thanks Liam. at the moment im learning the modes of melodic minor and applying them into my improvisations. i hope i get to the point where i dont have to think about it, so it becomes natural like it now is with the major scale.
Hey JoeJoe, thanks for your comment! I promise it's just a matter of time and persistence. Something you might like to try is occasionally throwing in a "wrong" note when you're improvising, just to see what it does. Let me know how you get one, I'm always here to help :)
The Cubase streaming playlist is stuck on 299. Is that a RUclips limit or did you just forget about actualizing it? I follow your streamings from that playlist.
@@asamiyashin444 Hi Asamiya - that could be a bug with RUclips? Not sure. I do my best to add the streams but I will occasionally miss one, I'm just one person after all!
@@LTGuitarist It is ok, I was not criticizing. I just saw that the list has been stuck on that number for many days and I wondered why. The other day I added a like to one of your first streamings, I think it was 7 years old but the count remained 0. RUclips occasionally does weird things. And about modes, it would be interesting if you applied theory about them on Cubase streamings. I usually struggle with the Mixolydian and Lydian. It always feels like the theme is going to resolve on another key (usually minor).
There is a hidden trap when practicing the Scales and Modes beyond one octave. For example, if you're playing an ascending C Major scale (Ionian) in 4/4. The 1st octave ends on the 8th note, the Tonic C. But, if you continue into the 2nd octave, you will be starting it on the 2nd scale degree of the Scale (Dorian) as the first note of the new group of 8 notes. And if you continue into the 3rd octave, you will be starting it on the 3rd scale degree of the Scale (Dorian). So instead of practicing the one Scale/Mode, you're actually practiced three consecutive Modes. This makes it very difficult to get the sound of each different Mode into your ears. I suggest you "start each consecutive octave" with the Tonic/1st degree of the particular Mode you're trying to learn in multi-octave Modes. Another challenge with Modes is learning chord progressions that work in a particular Mode that help convey its character. The trick is to play the 4th and 5th chords from the "Parent Scale." If the Parent Scale is C Major, but you want to play in Lydian Mode, then you would frequently play F and G Chords before returning to the Tonic of the Mode you're playing in. Similarly, if you wanted to play in Dorian Mode, you would still frequently play the F and G Chords from the Parent C Scale. This is all nicely explained and demonstrated on Rick Beato's RUclips Channel in video called "I ask Frank Gambale how he teaches Modes."
Hi Picksalot, presumably that's "Sir" Picksalot? Thanks for commenting. I take your first point, but that's a strange way to think about scales and modes. I only ever teach scales from a perspective of 7 notes, but you need the octave "to return home". So on guitar, yes, you need to know how the sake extends beyond the box shape, but you learn the 2 8ve shape and finish on the 3rd root note. That's because, as you rightly say, it's hard for it to sound like a mode if your fingers and your brain are thinking about the initial Maj or Min box. I always teach that scales are 7 notes, pretty much for this reason. As for modal-sounding chords, the best bet for me is to take your tonic chord (let's say we're in D Phrygian, so the tonic chord is Dm), and add whatever note makes the mode unique. That's the b2 in Phrygian, so the chord could be Dm sus b2 or Dm add b9. Hope that's helpful :)
Nice stuff man. Also, thanks for giving me permission to ignore music theorists.
Ha! Cheers bud, you're very welcome
Great explanation.
Thanks for making this video. 😃
Patrick from Bethesda, Maryland, USA
Cheers Patrick, thanks for commenting!
thanks Liam. at the moment im learning the modes of melodic minor and applying them into my improvisations. i hope i get to the point where i dont have to think about it, so it becomes natural like it now is with the major scale.
Hey JoeJoe, thanks for your comment! I promise it's just a matter of time and persistence. Something you might like to try is occasionally throwing in a "wrong" note when you're improvising, just to see what it does. Let me know how you get one, I'm always here to help :)
The Cubase streaming playlist is stuck on 299. Is that a RUclips limit or did you just forget about actualizing it?
I follow your streamings from that playlist.
@@asamiyashin444 Hi Asamiya - that could be a bug with RUclips? Not sure. I do my best to add the streams but I will occasionally miss one, I'm just one person after all!
@@LTGuitarist It is ok, I was not criticizing. I just saw that the list has been stuck on that number for many days and I wondered why.
The other day I added a like to one of your first streamings, I think it was 7 years old but the count remained 0. RUclips occasionally does weird things.
And about modes, it would be interesting if you applied theory about them on Cubase streamings. I usually struggle with the Mixolydian and Lydian. It always feels like the theme is going to resolve on another key (usually minor).
There is a hidden trap when practicing the Scales and Modes beyond one octave.
For example, if you're playing an ascending C Major scale (Ionian) in 4/4. The 1st octave ends on the 8th note, the Tonic C. But, if you continue into the 2nd octave, you will be starting it on the 2nd scale degree of the Scale (Dorian) as the first note of the new group of 8 notes. And if you continue into the 3rd octave, you will be starting it on the 3rd scale degree of the Scale (Dorian). So instead of practicing the one Scale/Mode, you're actually practiced three consecutive Modes. This makes it very difficult to get the sound of each different Mode into your ears. I suggest you "start each consecutive octave" with the Tonic/1st degree of the particular Mode you're trying to learn in multi-octave Modes.
Another challenge with Modes is learning chord progressions that work in a particular Mode that help convey its character. The trick is to play the 4th and 5th chords from the "Parent Scale." If the Parent Scale is C Major, but you want to play in Lydian Mode, then you would frequently play F and G Chords before returning to the Tonic of the Mode you're playing in. Similarly, if you wanted to play in Dorian Mode, you would still frequently play the F and G Chords from the Parent C Scale. This is all nicely explained and demonstrated on Rick Beato's RUclips Channel in video called "I ask Frank Gambale how he teaches Modes."
Hi Picksalot, presumably that's "Sir" Picksalot? Thanks for commenting.
I take your first point, but that's a strange way to think about scales and modes. I only ever teach scales from a perspective of 7 notes, but you need the octave "to return home". So on guitar, yes, you need to know how the sake extends beyond the box shape, but you learn the 2 8ve shape and finish on the 3rd root note. That's because, as you rightly say, it's hard for it to sound like a mode if your fingers and your brain are thinking about the initial Maj or Min box. I always teach that scales are 7 notes, pretty much for this reason.
As for modal-sounding chords, the best bet for me is to take your tonic chord (let's say we're in D Phrygian, so the tonic chord is Dm), and add whatever note makes the mode unique. That's the b2 in Phrygian, so the chord could be Dm sus b2 or Dm add b9.
Hope that's helpful :)