Huge thanks to all of the supporters over at Patreon! -Kevin Quiñones -Alfredo -Richard Dirkson -Kevin Barbour -Juan Augusto Labriola -Federico Balducci -Andrew Wiscovitch -A_Zero -Alberto Martir -Dave -Garth Irving
We just discovered you today, you're a killer player! We found your lesson because we've done one on Hirajoshi as well that we're expanding on. By the way, your tune Transmutation is incredible. Subbed.
So these are just 5 note versions all of the seven modes and assuming they're played the same way as the pentatonic modes of the major scale jazz players have been doing this forever. It's cool that it came by way of Marty Friedman and Jason Becker because I did learn a lot from that album but I never at the time was sophisticated enough to realize that they're playing the pentatonic modes of the major scale that I've been playing recently. I've never heard them refer to buy a Japanese word but I know Marty Friedman speaks Japanese fluently and son is a lot of time in Japan
I really like your Non-Mode concept! That is really useful I believe. Especially since I've learned over the past few years, it often sounds better to not start on a root note anyways with lead guitar, and use the 3rd or 5th instead. Which helps me in case i want to use hirajoshi on the 2 modes that don't include a root for the minor or harmonic minor scale's modes!
Hirajoshi is not pronounced with a "y". It comes from 平 hira meaning "flat" and 調子 choushi meaning "tuning". You make the chou voiced when you concatenate, making it "jou".
In fact there's a Hal Leonard book call modal Pentatonix for something like that covers the way jazz players use these pentatonic versions of diatonic by playing the most distinct that gives them their signature sound Man by skipping two diatonic notes and sticking with 5 notes that give them a mortal flavor you can mak3 Jazz lines sound more interesting as if you intentionally skipped some of the diatonic notes, but in reality you are simply playing the pentatonic versions of the modes of the major scale and eliminating the two notes that are the least important for the signature flavor of the mode is the tonal center of one of the intervals of the particular key signature based on the particular quarter lamp and whether it is major or minor and whether it emphasizes a flap 7 or a flat 6 a flat 5 like a locrian and so forth. Obviously there are usually two notes that are separated by a half step that really give a mode its flavor. The notes that are separated by hole steps don't really define modal sound. I still haven't gone back and figured out if this particular name this Japanese name is somehow different than the modes all of the major scale that are Pentatonic versus diatonic because I haven't memorized all of them and only Incorporated a few
![Demonstrating The Modes of Harmonic Minor [MUSIC THEORY / SCALES]](http://i.ytimg.com/vi/qk8uobP4uJE/mqdefault.jpg)
Huge thanks to all of the supporters over at Patreon!
-Kevin Quiñones
-Alfredo
-Richard Dirkson
-Kevin Barbour
-Juan Augusto Labriola
-Federico Balducci
-Andrew Wiscovitch
-A_Zero
-Alberto Martir
-Dave
-Garth Irving
Número 1, baby!!! 🤣🤣🤣
Un placer auspiciar tu canal!!! ❤️❤️
@@kjpetrucci mil gracias bro!
You're alive!!!
Hey good to have u back brother! Gracias 🤘💀🤘
Thanks man! Glad to be back!
We just discovered you today, you're a killer player! We found your lesson because we've done one on Hirajoshi as well that we're expanding on.
By the way, your tune Transmutation is incredible. Subbed.
Thanks a ton guys!!! Glad that you enjoy the lesson and the song! Keep killing it on your channel! 🤘
You are looking better and better as ur lessons
Perfect timing was just gonna watch more videos on it today!
Awesomeness!
So these are just 5 note versions all of the seven modes and assuming they're played the same way as the pentatonic modes of the major scale jazz players have been doing this forever. It's cool that it came by way of Marty Friedman and Jason Becker because I did learn a lot from that album but I never at the time was sophisticated enough to realize that they're playing the pentatonic modes of the major scale that I've been playing recently. I've never heard them refer to buy a Japanese word but I know Marty Friedman speaks Japanese fluently and son is a lot of time in Japan
I really like your Non-Mode concept! That is really useful I believe. Especially since I've learned over the past few years, it often sounds better to not start on a root note anyways with lead guitar, and use the 3rd or 5th instead. Which helps me in case i want to use hirajoshi on the 2 modes that don't include a root for the minor or harmonic minor scale's modes!
Awesome.
Thanks a ton man! Glad you liked the video!
I learn a lot 🔥🤘
SUPER AWESOME INFORMATIVE VIDEO, BUT I THINK WE WANT TO SEE MORE GUITAR IN THE VIDEO!
Hola Juan Antonio!!
Te escribo desde las Islas Canarias. Gracias por las lección!!
Tienes pensado publicarla en español?
Gracias y un abrazo💪💪🔝
Saludos hermano! Justo hoy salió la versión en español. La puedes conseguir dentro de mi perfil. Mil gracias!
@@juanantoniomusic mil gracias a tí. Tienes un canal fantástico. Te animo a seguir con ese gran trabajo. Un abrazo desde Canarias
Ahí está kitty supervisando la producción 😂😂😂...
Jajajajajaj lo sabes!
first of the cacophony it was possible to taste these melodies with the ancient Japanese songs
Hirajoshi is not pronounced with a "y". It comes from
平 hira meaning "flat" and
調子 choushi meaning "tuning". You make the chou voiced when you concatenate, making it "jou".
Perfect. By any chance is this in your book?
Sorry man, it's not in the book.
@@juanantoniomusic sadness 😢 you still giving classes?
@@BasBach yes sir! Hit me up on IG, FB, wherever if you're interested dude.
Shogun Drip
In fact there's a Hal Leonard book call modal Pentatonix for something like that covers the way jazz players use these pentatonic versions of diatonic by playing the most distinct that gives them their signature sound Man by skipping two diatonic notes and sticking with 5 notes that give them a mortal flavor you can mak3 Jazz lines sound more interesting as if you intentionally skipped some of the diatonic notes, but in reality you are simply playing the pentatonic versions of the modes of the major scale and eliminating the two notes that are the least important for the signature flavor of the mode is the tonal center of one of the intervals of the particular key signature based on the particular quarter lamp and whether it is major or minor and whether it emphasizes a flap 7 or a flat 6 a flat 5 like a locrian and so forth. Obviously there are usually two notes that are separated by a half step that really give a mode its flavor. The notes that are separated by hole steps don't really define modal sound. I still haven't gone back and figured out if this particular name this Japanese name is somehow different than the modes all of the major scale that are Pentatonic versus diatonic because I haven't memorized all of them and only Incorporated a few
bla bla bla.......