When to Use Modes - Modal Chord Relationships
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- Опубликовано: 12 сен 2024
- Patreon: / fretjam
Lesson pages: www.fretjam.co...
This lesson should hopefully answer the question "when do I use modes?" or "when should I use a particular mode?".
By training your ear to hear certain chord relationships, you'll connect the chord sequence to its related mode (if there is one). I show you what makes a given chord sequence suitable for playing a mode and how to identify the correct mode to play.
The 2nd half of the video gives you some ear training exercises based around the most common modal chord relationships. By internalizing these movements, the intervals between the chords regardless of what key you're in, you'll be in a much better position for improvising and writing your own solos.
Remember though, don't just write a song FOR modes. If the song happens to be written (whether purposefully or not) around a mode, and many chord progressions are purely modal, then you can make the most of them with this knowledge.
Exactly. However, as this video demonstrates, it's the chord progression you play over that will determine which mode you use (if any).
I'd tried watching many videos on modes and how/when to use them but was still so confused. This lesson unlocked it for me. Thanks very much!!!
Thank you for your time. To be honest I could do this video a lot better now, but glad it's still of use all these years later!
@@fretjamguitar then you should make another one. No harm in repeating subjects. We all need it haha.
Can't believe I can enjoy this great lesson free! Thanks!
Another great vid. I only recently figured out how to play any mode of a scale. But this video shows that each mode has its own character. Loved the ear training. I think I see the power of modes now!
I'm not even close to the first to say this, but your lessons and explanations are so clear and so good! Thank you! I've learnt more in the few days of quarantine that I've been going through your lessons than in the past decade of faking it on my own. Really amazing stuff and thank you! Also, and forgive me if I pegged the regional flavour wrong, but I'm hoping for another Liverpool fan on the guitar! Anyway, thank you so much.
Close. Other side of the Pennines. Stay healthy and safe my friend.
Nice lesson. When you start hearing the ear training at the end, the repeating of the chord progressions def helps to get that modal sound. It makes sense that certain progressions have a modal sound as opposed to just sounding like the C major scale. Making a lot more sense now.
The best lesson on a YT channel imo about this item!
Thank you for this video. The whole "how do you know if it's X mode or just the Xth degree of a major scale" thing was confusing the hell out of me and this helped a lot.
The simplicity of the good teacher. Nicely done. Would like to have the track of the ending chords of this lesson. Loved the textures on it
Been studying modes a lot lately, this lesson is VERY helpful! Thanks! :)
Thank you FretJam, been struggling with this for so long, though Modes were crazy difficult, never knew they were simple and was using them already.
Give thanks for the new day and teaching on mode of music scale, I really learn a little more about music from what had shown on these video. I say thanks very very much. But as one person said he need to see or hear the demonstration on other instrument. Bless your work.
I'm had so many, 'Ah-Ha' moments watching your videos, and I only stumbled across your channel less than (48) hours ago!!
Blud with the rizz examples
Great videos. One of the best RUclips tutors in the world. I have found learning c major scale and the degrees within it ie modes is possibly the most efficient, effective and musical way of learning a scale, the notes on the fretboard and the different sounds or emotional content attached to a particular sequence of notes. Rather than learning the notes in a sort of brainless way, I started moving up degrees within the c major scale.
Ear training at 12:09 says it is a C chord, while it is a C7 chord and many more are not just straight forward major and minor chords. I would think the right chord names would be appropriate for ear training, or at least for reference if the only intention was training modal recognition.
Bothered me as well
That is not the point. He is trying to create the personality of each mode by showing the sequence of chords. Just the fact that he didn't say that it was a 7th chord should not be an issue.
probably the best modes lesson i've watched so far! nice work. thanks.
Thank you so much for very helpful lesson.
As my only goto when it comes to anything concerning the theory of music, I have a question to ask and that is can the modes of major chords also use other scale patterns i.e., Melodic minor, Harmonic minor, Harmonic major to name a few... or are the major chords only restricted to modes of the major scale and if not, is it just a matter of dissecting these other patterns in the same manner as the example that is presented here?
By the way love the stuff you have done across the board, will never stop watching even when I get it, because of these I love music even more and please don't stop.... "EVER"!... Kudos to you Fretjam.
Seems to me after watching this video that modes provide a whole new range of chord progressions each with their own unique tonal qualities to suit the mood of the song. This has to be the songwriters dream come true.
I've been improvising over chord progressions in the G Mixolydian scale. It is intriguing how the tone changes with each chord change. For example the Em sounds dark/sad. The C provides a shade of country/happy. This ability to choose a progression based on it's tonal qualities makes them very attractive.
That said, all the pop songs I can think of have first degree chord progression to suit their key. Makes me wonder whether the usefulness of modes gets lost in the confusion that surrounds the topic.This series of videos has helped to lift the fog. Thank you.
Thanks for your comment. This is exactly how we should be analysing and using modes - based on the tonal qualities (and the resulting emotional response) they offer our music. Creatively speaking, modes are just another system of harmonic and melodic ideas to draw from.
Like I said before, I'll be covering each mode individually (Dorian has been done) to help you explore their unique qualities.
One thing I'll say about pop songs is, while not many are purposefully written in a specific mode, you will often hear parts of a song (verse, bridge, chorus, interlude etc.) modulate to a particular mode. Being able to hear when a song does this is hugely beneficial when it comes to fleshing out the existing harmony or adding a melody (e.g. vocals, lead solo).
"Modulate to a particular mode", as in they create a chord progression around a new root but using chords from the parent key of the song?
Looking forward to your other videos.
Derekoarmy I'm no expert on this subject at all to begin.
But let's say we have a standard rock or pop song that is based around 1,3,5 minor progression or 1,4,5 minor progression. In a lot of cases the bridge will revolve around a 6th chord. In my experience this is quite common.
Indeed still the same scale but the 6th and 2nd notes can be emphasized more. Which will probably be a certain mode. For example Lydian(I'm just naming one. My knowledge on the subject doesn't reach until a point where I could name the mode)
I'm hoping this makes any sense to you. And even better would for a more knowledgeable person to elaborate or be more specific on the subject
(please, correct me if I´m wrong) To build a modal chord progression we need to select the chords that contain the characteristic note, eg. F Lydian, we need to select all chords that contain the #11 (because that`s the characteristic note of the IV degree. So we have: FMaj7 - G7 - Em7 - CMaj7. All these chords contains the #11, in this case the note B. Thanks. I think you don´t explain that on your videos, anyway they are really good and thanks for that.
That's an interesting way of looking at it. I honestly hadn't thought about it that way.
I do think it's important to focus primarily on training your ear to hear modal movements, so you don't have to rely as much on working out specific notes. You'll instead just be able to hear the relationship between the chords/harmony being used and think "ah... Lydian". I've already done an ear training lesson for Dorian and I'll be doing the same for the other modes to help with this.
But what you mentioned there is a great way of cementing this knowledge. Thanks for that!
It would be helpful if one of these master mind music theory gurus would simply take one damned simple song like over the rainbow simplified version key of C, and simply state which mode would work over each of the chord changes. In this way MAYBE a reasonably intelligent human being could comprehend it. I actually wonder if they really want anyone to understand it or just like to wallow around in the glory of knowing more theory than the rest of us lowly creatures that can play song with a few frills, but cannot master the art of improvisation. Or is it just me?
Hey. I´m 3 years late, but music theory never gets old. Maybe you will see this anyway or someone else will read it. I thought today about the exact same thing when I wanted to record chord Progressions into my looper to train my (D)dorian mode. I thought I need to use the Gmaj chord, because in a normal D-minor(aeolian scale) there is only the Gmin chord. The special note of the dorian mode, the raised 6th, makes the Gmin->Gmaj.
But my Question is, why did you call it the #11 in Lydian? I learned it as the #4. I know that its basicly the same note, but i really dont get when to call it a 9 or a 2, 11 or 4.....
If anyone reads this, pls help me or tell me what I have to google.
Thanks
Hey, the #4 and #11 are the same notes in different octaves. So let's say your root is C, the #4 is F#. So #11 just means the F# in the next octave up. Does that clarify it?
Interesting but there is no "B" note in FMaj7. Please clarify. Thank you
19:34 its F# I-ii-V (Major/Ionian), dorian works “usually” when the root is first place, like i-bIII-bVII-IV
He is doing G#min, C#maj, F#maj and resolving back to G#min. That is G# Dorian. From the F#maj scale. You just see the F# there listed 1st, but he is really playing the G#min 1st and resolving back to G#min.
I've been experimenting starting each mode on the same note! thats pretty cool, as long as the background tone your using isn't major or minor.. ( I'll play just the low E note, freeze that note, so its a long drawn out pedal tone, and play all the modes starting at the 12th fret) Doing this I realize I'm changing keys (parent scale) each mode... but it's a little thinking outside the box :-) Best Video by the way, I'm here for a refresher :)
+Anthony Lundell I think you'll find this lesson useful based on your comment: ruclips.net/video/gcg3ghNAQdM/видео.html
excellent explanation of using modes
That mode is = that note a song resolve to of a major scale ( parent scale )
Resolve to means starts and ends with same chord or note
If doesn't end with same chord the chord it started can be taken as key or mode
Interesting even though it's over my head! All knowledge is good knowledge!!
Wow... Music is so awesome. Like the Universe.. I always wondering, how many different Ways and many unique Sounds. Thats my Motivation never stop to learn...✌ sometimes it Sounds great, but im not in the Key. Why does it works 😂 now i know. Im in the Key but in another Mode. Thanks so much
Cool comment!
Incredible lesson!!, THANK YOU SO MUCH!! :D
excellent teaching on this. very nice.
Great lesson and thanks for the exercises at the end, very helpful. This has helped me to re-enforce that the chord progression really paints the picture and understanding the chords in the progression and the chord the song resolves to is the key. I can also think of the each mode having a chord progression as well. So Phrygian has i II III iv vVi vii, so if I see a progression with those patterns another clue. So correct me if I am wrong, but if my band mate comes in with a new song with a chord progression already set, say Am D F Em, that is an A Phrygian or E Aeolian. So I could solo in the Em scale up and down the neck, but also play around with A Aeolian and A Dorian as they have a minor feel? Right now I feel I am stuck in the find the key of the chord progression and solo in the major scale. Trying to mix it up on the spot.
I know this is 6 years late and you've probably worked it all out by now but, in case you haven't, your mates' chord progression is rooted in C (Diatonic chord scale of C is C, Dm, Em, F, G, Eb7). The Phrygian element would therefore come from soloing in C over an Em chord, where Phrygian, the 3rd mode) is C, Dm, Em. Dorian would come from playing C scales over Dm, the 2nd mode. Hope this helps.
great lesson.Thanks.
Thanks mike...u saved tones of money n time of this poor boy...I can not afford any kind of music class,,,,,
This is all too much for me...
I think I'm coming down with a case of Mixolydia :,(
Your medicine - a nice simple pentatonic jam. Come back to all this later.
fretjam.com You are such a great teacher!!! Cheers :D
If you have Cmi - Gmi - Bb - F, four beats each, these chords come from parent scale Gmi (or Bb maj), but "home" feels like Cmi. If you were to assign a key signature, wouldn't it be Cmi, except that is is C Dorian, because of the natural six? There would then be an accidental to show an A instead of Ab? Right?
Yes...cheers
Thanks.
superb!!
So I'd D Dorian and C major are the same notes, r u just choosing a scale position when choosing between modes?
Do I need to follow a specific chord progression for each mode or could I build a chord progression using any of the notes of a certain scale and then choose an appropiate mode?
+JBeni22 Each mode has its own unique chord relationships, so you'll need to spend time training your ear to typical movements/progressions in the different modes (Mixolydian and Dorian are the two most common aside from the natural major and minor keys - I have individual lessons for these).
If the chord progression uses chords from various scales, you can still use modes, but they might only work over one or two chords within the progression. You might need to change the scale/mode with the chord change in that case.
Don't consciously write progressions for modes (unless of course it's a backing track for practicing). Learning modes is more about identifying when modal movements happen to arise in music, and they do a lot, whether intentionally or not.
I get it, so I could use some modal notes in a pentatonic scale, for example, to give the piece of music a certain emotion that fits the song or backing track? I'm asking because I'm trying to expand my theory knowledge for improvisation or writing. I know you learn this by practicing a lot, but I think it's useful to know theory so as to know what can fit in a piece of music
By the way, thank you for answering, your videos are very well explained and useful :)
If I am playing on a scale of C major and I want to use first mode second mode(minor) 3rd mode(minor) whil I am playing the mode do I play C(tonic) once or often? Also when switching modes do the chords switch ? Or can I play the same mode over a different chord. Ie, if I was playing Cmaj could I play a little jam in it's 3rd mode(Em) or do I jam in the mode my chord is on?
If you were playing in C major, and all the chord/harmony changes were confined to that scale, then playing 3rd mode E Phrygian would just sound like C major, since Cmaj is the tonic (where a feeling of resolution occurs) that establishes the tonal center of the scale. In other words, the tonic chord puts the scale and all its theoretical modes into that context. So don't think in terms of changing modes for each chord IF the progression is derived from a single scale.
For example, Cmaj / Em / Am / Fmaj is straight C major/Ionian. No changes necessary.
Modes are really just an alternate expression of their parent scale (e.g. D Dorian is an expression of C major) created by the shift in tonal center to one of the parent scale's degrees other than 1. So with 2nd mode Dorian, you're listening out for chords/harmony that centers/resolves around the ii chord of the major scale. With phrygian, the iii chord becomes the center. With mixolydian, the V chord becomes the center etc.
I'm still uploading lessons on each individual mode (Dorian is up) that will help train your ear to hear when a particular mode is being used.
I have doubt, in this video at 21:02, Eb major scale, chord progression is Gmin-Abmaj-Bbmaj..... Below Gmin Phrygian is written, what does that mean??.... over this progression, could i solo in Eb phrygian (as a parent scale) or Gmin phrygian (as a modal centre).....??
G phrygian means you would play Eb major scale over a Gm chord. Eb phrygian means you would play B major scale over Ebm chord.
So ,the backing track decides what I use. Right?
+Aditya B Partly yes.
I discovered this uneasy progression , D major C major and A7 what mode will I use here ,I used the A Dorian and it worked PERFECTLY ,how is it ,I mean A7 has got the major triad and a flattened seventh ,but Dorian has the minor third making it applicable for minor chords , which mode do I gotta use ?
That is a nice little progression! What I get from that is A Dorian is essentially the same as D Mixolydian in this context. Dmaj - Cmaj is a D Mixolydian movement (two major chords moving down a whole step), given that Dmaj is the 1 or "home" chord. You've interpreted it as A Dorian and that's fine - it creates the same sound, given the chords being played.
But let's stick with A Dorian. Why does it work over A7 when Dorian has a minor 3rd? Well, we're into blues territory now. You might already know that minor pentatonic is often used over a blues progression with dominant 7th chords. So by playing Dorian over that A7 chord, you're invoking that bluesy minor pentatonic sound, courtesy of the minor 3rd, with other tones that are more natural to that chord. With A7 in the mix, this is not strictly a modal progression, so A Dorian becomes a kind of minor pentatonic extension for that particular chord.
You could also play A Mixolydian over A7 and you'd have a major 3rd instead of minor. But this is a good distinction to play around with. The minor 3rd gives that A7 a bluesy sound. The major 3rd (making it A Mixolydian), a sweeter, more natural sound.
The lesson in this is that there is no fixed "right or wrong" way of playing over these chords. You often have a few options, and if they all sound good then you can simply see this as more mileage for your solo, as the progression comes around each time.
Aditya, if you wanna ask more questions like these, check out r/musictheory on reddit. They are willing to answer them for you.
Of I played an Amin,Cmaj,Gmaj,Dmaj then am I gonna use D mixolydian or A Dorian ?
Both D Mixolydian and A Dorian are compatible so it's your choice based on how you prefer to see it. The main thing is you have identified that the progression can be used with those patterns. Technically, if it resolves on Am then it is Dorian.
But you could also try A Aeolian/natural minor over the first 3 chords, then switch to A Dorian over Dmaj. This is because the first 3 chords are shared by A Aeolian. So again you have some structured options.
And don't forget A minor pentatonic and its variations.
Why is it in some cases during the ear training you play 3 notes and in some you play just 2?
Sreesh Aiyer so you are hearing variations in the chords as well, it is training after all!
Let me come back to this later :-(
WOW!
So A7 can work on pentatonic scales and minor ones ?
+Aditya B Pentatonic yes. But for 7 tone scales, Dorian is quite unique in its application over dom7 chords. In this case you're really just playing Mixolydian with a flat 3rd. The flat 3rd becomes a "blue note" over a dom7 chord. Compare Dorian and Mixolydian patterns on the same root and you'll see what I mean.
Where are the last three parts....??? ...please
+Ashem leibakngambamoirangcha. Search modes on the channel page.
i can't get my head around all this mixolydian, dorian, ionian, etc etc... it's all greek to me
They are greek;)
There are 7 notes in the major scale. starting that major scale on the 2nd note would be the dorian mode, start on the 5th note is mixolydian.. and so on.. you technically don't have to learn 7 new scale patterns, because each mode uses all the same 7 notes of it's parent scale... you can do all the modes in the parent scale "Ionian". just play from octive to octive 8 notes total. accending or decending
another example is C Lydian.. it has a sharp 4th , that note is F#) (C Lydian IS G major, otherwise called G Ionian) Because the C scale has no sharps or flats. Hmm, I hope that helped
Anthony Lundell it's a joke dude
you so funny my nigga, I almost died laughing. this isnt irony btw
you mean sarcasm?
Wau!!
Im confused by that thar mixaloadian thang
Sir I was playing a E major B major and C#min progression ,it resolved on C# so C# Aeolian right?
Aditya B I noticed he didn't respond back to you but yes, you are correct. You are playing a I-V-vi chord progression in the key of E Major. The relative minor to E Major is C# minor and in your case you can certainly use C# aeolian or C# minor pentatonic/blues to solo with. Hope that helps!
Collin Sitgreaves ,but sir it's actually Feels home in the E major chord
Aditya B Yeah because E is the root and it naturally will resolve that way
I might quit guitar. I dont understand a single explanation. Help me god.
What I don't understand is that if all the modes are, are just starting the major scale from different notes, then aren't you just playing the same scale and then emphasizing the note of the chord you are playing? When you say to play G mixolydian over G while in the key of C, isn't it just easier to say play C major scale and emphasize G here and there? Maybe I'm missing something, but modes seem like a complicated way of basically just playing the same exact notes in the key, and emphasizing what chord tones are being played. Somebody please enlighten me.
It's all about where the key center resides and how you internalise it. If a progression resolves around G, rather than C, even if it uses the same relationship of chords found in C major, then it's not technically in the key of C major, because key is about where a progression resolves or feels like we've returned "home". Whether you see it as implying the C major scale or G Mixolydian is indeed open to interpretation, but the most important thing is you can see the relationship of chords that form around that 5th degree and know which pattern to use for accompaniment. A lot of people would hear a major tonic of G and automatically think "G major scale", but understanding the relationship of chords that make the movement center around the 5th degree of C major gives you an awareness of where to place the pattern on the neck, whether you think "C major" or "G Mixolydian".
I'd recommend you also watch my lesson on modal ear training (ruclips.net/video/apqaZJ27biQ/видео.html) as this looks more at the harmonies unique to each mode and how to distinguish, say, Mixolydian from Ionian/Major.
@@fretjamguitar Thanks for your reply, that clears it up a little. I guess in my mind I'm thinking about maybe playing like a standard tune with C G Am F, and soloing over it, to me using the "correct" modes would sound almost the same as just thinking about playing the C major scale in different positions. I think the departure must be using parallel modes to the chord in use, if that is the correct term. So instead of playing G mixolydian, play G Aolian or something over the G chord to mix it up, and then return to Ionian when I go back to C.
I have watched many videos basically trying to see what my options are for each chord in a key, because I want to mix up the scales or modes when I change to certain chords. I guess that is just specific for each song. Like if I'm playing in Am, I know I can do the standard minor pentatonic and blues scales, and if I go to E I can change a couple of notes to be in Phrygian dominant or harmonic minor, that is a common one. But I was wondering if there is a video for the options for each chord in a key? Like C- Ionian, Dm - Dorian or ?, Em- Phrygian or ?, etc. Maybe I'm not being too confusing. Thanks for being such a great teacher!
Yes in the case of C / G / Am / F we're clearly resolving firmly around C major/Ionian and all the chords reside within that. So it's C major scale all the way. No need to think about each individual chord as a related mode.
G Aeolian would only work if there's a key change to G MINOR and this was supported by other chord changes within the harmonised G Aeolian.
You demonstrate a good knowledge of chord relationships with the E/phrygian dominant connection in Am.
You can of course experiment with different scales over different chords (this is known as the chord-scale method and very common in jazz music). But in most cases, if the chord sequence resolves TO and resides WITHIN the major scale, it's just convenient to use the major scale as your primary melodic system. Phrasing that scale around the tones of the chord being played helps to connect the dots. And this works naturally because the major scale contains all the tones of most major key sequences (e.g. C major scale = C / Dm / Em / F / G / Am / Bdim).
fretjam Thanks for your insight! I’m going to subscribe ( I thought I already was because I remember watching a lot of your videos)
I guess I need to study the chord scale theory because I have a lot of fun trying to improvise with switches like that, and modulating between keys or tonalities. I just sometimes get confused on the terminology and theory. I used that Am with an E Phrygian part in this improvised jam:
ruclips.net/video/qUtCSSSplXQ/видео.html
So basically, to play modes over several chords, I just have to play the mode that corresponds to the degree that the progression sounds like it resolves on? Lol if it’s that simple then I’m quitting music 😂😂😂
I'm still waiting for the guy to play something instead of his organ music...thays what he was supposed to be doing
This is so confusing :(
新闻柯玲玲弹劾跛鸭
Great video but one of the worst keyboard sounds ever recorded
I agree.
This guy is over thinking modality. Modal vamps are not the same as chord progressions. Modal music is purely static. If there is another chord, it is used a character chord to create modal color. It's not there to move the music forward. Again, it's motionless, unchanging, constant and so on. Modal music is the exact opposite of functional music.
That is simply not true. Please don't confuse people. I'd be genuinely interested to see the source(s) of that assumption.
Modality can indeed include defined chord changes, as demonstrated in this video. Many progressions resolve around a chord other than I. The only difference between a static vamp and a chord progression is there's movement in the bass. The overall harmony can still be modal in the latter case.
With respect, I think it's you who's over thinking modality, as you're limiting its function to something unnecessarily specific.
fretjam.com Again, another uninformed person who gives it their best shot to teach modality. The confusion lies between your lack of comprehension and your inaccurate information. I believe that you're confusing Modal Harmony with Modality. Get the facts straight before running your mouth kid!!
chris caviness You haven't even made a factual statement, you've just set arbitrary boundaries on how one can define modality.
Again, I would like to see the sources that support your statement that "modal music is purely static". Or did you just make it up?
fretjam.com This argument is easy to solve, you are both right. Chris is referring to the usage of modes back in pre-renaissance times. The music was monotonic and static, often associated with Gregorian Chants. However, the usage of modes that you are referring to is that of the 20th century. The 20th century was a time of experimentation and discovery in music, and it was during this time that modal modulation and modal interchange were commonly used. Modes had chord progressions based on primary and secondary chords just as common scales do.
Dean Viner Thanks for the synthesis Dean. Of course we can continue to use modes statically if we wish. My point was that there is no reason to arbitrarily limit the definition of modality to its static function.
Didn´t like this at all. You sound like you are falling asleep and are sooooooo unbelievably slow. Also I feel like you are trying to sound smart, 7:25 "We know from previous past" ... really? Come on bro. IF you reference at least make the reference clear. The information is good but the delivery is not.
I agree I can do better than this. This is a very old video and I'm always improving. I'll likely end up re-doing these older videos. Take a look at my latest videos and you'll hopefully see the difference. The bit you referenced was actually "...from previous *parts*" - this was part of a series but yes I should have made it clearer. Thanks for your time (and patience!)
Thanks mike...u saved tones of money n time of this poor boy...I can not afford any kind of music class,,,,,