Thanks for your videos. Should I get the Map Mth 9th Pro App on Mac or on iPhone first? Are they any combined package? Do the addons on one transfer to the other or will we need buy them in each?
Hi I’m a member. If I download videos and see pdf, then move them to Dropbox to they go away after expiration date? If so do I have to print all material to save it permanently?
@@mDecksMusic that’s wonderful!!! Thank you. One could very easily spend much more time getting these under the fingers and never keep up with how often a new one is offered.
Ok, every time I find anything that uses the modal scales with the arcane Greek names, they give me a chord without telling me what key it is in. Same here: after less than 3 minutes a "dorian" scale is presented for a C minor chord. What does that even mean? That C minor could be the first chord in a piece in C minor, the second chord in a piece in B flat, the third chord in a piece in Ab, the sixth in a piece in E flat, the fifth in a piece in F minor, etc. Each is a completely different situation. For example, how am I supposed to use that scale if the piece is in A flat major? I find the whole modal scale thing so useless and confusing.
That’s a great point! But you should try thinking from a different perspective. First, you are assuming the context is tonal, but it could be modal. But let’s say for now we’re in a tonal context. Then every function can be assigned a chord/scale pairing. A one chord in major should be a maj7 (or a maj6) chord paired with the Ionian scale (a.k.a. The major scale). A iim7 chord should be a m7 paired with Dorian. But a vi chord should be a m7 paired with Aeolian. Anyway, in the video with paired the Cm7 with Dorian, but we could’ve paired with other scales. But once you’ve paired the Cm7 with Dorian, then its possible rolls are limited. A Cm7 Dorian could be a iim7 in the key of Bb, or a related iim7 in some other key, but it could not be the 6th in the key of Eb (because then it would be paired with the Aeolian scale) nor it could be the 5 in a piece in F minor because F minor has an Ab and C Dorian has an A natural. It could not be a 3 in the key of Ab because it would be C Phrygian. Or it could be a Im7 in a modal Dorian tune. In other words, think like this: every function in any key has a default chord/chordscale pairing. Using a Cm7 Dorian in an example is just like choosing a more precise version of the chord. But a Cm7 could be paired with any scale that contains a m7 chord on the root (like Aeolian or Phrygian)
@@mDecksMusic Thanks for the detailed explanation. Remainng in a tonal hypothesis, your point that it could not be the 6th in Eb I think further proves that it is enough to keep in mind the actual key of the piece. I challenge you to provide examples of the usefulness of modes analyzing an actual improvisation in an actual jazz standard, and prove that the improvisation cannot be explained simply keeping in mind the key the tune is in.
Sure! There are plenty of examples of how modes can be used on improvisation and move away from the current key. A simple example is here: ruclips.net/video/RY3b5yeKsz0/видео.html Just take a look at the line we took from Kenny Barron, where he combines the Locrian natural 9 and the symmetric diminished to improvise over a 2-5 by borrowing chords from the parallel minor mode.
The pdf will be available for our members right here on youtube.
no pdf?
It's coming!
🎉 great concept sir thank you
I love u❤ thank you bro❤
This concepts are killing! ❤
Thanks for the input!
Thanks!
Great content! I'm waiting for the pdf to arrive as soon as possible. Thanks!
Great concept - Great video - Great didactic approach
Excelente lección... muchas gracias ..
Great !!!! as Always !!!!!
Great content! Looking forward to volume 3 of the scale series books. I already bought volumes 1 and 2 and highly recomnend them.
Awesome lesson
I want to know if you have a software where all of these things can be found! Or contain
Yes, Tessitura Pro. here: mdecks.com/tessituramac.phtml
Thanks for your videos. Should I get the Map Mth 9th Pro App on Mac or on iPhone first? Are they any combined package? Do the addons on one transfer to the other or will we need buy them in each?
If you get the iPhone version I can help you with the add-ons on Mac (if you buy the macOS version from mdecks I can activate the add-ons remotely)
@@mDecksMusic thanks!!
Hi
I’m a member. If I download videos and see pdf, then move them to Dropbox to they go away after expiration date? If so do I have to print all material to save it permanently?
Hi, once you’ve downloaded them their yours to keep forever
@@mDecksMusic that’s wonderful!!! Thank you. One could very easily spend much more time getting these under the fingers and never keep up with how often a new one is offered.
This is the best logic way to improvisation ，but feel headache of 12 keys 😵💫
12 keys is always tough!
The problem of all the keys is that they are named after letters. The more you think in numbers though, the more the problem disappears.
Ok, every time I find anything that uses the modal scales with the arcane Greek names, they give me a chord without telling me what key it is in. Same here: after less than 3 minutes a "dorian" scale is presented for a C minor chord. What does that even mean? That C minor could be the first chord in a piece in C minor, the second chord in a piece in B flat, the third chord in a piece in Ab, the sixth in a piece in E flat, the fifth in a piece in F minor, etc. Each is a completely different situation. For example, how am I supposed to use that scale if the piece is in A flat major? I find the whole modal scale thing so useless and confusing.
That’s a great point! But you should try thinking from a different perspective. First, you are assuming the context is tonal, but it could be modal. But let’s say for now we’re in a tonal context. Then every function can be assigned a chord/scale pairing. A one chord in major should be a maj7 (or a maj6) chord paired with the Ionian scale (a.k.a. The major scale). A iim7 chord should be a m7 paired with Dorian. But a vi chord should be a m7 paired with Aeolian. Anyway, in the video with paired the Cm7 with Dorian, but we could’ve paired with other scales. But once you’ve paired the Cm7 with Dorian, then its possible rolls are limited. A Cm7 Dorian could be a iim7 in the key of Bb, or a related iim7 in some other key, but it could not be the 6th in the key of Eb (because then it would be paired with the Aeolian scale) nor it could be the 5 in a piece in F minor because F minor has an Ab and C Dorian has an A natural. It could not be a 3 in the key of Ab because it would be C Phrygian. Or it could be a Im7 in a modal Dorian tune. In other words, think like this: every function in any key has a default chord/chordscale pairing. Using a Cm7 Dorian in an example is just like choosing a more precise version of the chord. But a Cm7 could be paired with any scale that contains a m7 chord on the root (like Aeolian or Phrygian)
@@mDecksMusic Thanks for the detailed explanation. Remainng in a tonal hypothesis, your point that it could not be the 6th in Eb I think further proves that it is enough to keep in mind the actual key of the piece. I challenge you to provide examples of the usefulness of modes analyzing an actual improvisation in an actual jazz standard, and prove that the improvisation cannot be explained simply keeping in mind the key the tune is in.
Sure! There are plenty of examples of how modes can be used on improvisation and move away from the current key. A simple example is here: ruclips.net/video/RY3b5yeKsz0/видео.html Just take a look at the line we took from Kenny Barron, where he combines the Locrian natural 9 and the symmetric diminished to improvise over a 2-5 by borrowing chords from the parallel minor mode.