Not an exaggeration, this is the only explanation of modes I’ve ever heard that’s clicked for me - maybe using one of my favourite songs helps too! Thank you for making this.
I said it before and I'll say it again. You're doing unique content that nobody else is doing. As long as you keep making these I'll keep watching them! 👍
Fascinating stuff. Thank you. I just started to try to learn basic music from zero. As an artist it strikes me how abstract it is. Like colour combinations. What is it that seems to universally make the listener feel a certain way? Must be like a platonic form existing outside of time and space.
I think it is mathematical because certain frequencies that sound good together have harmonics that are multiples of each other. Sometimes they have a relationship that is not exactly a multiple and it sounds sad, lonely or nostalgic. I talked a bit about this in my video on Aphex Twin Stone in Focus.
Thanks - the first part is absolutely fantastic. Possibly the best explanation I’ve heard. There’s one thing you say circa 5:40 that is potentially really confusing (I’ve worked out why and I hope you don’t mind me attempting to clarify below, in case anyone else gets stuck). As for what you say after that, well, I admit I’m still lost. If you or anyone else can offer any clarification, that would be much appreciated. At the 5:40 mark the video says: “So now I can take any MAJOR SCALE and simply sharp its fourth note and I’ll have that Lydian sound. This is NOT NECESSARY if you’re playing F LYDIAN ... “ If that confused you too, here’s my attempt to clarify: If you’re already playing F Lydian (or ANY Lydian mode) it’s never going to be necessary to sharpen the 4th to achieve ‘that Lydian sound’. Why? Because you’re ALREADY in F Lydian! So I think what was said in the video was maybe a little hiccough in thought while recording :) However, you should note that when you’re in an Ionian mode (eg any MAJOR scale), sharpening the 4th note IS necessary in order to achieve that Lydian sound ... For instance, the F Maj scale contains Bb (a black note). In order to play F Lydian (all white notes) you need to sharpen the Bb by a semitone. I hope that clears up any confusion.
You are right, the statement is true but a bit awkward. And you were confused after this point? I think all I said after that was that BOC emphasized the B because that is the "Lydian Note." What I mean is that what makes F major into Lydian is that B, so the B is what gives it the Lydian sound. What will blow most people's minds is that a relative minor is simply the Aeolian and the Circle of Fifths is simply a method to stay in Ionian, it ties it all together in a way that you won't find on RUclips anywhere.
@@rocsire Start on D and play only the white keys, you are in the Dorian Mode. You need to play some sharps to keep that in the D major scale. Keys of E,F,G, etc. the same story. Well, that Circle of Fifths tells you what sharps, and flats to play to keep you Major/Ionian. If you don't use that chart, you instead cycle through the modes if you stay only on the white keys. But note that the chart gives you the relative minor of each key in green, like it is so hard. But as I said in the video, the relative minor is simply the Aeolian. It is a question of memorization of charts and names vs. just knowing how it all works. This music theory all ties into ONE THING but sometimes people compartmentalize it into different areas.
@@Digiphex Ahh I think I get it , all the scales have some kind of connection thats why it's ok to jump out to another key and have something amazing happened ?Would you say modal scales is part of BOC secret to great melodies , they seem to always be a step ahead of everyone even after all these years later ?
Fascinating and instructive. Cheers. Can you tell me if BOC used the Lydian Scale for most of their tracks. I know Olson was written in E Lydian. Rogybiv in Gb Mixolydian? Cheers again.
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Not an exaggeration, this is the only explanation of modes I’ve ever heard that’s clicked for me - maybe using one of my favourite songs helps too! Thank you for making this.
I said it before and I'll say it again. You're doing unique content that nobody else is doing. As long as you keep making these I'll keep watching them! 👍
I agree!
Good explanation! I'm still having trouble understanding those chords and how they fit into this mode. I'll have to play with thid
Great video as always. Uncontested best channel for Boards of Canada related videos.
I’ve watched a lot of videos about Modes and this is by far the best.
I second this!
Fascinating stuff. Thank you. I just started to try to learn basic music from zero. As an artist it strikes me how abstract it is. Like colour combinations. What is it that seems to universally make the listener feel a certain way? Must be like a platonic form existing outside of time and space.
I think it is mathematical because certain frequencies that sound good together have harmonics that are multiples of each other. Sometimes they have a relationship that is not exactly a multiple and it sounds sad, lonely or nostalgic. I talked a bit about this in my video on Aphex Twin Stone in Focus.
Very cool! I love the lydian mode, it just sounds so ethereal
Funny, i am always starting with F and sometimes D. Must be the sound that I like best from this BOC and similar. Nice explanation, thanks.
Amazing Deepmind patch
Thanks - the first part is absolutely fantastic. Possibly the best explanation I’ve heard.
There’s one thing you say circa 5:40 that is potentially really confusing (I’ve worked out why and I hope you don’t mind me attempting to clarify below, in case anyone else gets stuck). As for what you say after that, well, I admit I’m still lost. If you or anyone else can offer any clarification, that would be much appreciated.
At the 5:40 mark the video says:
“So now I can take any MAJOR SCALE and simply sharp its fourth note and I’ll have that Lydian sound. This is NOT NECESSARY if you’re playing F LYDIAN ... “
If that confused you too, here’s my attempt to clarify:
If you’re already playing F Lydian (or ANY Lydian mode) it’s never going to be necessary to sharpen the 4th to achieve ‘that Lydian sound’. Why? Because you’re ALREADY in F Lydian! So I think what was said in the video was maybe a little hiccough in thought while recording :)
However, you should note that when you’re in an Ionian mode (eg any MAJOR scale), sharpening the 4th note IS necessary in order to achieve that Lydian sound ...
For instance, the F Maj scale contains Bb (a black note). In order to play F Lydian (all white notes) you need to sharpen the Bb by a semitone.
I hope that clears up any confusion.
You are right, the statement is true but a bit awkward. And you were confused after this point? I think all I said after that was that BOC emphasized the B because that is the "Lydian Note." What I mean is that what makes F major into Lydian is that B, so the B is what gives it the Lydian sound. What will blow most people's minds is that a relative minor is simply the Aeolian and the Circle of Fifths is simply a method to stay in Ionian, it ties it all together in a way that you won't find on RUclips anywhere.
@@Digiphex Ah, yes I see. Thanks for that!
@@Digiphex Wow , can you talk about this more , I followed the video perfectly but the circle of fifth comment confused me .
@@rocsire Start on D and play only the white keys, you are in the Dorian Mode. You need to play some sharps to keep that in the D major scale. Keys of E,F,G, etc. the same story. Well, that Circle of Fifths tells you what sharps, and flats to play to keep you Major/Ionian. If you don't use that chart, you instead cycle through the modes if you stay only on the white keys. But note that the chart gives you the relative minor of each key in green, like it is so hard. But as I said in the video, the relative minor is simply the Aeolian. It is a question of memorization of charts and names vs. just knowing how it all works. This music theory all ties into ONE THING but sometimes people compartmentalize it into different areas.
@@Digiphex Ahh I think I get it , all the scales have some kind of connection thats why it's ok to jump out to another key and have something amazing happened ?Would you say modal scales is part of BOC secret to great melodies , they seem to always be a step ahead of everyone even after all these years later ?
Great content thanks for sharing 🙏🏾👏🏾👍🏾
Fascinating and instructive. Cheers. Can you tell me if BOC used the Lydian Scale for most of their tracks. I know Olson was written in E Lydian. Rogybiv in Gb Mixolydian? Cheers again.
is the whole tune just lydian? to me this track always sounded like it keeps changing modes/keys every few bars :0
I would describe it as "Lydian feel" but I don't think it is locked into a lydian scale as a rule.