The Light and Dark Colors of Minor
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- Опубликовано: 22 июл 2024
- In this video we discuss the various colors of minor modes. From the intense brightness of Dorian to the depths of despair of Hungarian minor and all shades in between.
Theory: 0:00
First Piece: 4:32
Second Piece: 6:57
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Dorian always feels like "home" to me, the perfect balance of light and dark.
I understood 50% of what Rick said, I must be making progress!
Patience child. With time and study you,too, will master scales, modes and arpeggios.
ahahahah understanding half of one of rick´s best videos feels soooo good lol
Harmonic minor in the slower version sounded so dark and oriental and in the first piece I would put them in the same order but in the 2nd I wouldn't be so sure anymore . I guess the tempo really influences the emotion of minors for me .
You should do a series on the different Raga scales. If you look up the Scale Omnibus you can find a PDF that covers hundreds of scales, including Indian ones.
I love you, AAC!!!!
Very well done. Here are my impressions:
Dorian - Peaceful, floating
Aeolian - Longing, searching
Phrygian - Unbalanced, leaning
Locrian - Conflicted, disoriented
Melodic Minor - introspective, glassy
Harmonic Minor - mysterious, foreboding
Hungarian Minor - Calculating, scheming
Tonic Diminished - Egomaniacial joy
I have some experience performing Jewish and Eastern European music, and I recognized some of the scales on your chart, but the feelings that I heard in the etudes was very different from what I was expecting. A large part of this is probably because the music I usually play, sing and write has strong, uplifting rhythmic elements. Compared to aeolian, for example, phrygian has a sort of an impish, smirking feel when I switch into it for a cadence. And, since in Klezmer, the usual scale is the harmonic minor, but with the 5 as the tonic, I expected it to have a more neutral or even joyous feel, since that is my home base.
Instead, what I heard in your etudes was a much more modern perspective, more spread out, and with less draw to and reference to the tonic, if that makes sense. I think this is a common feature in jazz, where chords include notes outside of the traditional, Common Practice Period triads that de-emphasize the root. When that happened, I heard something more melancholy and fluid.
It was interesting! Thank you.
I get what you're saying, and you're right about the rhythm part. You might contrast the darker Flamenco forms using similar scales. In fact, E phrygian, F lydian, G mixolydian and back down is a common piece of that idiom. When I hear Klezmer, because of my background, its bitter sweet; raining while the sun is shining. When I think about that, it is what jewish folks 'taste' like. {;^) Here is what a jewish commentor said on a Yale Strom video: "I am a born-again believer of Jewish
extraction that grew up with Jewish music. It's rare to find anyone that really understands this stuff. No matter how much I worship & praise Yeshua, there is something about Klezmer that defies description. It's Jewish soul music. It describes the joy, the pain, the pure antisemtic pain Jews have experienced in their history - you get the point. Violin is a huge part of it (which I play)".
Brilliant video. I actually loved the pieces as standalone music, oddly enough.
I found the completion of the slow piece in tonic diminished complete and satisfying. I felt each transition of mode expressed the character of its tonality rising and falling questioning and answering. I did not discern darkness honestly more like peculiarity and individuality. Thank you for your hard work and devotion to music and musicians.
Hello, Rick! I'm groovin' hard with the Beato Book! My concept of "light" and "dark" in reference to these scales is influenced by you suggesting it, AND is about half related to the arrangement of notes you played. You have actually posed a challenge to me, not only to learn the scales, but to alter the "light" vs. "dark" sound! Thank you for your hard work.
I watch your videos all the time and i admit some are way beyond me now but this one really got my attention! i always wanted to do runs that cover the guitar neck, and when I heard you play these scales in this manner it opened up my understanding of how to shape the feeling I'm going for in a precise way.
THANK YOU!!
By far my favorite is the Harmonic Minor slow moving piece, especially the motif that you've created with the left hand. I gotta get back into theory, there's so much to learn. Thanks for the video Rick!
Great video, I shall now take time to put everything in music/practice.
Thank you so much Rick, your RUclips channel is surely the brightest !
Appreciate to hear the various modes colors, it's a great overview.
Thank you so much for that c major end, im happy with that resolution after all that tension based on G, i appriciate you care about us in this ways. Great video!
I do so enjoy your music classes. much of it goes over my head but I keep listening and learning. Thanks
5:55 O boy that's frightening,🙈 but amazing at the same time, perfect choice of setting with the music, it screams "corpse buried in the forest, serial killer on the loose" especially as the "creature" seems to be slowly walking down to road, slowly walking backwards and walking again hehe! I had no idea Atlanta area was so forested, the foliage looks so rich it could be Canada! I agree on Hungarian minor being the darkest, but something about the harmonic minor with the right chord choices has more of an emotional impact I think. Has a lot of depth that scale. Locrian natural 2 or half diminished also a good sound over minor 7 flat 5 and altered dominants a full step up.
Nobody explains music in such an eloquent and logical way as Rick beato. brilliant!
Double Harmonic Major is definitely the darkest. I love those half step intervals!
Thank you for the slow movemenr etudes. I always felt your old modal videos missed the mark on the examples as there was too much sequenced shred. This was so musical! Loved it, Rick.
Rick's the man! That almost Twin Peaks-like shot on the harmonic minor was priceless!
Excellent videos from Rick Beato on minor scales. Especially liked the piano segment.
exactly what I needed! I've been feeling all my compositions get stuck in aeolian minor, this will be perfect for opening up new ideas
For me, the faster versions were bright for most of the modes and most of the slower versions were darker.
Thank you for sharing your knowledge. This channel has helped me grow a lot. Greetings from Puerto Rico!
I just read books about modes but listing to it opened my mind how spot on it was , reading is good but ear example is 🔊🕪
alfonso espinoza what is that book called? Didn't know that there were books specificly about modes.. :)
Tim Babach its on amazon , its called music theory from beginner to expert , i recommend waching this video too ..,
I´ll definitely check it out. Thanks! :)
Melodic minor was much darker than I expected.
*Melodic Minor
I know right
Congrats!I would like to see such ideas on a standard,You´re the best instructor.
Hey Rick, I'm new on your channel but I'm learning so much, so thank you for your excellent style of teaching and all of the work you put into your videos. I have been exploring music for around 15 years but really have very little musical knowledge, your videos inspire me to better understand what I'm playing. Also, as someone who is usually put off by really boisterous and busy compositions in any genre, (I tend towards more ambient and atmospheric sounds), i really loved your slow composition in this video. Could you reccomend some composers/artists with more music like that, my knowledge of classical is very small and I've always been intimidated to dig in. Thanks again!
THANK YOU for these videos - you have such a great insight and talent to teach, Rick!
beautiful piece you played at the end as well as the imagery
EXCELLENT! I agree with your sense of light and dark, so I guess OUR subjective realities are somewhat in agreement. Thanks VERY MUCH Rick.
"Next I have a fast linear piece....". I thought the first one was fast :-) . Awesome work Rick, thanks so much. I've had so many ah-ha moments where things have really clicked thanks to your videos.
maybe i would put melodic minor below harmonic minor based on your piece but idk, a light and dark colors of major would be awesome as well!! i am learning soooo much on this playlist (rick´s best videos) its mind-melting
Thanks for sharing this minors darkening list and for the melodies you put together to show the texture of darkening tone. I find the aeolian minor slightly brighter (less sad) than the dorian minor. The rest of the order sounds just right to my ears. I have taken up the study of music as an adult though and remember being able to recognise the aeolian minor first out of the minor scales. Relative minors feel more comfortable to me. Thanks again for your exceptional teaching clips.I am still mucking around with inversions of chords (whilst fingering the bass line) for 'So What' on the guitar, but thanks to your earlier clip I have pulled out the chart and breathed new life into it. : )
Wow, locrian surprised me. Very dazzling sound. Leaves me feeling lost, yet curious. Like I'm waiting for an resolution that never comes, gets really close on the flat 7, but still never quite makes it. Very longing and inquisitive sound and feel. Feels like what I would imagine watching a cosmic event happen - witnessing, yet not fully understanding what you're seeing, but it's okay because you appreciate it's beauty.
Your videos are like ASMR to me. I dont understand what you are talking about but its pretty cool.
Im always trying to find new ways to practice the Locrian and Phrygian. Those always stand out to me.
I really like how you demonstrate each mode in song form. Pretty much all the other RUclips videos on modes are usually some guy with a guitar doing scale runs.
mister rick beato thank you for your channel !
Excellent! As always
I love this episode, thank you very much!
Love the progressions from Harmonic Minor to Hungarian Minor to whole half dim. The Slow piece's harmonic minor section, paired with that back & forth visual of the gloomy mountain road was gorgeous and evoked Twin Peaks (yes I'm watching the new episodes).
Love how the fast etude ended with the darkest mode, C ionian ;)
Solid Rick. I enjoy your channel.
You're amazing Rick!
The order in witch you put the different minor modes also corresponds with tension with Dorian being the minor mode having the least tension and Tonic Diminished having the most tension
Great Video Rick , your the Bob Ross of Music!
Thanks Rick! Another awesome lesson in modal scales. Given the many (beautiful) dissonances provided by these modes and the plethora of colorations, how does one begin to make determinations of which mode to use in a sequence melodically or harmonically. I know they are all tools for ones box but are there more principled guidelines for their association within a structure? Sure to purchase your book. Best to you my man!
Love the piano layout during the parts ... very easy to see where are you in the keyboard
The tonic diminished combined with the instrumentation makes it sound so much like the 90's resident evil games wow
that second piece is really cool sounding.
awesome video!!
Hey Rick, Can you please do a video explaining how you're modulating between the modes so flawlessly or let me know if you already have one on your channel. I'd really like to know what chords you're using to lead to the next mode. Thank you, great video as always !
Love the fast etude!!!!
Absolutely spot on, thank you
That was great! Thank you!
Harmonic minor. Great just great. Very dark very sensitive very strong. I love your harmonic minor pieces.
Yet it can sound so bright and boppy in a Djengo piece, or chrisp and to the point in some forms of metal.
Yeah Django pieces are so bright. I think this scale is very useful any kind of concept. İt has very cool voice leading possibilities especially V-I resolution.
Awesome! Can you do a video with colors of major scales light to dark?
Hi Rick, Great video. Do you have a video on techniques to stay in the mode and prevent drifting back into maj/min?
Hi Rick I just recently came across the Neopolitan scale namely 1,b2, b3, 4,5,6,7. Was curious about your thoughts on it and possibly a video . PS thank you for all the videos, they really helped me understand music on much deeper level. Appreciate all you do!
This is quite helpful!
Agree for the most part on the 'levels of darkness' these minor scales represent. I loved the slower composition sith the video images, that one definitely illustrates your case for darkness levels...
It's interesting, because both the voicing and rhythmic pace you chose had them all swimming in a similar contemplative/non-defined way, and maybe that's the point. They're textures that you can incorporate, as opposed to seeing things in a narrow "one-scale/one environment" way.
Hi there.
I'm from Brazil, and I have recently discovered your channel (I'm happy about that, although it is sometimes conceptually difficult for me).
I decided to enter a comment here for the first time because the video is missing one of my favorite minor scales. So...
I'd like to know where you would place the Neapolitan minor in this list from bright too dark. Also, I wish you had included it in your Étude, so that we could feel it's difference in relation to the others...
Thanx
Hi Rick, amazingly composed those pieces, so inspiring the way you chose the order of the mode's change. I have a question. I felt the harmony from the part of the Aeolian mode more like over the 6th mode of G minor, or a Eb Lydian with the bass playing the 3rd. Why did i feel that? (sorry if my english is too bad. It's not my mother language :)
Thank you Rick.
Another excellent video. Can you make a video explaining how to create chord progressions for the different modes? Do they tend to follow formulas like ii V I for the Major key? Thanks
Picksalot This would be a great video. "Modal cadences"
Very interesting. Thank you very much Please talk about arabian and eastern modes and how harmonize melody in these modes
Great video
This was a really cool video to hear the contrast between all the minors :)
Is it possible to move from something as happy sounding as Dorian straight to Hungarian minor? Or would there need to be some sort of stepping stone to stop it from sounding too abrupt? (I know this is kind of subjective because there are no strict rules, it just depends on where it's being applied as an effect.)
Twin Peaks vibes all over! love it!
Hungarian minor feels like unrelenting darkness... like a hopeless abyss. Immensely powerful scale.
Love the sound of the Hungarian Minor. One of my favourites in addition to the harmonic minor. As a guitarist I would have liked to hear the "colours" as single notes instead of intervals. Ending on the 1 - C major was a very nice touch. Thank you for these videos. What is the chance of getting an extremely discounted copy of your book? :-)
Very informative.
Hi Rick, not a musician but curious about being one, if I were making ambient music would I choose a mode and stay within it to give my piece some direction, or rules, possibly a sense or harmony and cohesion of sound? Thanks.
In my opinion brightness and darkness of a certain scale isn't exactly corelated with sadness or hapiness. I mean it is to some extent but for example Lydian mode which is brighter than a Ionian sound more uplifting, but not happier in my opinion. Even Mixolydian which is darker than Ionian sound happier and more cheesy to me than Ionian.
Thanks Rick.
Phrygian doesnt have a dominant chord beacause of the b7
? (could b2 be considerd as a leading tone to root (1
? could bII chord be considerd as a dominant chord
as a novice both theoretical and ear, it was interesting how bright ALL the scales sounded. I often struggle to play aeolian, because it sounds to dark. usually go dorian, or play minor pentatonic with a 2 or 2b, 4# and a 6 (which I know have a name, but my way around the fretboard is linked to pentatonic. Finding the "off tones" is easier for me this way). Anyways, interesting video!
Listening to both of Rick's etudes multiple times, the sensation (not the emotion) his pieces demonstrate for me is more of chaos vs order (stability vs instability) rather than brightness vs darkness. I am imagining how a dancer would dance to this passages in Rick's pieces.
May be we could look at the brightness/darkness dimension of a scale not as an inherent property but as a potential. For example how much darkness can you paint with phrygian, how much mystery, how much whimsy, how much disorder, etc. Look at the dimension as a maximum value rather than a set value.
Here is how I would grade them: (+ for stability, - for volatility)
+3 dorian
-1 aeolian
0 phrygian
-3 locrian
-3 mel.minor
-2 har.minor
-4 hun.minor
-2 ton.dim.
-4 dom.dim.
+3 ionian
Locrian maybe darker than all of melodic, harmonic, and Hungarian minor but in terms of stability it is somewhere in the middle of those. Then "too much" order may become rigidity or coersion. I am sure many music theorists have many frameworks to explain in words that which can only be experienced subjectively but can not be described verbally.
If you read this nonsense rambling all the way to the end, you have to write a comment :))
beautiful !
Hello Mr Beato, end of this video you passed C Major from G' s modes sound was amazing .How could we do that ? is there any rule about it . Thank you
somehow the Dorian #4 (iv degree of Harmonic minor) was forgotten : 1 2 b3 #4 5 6 b7
thanks Rick!
For Me (totally subjective), I find dissonance is directly related to darkness. Where, consonant intervals sound bright.
IOW, unresolved notes sound dark to me.
FUN STUFF! And, very practical, if you write music!
Rick, I enjoy your teaching but I have a hard time following because I do not have the background. I know some but not enough. Will your book help me? Is it explanatory? Thanks
I wish I could understand this stuff better :( Time to learn theory.
Lenne Tyler don't. This stuff is crap. It's meaningless because of a terrible system known as 12TET (12 tone equal temperament)
Lenne: You already DO understand it, but intuitively. It's not crap and it's not meaningless because it is your cultural music. It is irrelevant to this music study for us to leap off into esoteric (read: not our culture) scales and theories. Don't panic. Simply take a little time with your instrument or voice and experience these scales one at a time. Then play different fragments of them. Get a 'feel' for it. Highlight any flats or sharps on paper. Go on to the next one. Easy does it. You'll get it, I guarantee! {;^)
@supadox I think he is one of the self righteous crowd who feel they are more sophisticated or enlightened because they have discovered/enjoy xenharmonic music with purer major thirds. Because as we know, surely nothing good came out of adopting 12edo.
Where would Dorian ♭2 be if that’s included?
By the way I am just curious because I tried to explore the melodic minor modes that I found Dorian ♭2. Also I didn’t see Lydian ♭3 mode from Harmonic Major on that list.
are the flat 3rd's and other flats based in relation to the Ionian/Major scale?
I like those pieces, especially the slow one. I could the light going to dark, but I could not have identified the modes without the screen notations.
bills48321 I can't identify modes either, or scales for that matter. Modes seem especially tough to differentiate though even with a trained ear because it's just the major notes rearranged from that key
Listening to that Locrian section, I wanted to ask if Bach's Toccata in D Min also in a Locrian Scale? I'll be honest, your videos go completely over my head but there are parts that are like triggers to the very little I do know... Thanks so much for making these.
Is melodic minor considered darker than locrian and phyrgian just because of the natural 7? If that's the case is ionian darker than mixolydian?
Hi Rick, thank you for an awesome video! The two pieces you had composed were both first and foremost very musical - but also very informative :).
Regarding your question, IMO, the subjective brightness of a scale very much depends on what you do with it melodically and where you place it harmonically. The melodic minor scale is a perfect example of that. If you use it in the most "classical" way - i.e. over a dominant chord leading to the minor tonic and, when it comes to the 6th, 7th and upper 1st steps, in a strictly ascending fashion in order to resolve the sharpened steps to the tonic - then it would indeed sound a lot brighter than, say, natural minor. However, if you play the scale ascendingly up to the 7th inclusive, but then turn back to the 6th, then this 6th-7th-6th movement would sound super dark - especially if it is played over the tonic chord.
Just as a small addition: what would probably be a less context-dependent characteristic for a scale is how tense it is and how much potential there is to release that tension. Again, using the melodic minor example - it is extremely tense, but also with much potential for release. So, if you release that tension you make it sound very bright, while if you keep it unreleased it becomes super dark.
+Ilia Lvov Using the classical version of the melodic minor is actually going melodic minor ascending and Aeolian descending. You're actually changing keys. I am talking about modal harmony here. You thinking of the way people play their scales in classical piano. There aren't two versions of the melodic minor scale.
>>> "I am talking about modal harmony here." --- Could you please elaborate a little bit on what you mean by modal harmony? If modal harmony implies strictly committing to one mode and only harmonising from it, then yes, my argument falls apart :). However, in the beginning of the video you mention "modal interchange", which, to the best of my knowledge, implies exactly interchanging between parallel modes and chords from them within a certain melodic figure (for example, start in C Ionian for the first two chords - say C and F; then go for a chord from C Dorian - say Eb-add#4; then for a chord from C Harmonic Major - say, obviously, Fm; and then back to C Ionian with C).
This understanding of "modal interchange" is exactly what I am talking about. Let's suppose you have a piece in G Aeolian with a cyclical harmony of Gm7, Bb, Cm6, Dm7. If during the second reprise on the 4th bar you go into melodic minor and, consequently, substitute Dm7 for D7, then chances are this reprise will sound brighter than the original figure - especially if you use an ascending figure in a fashion of VI - VII (under D7) - I (under return to Gm).
So no, I am not thinking about pianists playing their scales - I am thinking about practical use of melodic minor that has sonic similarities to pianists playing their scales ;). And I believe this exemplifies a larger concept of how brightness is contextual - it's just that this particular example would be instantly familiar to many.
Ilia Lvov You have a valid point here......however to obsess or put so much focus on the chords that are diatonic to the traditional melodic minor might not be getting the most bang for your buck out of this lesson. :) I understand that you might just be taking a mental position on this but it seems to be counter productive to the essence of all the other beautiful discoveries found through modal interchange.
Ganther100 yes, absolutely, I agree with you: committing to only using melodic minor in its traditional context would definitely limit your musical possibilities. However, taking a stance that each mode can have only one 'brightness' (which is the brightness of this mode played over the tonic chord) is also limiting, isn't it? I think that thinking in terms of amount of tension and of potential for its release that a mode contains is a more productive framework, if you want to have one.
I just listened to your "why does everyone hate jazz" video and since I couldn't find where to leave a comment I thought I would leave it here. Is there anything you don't know about music and its related fields? My question is, if a person is a composer/producer but has no band, nor the money to pay such a band, what are good avenues for getting their music out to a large body of people so they could hear it? Thanks for you great videos!
did I hear some giant steps in the left hand of the G dominant diminished section?
Hey Rick. I think someone that would be really cool to have on Sounding Off is Steve Lawson, the solo bass player. Would love to see this happen, I think you would have a great conversation.
i have a question...here we took the example of G... since it's modal does it mean we can follow the modal scales system for the other keys...and if so does the order stay the same?
or as the table suggests u have written down each mode in it's properties
Is Melodic Minor an anomaly due to the descending scale that adds two more flats? (for a total of 3) EDIT: Thus making it equal to the Aeolian mode? (identical flats) We have only accounted for the single ascending flat. EDIT: Also, what does that descending aspect do to the available chords?
Absolutely lovely! No need for my comments.
Did you play the examples? If so...wow!!
In the fast piece, the G Phrygian and G Locrian sounded very bright, especially next to the Melodic Minor. I guess the Locrian in C is essentially C# Major. I think you put a 'major' triad underneath them both, which possibly made me think that. Lovely resolution to C major after the G Dominant Diminished. Also the Tonic Diminished sounds fairly bright strangle. I remember a music teacher telling me that they were desperately trying to work out what one particular chord was in amongst others, in a piece to which he had been listening, and it just turned out to be a C major, but in the context of all the minor, modal and majic (sic) chords it defeated him for ages.
Sei davvero bravo. Maestro.
wrote something in double harmonic major once and it was very dark indeed
I don’t hear the qualities in all the scales. For example, the Aeolian section of the etudes sound to me like Eb with G in the bass. I also didn’t perceive the b5 in the Phrygian section. I think my ears are broken. I wasn’t paying attention to the strings, so maybe that was the issue for me.