You're everyone's favorite not for your extensive knowledge alone but for your obvious love of music and your willingness and love to share. Thank you.
I Don't Particularly Like Mashed Artichokes Lately : Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian. -If it sounds like Santana: Dorian. -If it sounds like "Tequila!": Mixolydian. -If it sounds like death metal: Phrygian. -If it sounds like Pink Floyd: Aeolian. -If it sounds like the theme for a film production Co : Lydian. Don't worry about Locrian. You're just playing Ionian but starting at the 7th step.
Rick, I've been a keyboard player for decades. Lessons here and there, mostly self taught. I found your channel about six months ago. I purchased The Beato Book, and between the publication and your videos, I have grown more as a player and songwriter since discovering you than ever before. Thank you for your continued efforts and hard work to enlighten us mere musical mortals.
i understand the first part of the book but starting at page 15 i don't really know anymore, like wth are the modes (you know starting out with private teacher and only ever reading sheet music) and then it goes on to stuff like in page 17 like mixolydian #11 or like dorian flat 2. i mean I can sit down for a few hours everyday and memorize all that but in the end those words mean nothing to me. im curious how you started out reading this book and growing more like you said. cause all this and ricks videos are too much. like he is explaining modes and he would be playing etude esk examples only. since your self taught i assume you're probably better than me. like you don't have to be chained to goddamn sheet music and you can acutally play and improvise some stuff
Sprenzy knowing how to read music puts you ahead of a LOT of guitarists when it comes to grasping theory. What is the biggest subject in the book that is giving you the most trouble?
Must know how to build chords from the scales. Figure that out then inversions, alternate bass, etc... learn the primary chords for each scale. It's a good place to start 😊. Hope this help a musician in need
Seriously, someone asked me the other day who my favourite guitar player is. I replied so many greats I don't think I would choose just one. He replied, come on pick one player that's had the most influence on your playing. Well that took a millisecond to answer, Rick Beato!
I bought Ted Greene's Chord Chemistry back in the 70s. I learned the modes but I transpose scales in my head phasing from the root note based on patterns and get lost sometimes. Back in the day there was no RUclips or anyone to tell you how to do things. I find myself playing in one mode on ascending and a different mode descending. It does sound good. Also been doing two string diatonics using harmony on the adjacent string. 50 years of playing guitar this week! Like your videos.
I have found it so much simpler and easier to utilize and teach the modes as simply relative to their major scale degrees. The root major scale notes, intervals, and chords are identical in the modes, you just centre the "mode" on a different scale degree than the root. C Major (Ionian): C (Maj), D (min), E (min), F (Maj), G (Maj), A (min), B (dim) D Dorian: Same notes, intervals and relative chords as C Major (centered on the 2nd) E Phrygian: Same everything again, but centred on the Major 3rd of C. F Lydian: Same everything again, but centred on the Major 4th of C. G Mixolydian: Same everything again, but centred on the Major 5th of C. A Aeolian: Same everything again, but centred on the Major 6th of C. B Locrian: Same everything again, but centred on the Major 7th of C. ...So just by knowing any one Major scale, I can use the same intervals, notes, chords from the Major scale to transpose to the other 6 modes without complication. And your "umm... umm" moment when you realized you had made a mistake in your Phrygian "adopted root" never needs to happen, as it does not need to be that complex to understand.
Rick explaining how the Circle of Fifths starts with the note with the least amount of flats, circling to the note with the least amount of sharps, is the clearest way I’ve seen the Circle of Fifths explained. Something so simple, yet no one ever mentions that characteristic of the Circle of Fifths. Also, the way Rick circles the half-steps in each mode, how those half-steps define each mode and how the same half-steps aren’t found in any other mode, lit the bulb in my brain. Again, fantastic job, Rick!
I am very surly about not having access to information (teachers) like this when I was trying to learn guitar in a small town in Finland in the late sixties : (
Small town or big town Finland or anywhere else. Don’t think you will find too many tutors this good. Beato and Nolte... best music teachers I never had.
I know what you mean brother. I would’ve killed as a beginner to have access to all the RUclipsrs that transcribe tunes and teach them. Then Rick’s channel on top of that? Would’ve made things SOOOO much easier. There is no excuse to be a bad guitarist these days if you truly work at it, not with all the information that is out there now. The only downfall I see with kids that have learned everything straight off RUclips is that their ear is terribly undeveloped. They can play the notes, but they can’t hear a progression and name the chords or transcribe a solo.
Rick your videos are an invaluable source of learning and inspiration for any musician on any level. I have watched quite a few, and I never get tired of watching them. Thank you for sharing your expertise and knowledge with us.
The best thing about this tutorial is the big board behind him that shows each mode. It seems overwhelming to learn those scales, but when taught properly it's really not complicated. Problem is most videos don't teach them properly. Rick does a great job.
I'm not sure if you've already done this Rick, but it would be cool to talk through the modes with examples of each mode in a song? This is excellent btw, thank you!
if you want to know if a particular mood works over a major or minor chord is to look at the third scale degree in the formula. if the third note is flat the the mode works over a minor chord. if the third note is a natural then the mode works over a major
This is totally interresting on the one hand, but on the other lenghty. It is so much easier to explain the modes by staying in one scale and starting from different scale degrees. Then it' also easy to recognize the aeolian mode as the normal minor key. But, it was also interesting to look at it from the perspective of the major scale... And probably you can also get things out of that, that else you wouldn't see.
You are the perfect example of saying things that bring to light knowledge right in front of me. That instance when the "light bulb" illumenates. A silly example would be when I realized a secondary dominant was what was called an "off chord" when I was a kid. Everyone is better for watching this.
Professor at colleges with brilliant colleagues, who stayed away from from the modern use of modes (if that makes since, i.e. Don Mock, you, etc). This is a treat! For many years modes helped me see a key over the entire instrument. From there I used modal vamps. As a long time fan of your knowledge, you continue to blow me away. BTW your video on Bach I loved so much I couldn't express myself correctly and ended up not posting. You are a great musician. 500 stars. P
Entangled - yes! One of my favourite Genesis tunes, if not my favourite... I'd not tried playing the opening D/B chord at the 5th fret like that, but it works!
Since all modes are made of the notes of the major scale, the easiest way of getting a glimpse of the sound of the modes, is to play the same major scale over different root pedal tones.
Sometimes watching, I feel like Nigel Tufnel from Spinal Tap on meeting Joe Satriani - " I can see his fingers moving, but I don't know what he's doing" . Eventually, I guess.
I thought the ionian scale in C is equal to the major scale starting on the first note of the scale. Dorian and C major would be from the second note D In C Major which D-E whole step E-F half step gives a flat 3rd and The 7th would,be C which is a half step from B so B-C gives a flated 7th then to D for the octive (C-D) a whole step. And so on up the major scale
There's a lot of confusion about modes obviously. It's simple, take the C Major scale as an example. Play from C to C (octave) and you have the C Major scale. Now play from D to D and you get D Dorian mode. E to E you get E Phrygian, and so on. You're still playing in C Major, but starting on different notes.
The problem that I experience is trying to explain modes to musicians who do NOT know their major scales and key signatures inside out. These are scales based on degrees of major scales- displaced scales. Ex. Lydian is the scale built on the 4th degree of the major scale, but if you don’t know your scales, you’re screwed. PS I remember in theory class in undergrad. school, my professor taught each mode using half- whole steps. I laughed my ass off- nobody could remember all the formulas EXCEPT the Jazz students, because they immediately knew the key signatures and could figure out the order of half and whole step. No wonder there is so much confusion.
Love this guy. My new favorite teacher., Modes explained easy enough to where I can practice them now. Or at least have clarity on how to approach them. Thanks for your time Rick.
I would love it if you would go into a little bit more detail on which chords suit which modes? I know the obvious ones (Maj7 suits Ionian and Lydian ect) but you were playing some sweet chords. I need to know them. Cheers
The modes and “sound of modes” is very cool, but I remain confused how to really use them in practice. If you’re improvising in a key, or over chord changes, are you really thinking I need to jam on this with some Mixolydian chops, or am I thinking (as I always tend to do) I’m playing E pentatonic with blues notes and a bunch of other passing notes that sound cool? So are modes really just better for composition where you’re trying to capture a mood through a chord progression?
Hey Rick, I'm wondering how to build a cadence in any particular mode. I don't know if there's an easy answer to this... I've been trying to figure out the I-V-vi-IV equivalent to say a Phrygian or Dorian progression. Progressions that feel anchored on the mode and don't pull your ear to its related Major (Ionian) sound. Hope this makes sense! Thanks so much for your channel and dedication to teaching!
Not sure if anyone else has commented on this, but if you look at the board, visually you can see that the half steps in each mode shift left from one mode to the next.
Always brilliant. When you’re playing the Ionian example and you lean 3,4,7 and 8 you’re molding it into Lydian even though in an Ionian fingering. You do the same with Dorian. You gravitate toward Lydian ( I know you already know this stuff) but it’s funny and I definitely do the same thing because that sound is so cool. I use Lydian over a m7b5 because it’s easier and move 1/2 down to its V7 chord which resolves nice. Anyway thanks always for posting.
Yep. If you dont focus on the characteristic sounds of the mode you aren't really playing the mode. It's important to study the intervals available in relation to the tonic. By the time you move to modes with augmented 2nd intervals (not in the major scale) you will understand how to get the most out of the mode and even make chordal passages sound modal without a single line melody.
I've recently come across Pitch Axis Theory. Basically putting lets say, the 5th degree where the root is and playing the Ionian scale as if the root is the 5th and it becomes Mixolydian. Does that make sense??? Do you agree with how well that works?
I don't know what that theory is, but that is a way to construct modes. The way Rick explains it is more useful, at least to me. A lot of theory is interpretation, so there can be more than one right way to hear something.
@@swissarmyknight4306 I have the Beato Book. I found this other explanation useful in that it helps to explain things in a different way. I'm always researching other angles of how theory is discussed. When I find myself in a rut and stuck I look at other ways to get that next AHA! moment and continue on. It takes a lot of repetition to learn and apply this stuff creatively quickly on the fly while improvising. I like Ricks approach the most though. It helps if anyone already plays an instrument and isn't a beginner and is well beyond the videos that are the....put your index finger here on this fret, your third finger on this fret.... etc etc kind of instruction, which is all good for the intended audience. Ricks coaching is amazing and people charge good money to teach this stuff. Thanks for sharing your knowledge Rick!
What you say is correct though, starting on the fifth and playing the Ionian is Mixo. Starting on second is Dorian. I would advise just learning the intervals though. So for mixo you have flat 7., Dorian flat 3 etc. Just study and memorise it.
Guys, I think Rick is a great teacher and I would like to buy the Beato book but I need to know one vital thing. Is the content supported by tabulature? I can't read notes.
It seems to me like the teaching of modes using the white keys (C Ionian, D Dorian, ...) doesn't approach the sense of the modes well. Instead, don't you think that the F modes (F Lydian, F Ionian, F Mixolydian, ...) would give a better appreciation of each mode, its feel, and how that feel changes as you work down that list in that order, progressively adding one flat after another? Just a thought. Also, I made up a mnemonic for that list (Letters In My Desk Are Private Letters, which is crappy because it uses Letters for both Lydian and Locrian), but if you know a better one, that would be great.
I thought I knew enough music theory until I watched this video but it looks like I got a lot of work to do now Back to the drawing board for me Great video though Thanks Rick 👍🏻🇮🇪
Question: I get the evocative sounds that different modes give you. Do different Keys (even though there is the same interval use in a Cmaj vs. a Dmaj) have different subliminal flavors (?) or is the use of different Keys more of a logistical choice such as singer's range, choice of orchestral instruments in a Classical piece, ease of fingerings on specific main/highlighted instruments in the piece?Just wondering; I've never heard this discussed anywhere... or is this an irrelevant question?
I think it's a good question. Perhaps certain keys can be evocative because they may remind you of influential (to you) songs in that particular key. It's the chord types, regardless of key, that are evocative to me. For instance: 7th chords create tension that wants resolution; or add9 chords just have an "epic," and "majestic," vibe to me. The maj7 chord sounds bittersweet sweet to me -or as Zappa put it: "a maj7 chord is like you're 'falling in love.'"
I know this may be a stupid question but is it possible to add modes to a blues scale? I might have done it (without the theory) or just added crazy notes. hahaha. But if someone is going to play with me (che chem)....if it's a sound that is important to me, don't I need to know?
hey Rick! I've just discovered your channel and have been enjoying the topics, depth and professional approach to covering music theory and production. Keep up the great work and catch ya next time!
Good lesson! :) i apreciate that someone like Rick are doing this, because it's wat better than any other music theory lesson on youtube. Thanks Rick :)
The late, great Harold Blanchard (New Earth Sonata), would say to me there are 12 notes, play them all. At 52 I understand it now, but has taken people like yourself to realize what he meant.
Hi, I don’t understand why Rick uses a Csus4 for the Ionian mode example… Also, can you explain why on the Dorian mode he said we should emphasize the natural sixth?
They are minor, but they are a mode of the major scale. Aeolian aka natural minor is also a mode of the major scale. So you're absolutely right with your rule of thumb, if it has a flat 3rd it's minor.
@@RickBeato Yep I consider these videos as companion book material. I plan on printing it and having the videos open and be able to markup my document. I got the lucky xmas25 discount. Love ya Rick Signed alsoRick :)
The video archive of this channel is a detailed take chest of great explanations. I've watched most of the theory videos multiple times as I get back to playing after a long break.
How do you set a vamp so you always start the scale from the note C like you did? What chords did you use, does the key change when you change scale since you always start the scale on the C? I hope someone can tell me what's happening. Hopefully you can understand what I mean, my English isn't that great.
Hi Rick, thank you for the interesting video. I would like to ask a question. Some modes in some context sound somehow "incorrect" even if they are correct on the theory. For example, if I play a minor blues and I use the dorian on the I chord, it sounds somohow to happy for the context. If we make an example in Bm, would the "problem" be possibily caused by giving away the G# (6 of B dorian) which would be the 3 of the II chord, which it will never come because the II chord has the b3? Thank you
Paige Carr they are no half steps in major or minor pentatonic, so modes don’t really work. You can however go from a major to a minor pentatonic and get a Dorian feel.
What is the different between a Mode change and a Key change? Since all chords are the product of the scale they are in (Minor/Major scales), this looks to me like a complicated way to look at key changes/transpositions.
A key change would be when the actual chords of the song literally change. Like if the first couple of verses were like a 1-4-5 in E and then go up a half step and play another 1-4-5 would be a key change to F.
@@ericg.43 I actually misunderstood what he was trying to ask now that I have reread the question a couple of times in relation to his response. I'm guessing English might not be his native language actually. What you're saying is by lowering or raising certain degrees within the key itself it will produce the desired or mode and that's how I think of it also but I also think of "modes" as "moods". So like if you wanted to sound "jazzy" you could use dorian or how some modes have an "Egyptian" sound and some have a "Spanish" sound. I also think of players that just play within the scale itself as more sorta "straightforward" players and guys that use modes as more "stylish" players. So like when SRV plays blues it's just gonna be straight up in your face blues but when Wes Montgomery plays blues it's gonna have a more exotic type of a sound to it because he's gonna go more outside the box than Stevie would. But also don't modes tend to sound better over more complicated progressions and that way there can be a greater emphasis on note selection within a solo? Although that may just be a case of where more knowledge of just straight up theory comes in on knowing "how" the notes "relate" to each other and what makes them "work"? Like, for instance, I saw a breakdown of a Wes Montgomery solo once and the guy talked about the literal function of almost every note and it actually wound up making much more sense. Oddly enough I don't even know if Wes Montgomery knew all that. I think he was just playing what sounded good to him. I'd settle for that. LOL!
You're everyone's favorite not for your extensive knowledge alone but for your obvious love of music and your willingness and love to share. Thank you.
I Don't Particularly Like Mashed Artichokes Lately :
Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian.
-If it sounds like Santana:
Dorian.
-If it sounds like "Tequila!": Mixolydian.
-If it sounds like death metal:
Phrygian.
-If it sounds like Pink Floyd:
Aeolian.
-If it sounds like the theme for a film production Co :
Lydian.
Don't worry about Locrian. You're just playing Ionian but starting at the 7th step.
But I do like artichokes! They're great! :O
If it sounds like Zappa its lydian...
I Don't Particularly Like Modes A Lot.....mnemonics are great
I’m very worried about Locrian.
Would have thought Floyd - Dorian.
Rick, I've been a keyboard player for decades. Lessons here and there, mostly self taught. I found your channel about six months ago. I purchased The Beato Book, and between the publication and your videos, I have grown more as a player and songwriter since discovering you than ever before. Thank you for your continued efforts and hard work to enlighten us mere musical mortals.
unfortunately i bought the book also but I hardly understand any of it so i basically never use it
@@sprenzy7936 don't quit. Start slow and keep at it!
i understand the first part of the book but starting at page 15 i don't really know anymore, like wth are the modes (you know starting out with private teacher and only ever reading sheet music)
and then it goes on to stuff like in page 17 like mixolydian #11 or like dorian flat 2.
i mean I can sit down for a few hours everyday and memorize all that but in the end those words mean nothing to me.
im curious how you started out reading this book and growing more like you said. cause all this and ricks videos are too much. like he is explaining modes and he would be playing etude esk examples only.
since your self taught i assume you're probably better than me. like you don't have to be chained to goddamn sheet music and you can acutally play and improvise some stuff
@@sprenzy7936 just checking in. Did you understood the book by now?
Sprenzy knowing how to read music puts you ahead of a LOT of guitarists when it comes to grasping theory. What is the biggest subject in the book that is giving you the most trouble?
Must know how to build chords from the scales. Figure that out then inversions, alternate bass, etc... learn the primary chords for each scale. It's a good place to start 😊. Hope this help a musician in need
It did
What blows my mind is the rich variety of chords Rick plays for each mode.
Chet Heflin each mode has an associated chord, which is all the notes played together.
he's a true badass.
Seriously, someone asked me the other day who my favourite guitar player is. I replied so many greats I don't think I would choose just one. He replied, come on pick one player that's had the most influence on your playing. Well that took a millisecond to answer, Rick Beato!
Rick loves his fourths!! Sus4 lydian etc. Lol. I'm like hmmm there are lydian chords??
New Beato Book owner here. Printing out double sided B&W 2-93 Color 94-273 B&W 274-299, color 300-323, b&w 324-461 and covers in color.
I bought Ted Greene's Chord Chemistry back in the 70s. I learned the modes but I transpose scales in my head phasing from the root note based on patterns and get lost sometimes. Back in the day there was no RUclips or anyone to tell you how to do things. I find myself playing in one mode on ascending and a different mode descending. It does sound good. Also been doing two string diatonics using harmony on the adjacent string. 50 years of playing guitar this week! Like your videos.
I have found it so much simpler and easier to utilize and teach the modes as simply relative to their major scale degrees. The root major scale notes, intervals, and chords are identical in the modes, you just centre the "mode" on a different scale degree than the root.
C Major (Ionian): C (Maj), D (min), E (min), F (Maj), G (Maj), A (min), B (dim)
D Dorian: Same notes, intervals and relative chords as C Major (centered on the 2nd)
E Phrygian: Same everything again, but centred on the Major 3rd of C.
F Lydian: Same everything again, but centred on the Major 4th of C.
G Mixolydian: Same everything again, but centred on the Major 5th of C.
A Aeolian: Same everything again, but centred on the Major 6th of C.
B Locrian: Same everything again, but centred on the Major 7th of C.
...So just by knowing any one Major scale, I can use the same intervals, notes, chords from the Major scale to transpose to the other 6 modes without complication.
And your "umm... umm" moment when you realized you had made a mistake in your Phrygian "adopted root" never needs to happen, as it does not need to be that complex to understand.
Rick explaining how the Circle of Fifths starts with the note with the least amount of flats, circling to the note with the least amount of sharps, is the clearest way I’ve seen the Circle of Fifths explained. Something so simple, yet no one ever mentions that characteristic of the Circle of Fifths.
Also, the way Rick circles the half-steps in each mode, how those half-steps define each mode and how the same half-steps aren’t found in any other mode, lit the bulb in my brain. Again, fantastic job, Rick!
I am very surly about not having access to information (teachers) like this when I was trying to learn guitar in a small town in Finland in the late sixties : (
Books. :)
Learning it the "old fashioned" way has its benefits... it was frustrating at times though 😁
Small town or big town Finland or anywhere else. Don’t think you will find too many tutors this good. Beato and Nolte... best music teachers I never had.
Nothing wrong with Surly. I agree there is a lot of free information here.
I know what you mean brother. I would’ve killed as a beginner to have access to all the RUclipsrs that transcribe tunes and teach them. Then Rick’s channel on top of that? Would’ve made things SOOOO much easier. There is no excuse to be a bad guitarist these days if you truly work at it, not with all the information that is out there now. The only downfall I see with kids that have learned everything straight off RUclips is that their ear is terribly undeveloped. They can play the notes, but they can’t hear a progression and name the chords or transcribe a solo.
Rick your videos are an invaluable source of learning and inspiration for any musician on any level. I have watched quite a few, and I never get tired of watching them. Thank you for sharing your expertise and knowledge with us.
I would like to see modes over chord changes!
Same!!
Me too! That is what I need to see and hear
The best thing about this tutorial is the big board behind him that shows each mode. It seems overwhelming to learn those scales, but when taught properly it's really not complicated. Problem is most videos don't teach them properly. Rick does a great job.
I'm not sure if you've already done this Rick, but it would be cool to talk through the modes with examples of each mode in a song? This is excellent btw, thank you!
if you want to know if a particular mood works over a major or minor chord is to look at the third scale degree in the formula. if the third note is flat the the mode works over a minor chord. if the third note is a natural then the mode works over a major
This is totally interresting on the one hand, but on the other lenghty. It is so much easier to explain the modes by staying in one scale and starting from different scale degrees. Then it' also easy to recognize the aeolian mode as the normal minor key. But, it was also interesting to look at it from the perspective of the major scale... And probably you can also get things out of that, that else you wouldn't see.
You are the perfect example of saying things that bring to light knowledge right in front of me. That instance when the "light bulb" illumenates. A silly example would be when I realized a secondary dominant was what was called an "off chord" when I was a kid. Everyone is better for watching this.
Professor at colleges with brilliant colleagues, who stayed away from from the modern use of modes (if that makes since, i.e. Don Mock, you, etc). This is a treat! For many years modes helped me see a key over the entire instrument. From there I used modal vamps. As a long time fan of your knowledge, you continue to blow me away. BTW your video on Bach I loved so much I couldn't express myself correctly and ended up not posting. You are a great musician. 500 stars. P
Rick Beato is a great music educator. Not everybody can do that.
Entangled - yes! One of my favourite Genesis tunes, if not my favourite... I'd not tried playing the opening D/B chord at the 5th fret like that, but it works!
Since all modes are made of the notes of the major scale, the easiest way of getting a glimpse of the sound of the modes, is to play the same major scale over different root pedal tones.
Sometimes watching, I feel like Nigel Tufnel from Spinal Tap on meeting Joe Satriani - " I can see his fingers moving, but I don't know what he's doing" . Eventually, I guess.
I thought the ionian scale in C is equal to the major scale starting on the first note of the scale. Dorian and C major would be from the second note D In C Major which D-E whole step E-F half step gives a flat 3rd and The 7th would,be C which is a half step from B so B-C gives a flated 7th then to D for the octive (C-D) a whole step. And so on up the major scale
It is and it does but in the beginning of the video he said he'll do everything on C just to make it easier for us to understand how to use them...
Thank you for yout expertise... I'm an ok guitar player but never really learned modes... next level.
So, if I'll take I-VI-IV-V progression in C major (C-Am-F-G). How can I use theese modes? Play a mode on each chord?
I’m glad this has been sitting here for 3 years
Wish I’d been studying then
There's a lot of confusion about modes obviously. It's simple, take the C Major scale as an example. Play from C to C (octave) and you have the C Major scale. Now play from D to D and you get D Dorian mode. E to E you get E Phrygian, and so on. You're still playing in C Major, but starting on different notes.
The problem that I experience is trying to explain modes to musicians who do NOT know their major scales and key signatures inside out. These are scales based on degrees of major scales- displaced scales. Ex. Lydian is the scale built on the 4th degree of the major scale, but if you don’t know your scales, you’re screwed. PS I remember in theory class in undergrad. school, my professor taught each mode using half- whole steps. I laughed my ass off- nobody could remember all the formulas EXCEPT the Jazz students, because they immediately knew the key signatures and could figure out the order of half and whole step. No wonder there is so much confusion.
I like how you circled the target notes to each mode. Good visual! Thanks!
This is helping fill some gaps in my improv skills!
Rick even made Locrian sound good. 👍🎸
Just discovered Beato. It's good stuff.
My recommendation to all
guitarists is Ted Greene's Chord Chemistry.
Every serious guitarist has this book
There's a great book called 'guitar handbook' which I called the Bible of guitar.
Love this guy. My new favorite teacher., Modes explained easy enough to where I can practice them now. Or at least have clarity on how to approach them. Thanks for your time Rick.
I would love it if you would go into a little bit more detail on which chords suit which modes? I know the obvious ones (Maj7 suits Ionian and Lydian ect) but you were playing some sweet chords. I need to know them. Cheers
I have a feeling I will watch this many times.
The modes and “sound of modes” is very cool, but I remain confused how to really use them in practice. If you’re improvising in a key, or over chord changes, are you really thinking I need to jam on this with some Mixolydian chops, or am I thinking (as I always tend to do) I’m playing E pentatonic with blues notes and a bunch of other passing notes that sound cool? So are modes really just better for composition where you’re trying to capture a mood through a chord progression?
Nothing sounds out of place when it comes to the' modes' that's why they are so unique''🎶🎶🎶🎶
This is the greatest stuff. I have been looking for an advanced music theory course and you have provided it. Thank you.
Gary Book this is basic theory
At 5:05 I had a lightbulb moment and I think my brain exploded.
I love that with your rack full of Les Pauls, you're rocking the Dano. Sounds really nice, too.
Hey Rick,
I'm wondering how to build a cadence in any particular mode. I don't know if there's an easy answer to this... I've been trying to figure out the I-V-vi-IV equivalent to say a Phrygian or Dorian progression. Progressions that feel anchored on the mode and don't pull your ear to its related Major (Ionian) sound. Hope this makes sense! Thanks so much for your channel and dedication to teaching!
This helped me a lot, trying to get from basic keys to understand the degrees. Thanks,
I need to learn that phrygian. That goes with so many of the finger picking riffs i play.
Not sure if anyone else has commented on this, but if you look at the board, visually you can see that the half steps in each mode shift left from one mode to the next.
You’re right, but That’s because each next mode is made out of the next step in the starting major scale ( C,D,E etc)
Awesome music teacher and its also fun to study with him....
Always brilliant. When you’re playing the Ionian example and you lean 3,4,7 and 8 you’re molding it into Lydian even though in an Ionian fingering. You do the same with Dorian. You gravitate toward Lydian ( I know you already know this stuff) but it’s funny and I definitely do the same thing because that sound is so cool. I use Lydian over a m7b5 because it’s easier and move 1/2 down to its V7 chord which resolves nice. Anyway thanks always for posting.
Yep. If you dont focus on the characteristic sounds of the mode you aren't really playing the mode. It's important to study the intervals available in relation to the tonic. By the time you move to modes with augmented 2nd intervals (not in the major scale) you will understand how to get the most out of the mode and even make chordal passages sound modal without a single line melody.
Great lesson. Love that you added the backingtrack and played along.
I have learned more in one week from you, than I did in past 10 years!!!!! Where were you 10 years ago LOL
Thankfully, you did multiple videos on modes..some explanations make sense to me and some just do not.
I've recently come across Pitch Axis Theory. Basically putting lets say, the 5th degree where the root is and playing the Ionian scale as if the root is the 5th and it becomes Mixolydian. Does that make sense??? Do you agree with how well that works?
I don't know what that theory is, but that is a way to construct modes. The way Rick explains it is more useful, at least to me. A lot of theory is interpretation, so there can be more than one right way to hear something.
@@swissarmyknight4306 I have the Beato Book. I found this other explanation useful in that it helps to explain things in a different way. I'm always researching other angles of how theory is discussed. When I find myself in a rut and stuck I look at other ways to get that next AHA! moment and continue on. It takes a lot of repetition to learn and apply this stuff creatively quickly on the fly while improvising. I like Ricks approach the most though. It helps if anyone already plays an instrument and isn't a beginner and is well beyond the videos that are the....put your index finger here on this fret, your third finger on this fret.... etc etc kind of instruction, which is all good for the intended audience. Ricks coaching is amazing and people charge good money to teach this stuff. Thanks for sharing your knowledge Rick!
What you say is correct though, starting on the fifth and playing the Ionian is Mixo. Starting on second is Dorian. I would advise just learning the intervals though. So for mixo you have flat 7., Dorian flat 3 etc. Just study and memorise it.
interesting how the example of Phrygian sound Rick gives is actually a Japanese pentatonic scale which accentuates flat sixth and flat second
Guys, I think Rick is a great teacher and I would like to buy the Beato book but I need to know one vital thing. Is the content supported by tabulature? I can't read notes.
Yes it is
Thanks Rick, this video cleared up a lot of questions that I had about modes on the guitar. Any suggestions on how to learn to play in the pocket.
This make me realize just how much I don't know. It's depressing.
Look at signals music studio. Jake Lizzio gives a MUCH better explanation. Beato does some great stuff, but not in this case.
It seems to me like the teaching of modes using the white keys (C Ionian, D Dorian, ...) doesn't approach the sense of the modes well. Instead, don't you think that the F modes (F Lydian, F Ionian, F Mixolydian, ...) would give a better appreciation of each mode, its feel, and how that feel changes as you work down that list in that order, progressively adding one flat after another? Just a thought. Also, I made up a mnemonic for that list (Letters In My Desk Are Private Letters, which is crappy because it uses Letters for both Lydian and Locrian), but if you know a better one, that would be great.
Rick, Thanks for your Time ... I realy enjoy watching your videos.
Well I'm a bit late for this lesson but ty RUclips I'm here now.
Excellent video, Rick. Got rid of all of my doubts about modes, finally. Thank you so much!
I thought I knew enough music theory until I watched this video but it looks like I got a lot of work to do now Back to the drawing board for me Great video though Thanks Rick 👍🏻🇮🇪
I’d like to have a lesson on using modes over a standard like All of Me
Question: I get the evocative sounds that different modes give you. Do different Keys (even though there is the same interval use in a Cmaj vs. a Dmaj) have different subliminal flavors (?) or is the use of different Keys more of a logistical choice such as singer's range, choice of orchestral instruments in a Classical piece, ease of fingerings on specific main/highlighted instruments in the piece?Just wondering; I've never heard this discussed anywhere... or is this an irrelevant question?
I think it's a good question. Perhaps certain keys can be evocative because they may remind you of influential (to you) songs in that particular key. It's the chord types, regardless of key, that are evocative to me. For instance: 7th chords create tension that wants resolution; or add9 chords just have an "epic," and "majestic," vibe to me. The maj7 chord sounds bittersweet sweet to me -or as Zappa put it: "a maj7 chord is like you're 'falling in love.'"
I can feel this clicking , I’m going to rewatch this soon.
het Rick. Check out Allan Holdsworth's solo on The 4:15 Bradford Executive. It's on the album Sand
I’ve got my black T-shirt and gray hair paint from Party City. All set to be Rick Beato for Halloween.
Can you use all this modes over basic C major scale chord progression like C-E-D?
Hey Rick can you demonstrate using a simple chord progression for each mode? The scales throw me off.
Does your book cover which chords are representative of certain modes?
It does
Thank you Rick. Clear info for develop creativity!
I know this may be a stupid question but is it possible to add modes to a blues scale? I might have done it (without the theory) or just added crazy notes. hahaha. But if someone is going to play with me (che chem)....if it's a sound that is important to me, don't I need to know?
hey Rick! I've just discovered your channel and have been enjoying the topics, depth and professional approach to covering music theory and production. Keep up the great work and catch ya next time!
I love this guy!
Merci Rick pour vos enseignements!
Good lesson! :) i apreciate that someone like Rick are doing this, because it's wat better than any other music theory lesson on youtube. Thanks Rick :)
We love you Rick
Six flats ... Feet under, the first ever serie j watched ! You got my attention !
First lesson of the video... and we're using C root note for everything.
Then he explains the keys and I breath a sigh of relief.
Mixolydian always just sounds like hippie jam bands to me.
That sweet Grateful Dead sound
I’m a Dorian and mixolydian fan. You can get kind of a country sound out of mixolydian too.
Rick, have you covered anything relating to the order of chords within each mode? This is something I can't find much reliable info on. Thanks so much
The videos is amazing and all but...... how does King Crimson work?
The late, great Harold Blanchard (New Earth Sonata), would say to me there are 12 notes, play them all. At 52 I understand it now, but has taken people like yourself to realize what he meant.
Sir which I learn first when learn guitar theary or practical
Thanks for all your great videos Rick, you're an excellent educator and I think everybody appreciates it. I do! ❤️
Dancin Days uses a Lydian sound in the main guitar riff.
I'm so lost right now, I don't know what I'm missing. I can't seem to understand how these things work
You are not alone. I keep trying to get this.
Hi, I don’t understand why Rick uses a Csus4 for the Ionian mode example… Also, can you explain why on the Dorian mode he said we should emphasize the natural sixth?
Laaate to the party but I honestly feel signals music studio breaks it down much simpler. Ricks video is good, but still a bit much.
Yur rockin the Sonic the Hedgehog haircut!
Dorian and Phrygian are Major ?? They have a minor 3d so I would have thought they’re minor scans/modes?
They are minor scales, but they are modes of the major scale
They are minor, but they are a mode of the major scale. Aeolian aka natural minor is also a mode of the major scale. So you're absolutely right with your rule of thumb, if it has a flat 3rd it's minor.
he's talking about how they differ from major scale
Look at Josh Middleton Modes Video. Explains it better that Modes are „Scales within a Scale“, like he says
@@CZA1112 thanks for that. It's really great!
Rick, you clearly know what you’re talking about. However, many of us are watching because we don’t. We need you to explain, not just recite.
I have a book and 20 videos explaining this.
@@RickBeato The Beato book is the best $40 I ever spent!
@@RickBeato Yep I consider these videos as companion book material. I plan on printing it and having the videos open and be able to markup my document. I got the lucky xmas25 discount.
Love ya Rick
Signed alsoRick :)
The video archive of this channel is a detailed take chest of great explanations. I've watched most of the theory videos multiple times as I get back to playing after a long break.
what are some easy(ish) songs to learn on piano that make use of different modes? thanks in advance
Thanks Rick! This is the stuff that got me hooked on your channel! I love the rest, and this is what keeps me coming back =D
How do you set a vamp so you always start the scale from the note C like you did? What chords did you use, does the key change when you change scale since you always start the scale on the C?
I hope someone can tell me what's happening.
Hopefully you can understand what I mean, my English isn't that great.
Hi Rick, thank you for the interesting video.
I would like to ask a question.
Some modes in some context sound somehow "incorrect" even if they are correct on the theory.
For example, if I play a minor blues and I use the dorian on the I chord, it sounds somohow to happy for the context.
If we make an example in Bm, would the "problem" be possibily caused by giving away the G# (6 of B dorian) which would be the 3 of the II chord, which it will never come because the II chord has the b3?
Thank you
*Positive feelings.* 🖍
Are there Pentatonic scales for different modes. For example if I wanted to use the dorian mode but in a Pentatonic scale what would I play?
Paige Carr they are no half steps in major or minor pentatonic, so modes don’t really work. You can however go from a major to a minor pentatonic and get a Dorian feel.
so good with that lydian voicing.
How do I buy something from your store to support this.
31:10 - This reminds me of the opening notes to the Lost in Space Theme (1st and 2nd seasons!)
You are amazing Rick. Thank you for this.
cool chords with the scales rick 18:37
What is the different between a Mode change and a Key change?
Since all chords are the product of the scale they are in (Minor/Major scales), this looks to me like a complicated way to look at key changes/transpositions.
A key change would be when the actual chords of the song literally change. Like if the first couple of verses were like a 1-4-5 in E and then go up a half step and play another 1-4-5 would be a key change to F.
DuckTalesWooHoo1987
I know what a key change is; it is Modes I don’t understand.
@@ericg.43 I actually misunderstood what he was trying to ask now that I have reread the question a couple of times in relation to his response. I'm guessing English might not be his native language actually. What you're saying is by lowering or raising certain degrees within the key itself it will produce the desired or mode and that's how I think of it also but I also think of "modes" as "moods". So like if you wanted to sound "jazzy" you could use dorian or how some modes have an "Egyptian" sound and some have a "Spanish" sound. I also think of players that just play within the scale itself as more sorta "straightforward" players and guys that use modes as more "stylish" players. So like when SRV plays blues it's just gonna be straight up in your face blues but when Wes Montgomery plays blues it's gonna have a more exotic type of a sound to it because he's gonna go more outside the box than Stevie would. But also don't modes tend to sound better over more complicated progressions and that way there can be a greater emphasis on note selection within a solo? Although that may just be a case of where more knowledge of just straight up theory comes in on knowing "how" the notes "relate" to each other and what makes them "work"? Like, for instance, I saw a breakdown of a Wes Montgomery solo once and the guy talked about the literal function of almost every note and it actually wound up making much more sense. Oddly enough I don't even know if Wes Montgomery knew all that. I think he was just playing what sounded good to him. I'd settle for that. LOL!