct me to a channel that explains this in a more simplified way?
Wow wwwwwwwwwwwwwww
Man!!!! That’s way higher than my knowledge about Music. And....... sorry man I decided to unsubscribe and will come back again for sure after I get far more better than what I am now 😅