When I was a spode I figured black magic was required to hear that 1 different note. Once I realized the modes as harmonic progression I also realized there's a reason that the C,G,A and D modes are so common and so important. Bach trips me out with his use of B natural in something like the D minor volin Giga. Yeah I know that's a bit heavy 😅😂
With the first note I ever played on a guitar, and nearly all the notes that followed over 50 years, I have for decades been stylistically inspired by Carlos Santana, whose style is certainly immersed in the Dorian realm. I once asked a Berklee graduate about the phenomenon of "preference" for certain melodic styles. To my question "why is it I'm so comfortable in Dorian mode?", he replied "'Cuz you can't make any mistakes!!!!!". To this day some 20 years later I can't figure out whether that answer was condescending, or empathetic? (Edit: cont'd above, more on topic and less ramble :) )
Dorian & Lydian are sort of "twins" in this regard, as they have no "avoid" notes that conflict with the main chord tones, especially not against the 3rd. This is apparently why so many like to voice their tonic Major chords as "Lydian" voicings, so the #4/#11 is whole-step above the quality 3rd & many pieces like to end on m6 "dorian" voicings. All other modes of the Major scale have some type of "conflict" with the chord tones. All of that is for chordal voicings though. Melodically, there is much more freedom, as notes may be played quickly or in passing, so there perhaps are not "avoid" notes. Playing different notes on different beats, or in-between beats, will bring definition or context to them, against an underlying chord or drone.
Musicians! This post is excellent and outstanding and rather helpful to say the least. This post will definitely help to improve your musicianship. Enjoy!
Thank you for this lesson! I love Dorian mode and now have a better understanding of the mode, instead of just kinda blindly noodling it over a progression. I now have some song writing ideas based on the progressions you shared. 😊
I liked the examples of progressions that you give. I also like the fact that you use the Roman numerals as well as the notations of the chords themselves. The Roman numerals being the larger part of the illustration really draws the attention to the quality of the chord as well as alerting the mind to setting up to be able to transpose the progressions. I love your videos!!
So interesting mode. The tonic chord is also minor but it's TEMPERATE. I love A Dorian scale which can make the progression Amadd9 - Emadd9 - Gmaj7 - Dadd11 for instance.
@@WriteASong do you have videos on each mode like you did with Dorian? Even though Dorian is what I’m drawn to, I’d still like videos just like this on the other modes as well. I also just found out about your channel so I will be digging
I've just released one about Phrygian : ruclips.net/video/c3RjlkENz6M/видео.html. The other modes will be coming to the channel over the next few weeks.
I think of it as Aeolian with raised 6... I try to see how each mode relates to the Major or minor - and what the differences are. I categorize accompaniment with respect to mathematical ratios in much the same way... main shades of color and then additive and subtractive variants, each with a slightly different characteristic and quality.
This was the way I began to remember them as well. There are 6 modes (because Locrian isn't worth worrying about when you're starting out), and most of us all know 2 without even realizing it, Major (Ionian), and Minor (Aeolian). The remaining 4 are simply a one note variation of either Major or Minor: Mixolydian - Major with a b7 Lydian - Major with a #4 Dorian - Minor with a raised 6 Phrygian - Minor with a b2 If you're like me and found youurself jamming with some friends on some new chords in say, A Minor, a key you're very comfortable in, but every once in a while a note you play sounds way off, this is modes. Like me you might stop and retune your guitar even though it sounds fine, and make everyone else retune as well. And yet it still sounds bad? This is modes. The chords dictate the modes, not knowing the right mode you're in is not an option. You will sound like a fool.
George Russell's Lydian Chromatic Concept suggests that these "Church" modes (modes that can be constructed using only the white keys of a keyboard instrument) can be ordered in terms of "brightness" from Locrian to Lydian. (In fact, Miles Davis, an advocate of this system, once suggested that the piano should have a "middle F" rather than a "middle C".)
@@kodowdus They are considered the static chords... C to F - tonic to subdominant... and F to C - tonic to dominant. The magic of the Circle. One direction it is fifths the other fourths and it all depends on the observer... and how they perceive it. The basis for the 12 bar blues is just mainly a static loop like this with the defining dominant thrown in near the end.
@@geraldedwards5762 My impression is that the Lydian Chromatic Concept relates to the "Circle of Fifths" in the sense that the Lydian scale is what you get from progressively adding six notes to your tonic note by moving up a fifth (or down a fourth). The Lydian mode can thus be seen as a scale built on perfect fifths (hence the "brightness" character), and progressively altering that scale by flattening the fourth and every fourth note above that will take you through the seven "Church modes" in order of decreasing brightness until you get to the Locrian mode. (It also just occurred to me that the emphasis on the importance of cadences in the Western world might be why the Ionian ("major") scale and "middle C" have become the reference point in academic music theory rather than the Lydian scale and "middle F", since the Ionian mode is the only "Church mode" in which the V chord is a "dominant" V (i.e., a major chord with a flattened 7th).)
@@WriteASong Thank You! Really clear and concise lesson. Ive heard much about Dorian, but had trouble understanding commiting it to my memory. Until this lesson. .thx, Subscribed!
Exactly....treat everything intervallic-ly and you ll have no confusions about anything...chords,arpeggios,scales,modes....it ll be just a matter of using the right..intervalic recipe......
Nice, D Dorian is still one of my favourite keys for dad rock jams after several decades of failing to learn guitar properly ! Maybe would have been nice to hear the scale being played as well as just the chords, so people whoe aren't familiar with it can get a feel for the sound or 'flavour' of Dorian compared with the natural minor. It's a good aporoach though. Next up, are you going to cover modes of the melodic or harmonic minor? 😉
@@WriteASong great! I'm the same, don't really have the time to be a youtuber to be honest. Watching other people's videos has really helped my understanding of music theory, so thanks to everyone who creates stuff like this.
When explaining modes to anyone, I suggest they keep in mind the term "mood"........ that each mode seems to convey a certain emotional state. Dorian is romantic, Phrygian mystical, Ionian uplifting, etc. As I follow this video, I'm thinking that the tonic and 5th together are pretty powerful, but the 3rd is perhaps the most powerful in terms of the "mood" of the song. From this I'm appreciating the importance of natural minor vs Dorian. When you introduced the powerful 6th, I'm hoping to hear more. When playing in Am, I'm curious as to why the 6th often turns out to be a semitone away...... sometime an F natural works, and other times only the F# will work. I'm trying to figure out how to know ahead of time which 6th will be the one I want/need. While sight reading is a great skill, analytical listening is at least as valuable. You're generously covering the idea, to my greatest thanks.
Thanks for the kind comment and interesting anecdote! I agree with you about thinking of modes in terms of mood or emotion. As for your F/ F dilemma, sometimes only your ears have the answer!
I finally understand the chord progression in the chorus of "For Your Love" (as recorded by the Yardbirds)! Now how could one use this approach to interpret the V major in Santana's otherwise Dorian vamp "Evil Ways"??
@@WriteASong Thanks. P.S. The V chord in "Evil Ways" (or "Greensleeves", for that matter) is actually a *dominant* 7, so I gather Ionian would be the only possible "lender" among the "Church" modes...?
@@WriteASong Why not consider modes other than the "Church modes" (i.e., those that can be rendered on the white keys of a piano) as potential "lenders" of a dominant V in the Dorian mode (for example, the harmonic minor or melodic minor modes)? (Still thinking about the Dorian implementation of Greensleeves.)
@@WriteASong thank you, it looks really interesting. I've been learning programming and i actually want to program something like this, but more gided towards an interactive chords song book
Hello ! Thanx for a useful video ) Can you tell, should i avoid the major V chord or its ok to use it like in minor scale (where V7 is borrowed from harmonic minor). I heard its better not to use V7 chord in modal harmony(or use rarely) but i dont know if I must always stick to that modal harmony when using modes (like dorian for example).
Thanks for the question. The short answer is you can use any chords you like! If you are sticking strictly to the mode then obviously you wouldn't use V7. But the same would be true in minor/aeolian. I would suggest trying the V7 in progressions that contain the ii and IV chords as these will help to keep the dorian sound and not draw the listener into minor / aeolian. Modal chord progressions are all about tonal centres, the chords you focus on most of all. Briefly moving away can sound interesting if you come back to the tonal centre of your chosen mode. I hope that helps you a little.
I'm not sure you can make it any simpler to be quite honest! Just look at the notes of the scale and see which chords you get out of it. This is the best way to approach the modes, instead of seeing it as a major scale shifted round (which obviously it is, that's how it's derived), I think it makes more sense to look at how each mode differs from a regular minor or major scale, as that's what makes it distinct.
@@WriteASong I see, however, contrary to the bass, the guitar sounds always the same. Many songs that have Chord Progressions actually end up to have just one instrument doing the Progression. Am I wrong?
i'm officially diagnosed with dyscalculia, which bleeds into other aspects of life like reading maps and sheet music (that is, i can't). i still make music anyway and learn in my own way
Look at it this way C Major scale C D E F G A B C this is ionion mode the basic chords are C Dm Em F G Am B diminished or half diminished If you start from Dm its Dorian Every time you chose a different starting chord in that you will get a different mode How you Construct the chord is up to you , you can use any note that is not in the chord . Example C major chord is made up of CEG notes and now it is up to you to add or remove any note as you like it You could do C G B or CEGB or CGBD etc., all up to you . You can even use notes not in the scale but how you apply it is up to you.
@@lioneddy6702 Thanks for watching. It's not purposely complicated, it is just an alternative approach to learning the modes to the one that you have described.
Why do you use such weird keys for your examples? It would be much easier to follow if you used say, D dorian which is in the key of C, which makes it a little easier to follow for amateur musicians.
![Tee Grizzley - Detroit (Feat. 42 Dugg) [Official Video]](http://i.ytimg.com/vi/aeKfTtt0x14/mqdefault.jpg)
Go Here For The 7 Modes 👉 ruclips.net/video/C93lMKsE1f8/видео.html
I am listening. Coz I like musics it will get to me soon
When I was a spode I figured black magic was required to hear that 1 different note. Once I realized the modes as harmonic progression I also realized there's a reason that the C,G,A and D modes are so common and so important. Bach trips me out with his use of B natural in something like the D minor volin Giga. Yeah I know that's a bit heavy 😅😂
wow man.. in just 12 minutes I understood what I hadn't in nearly 12 years. My warmest congratulationsI :)
Thanks for the comment, I'm so glad that the video has helped you after all these years!
Yes I have to say these simplify things that so many others can’t seem to do. I finally understand the theory behind modes
Same!! This guy explain this concept in the perfect way!
Theory, Application, Examples…Perfect!
Thank you!
freaking cool video! Specific and easy understanding
With the first note I ever played on a guitar, and nearly all the notes that followed over 50 years, I have for decades been stylistically inspired by Carlos Santana, whose style is certainly immersed in the Dorian realm. I once asked a Berklee graduate about the phenomenon of "preference" for certain melodic styles. To my question "why is it I'm so comfortable in Dorian mode?", he replied "'Cuz you can't make any mistakes!!!!!". To this day some 20 years later I can't figure out whether that answer was condescending, or empathetic?
(Edit: cont'd above, more on topic and less ramble :) )
Dorian & Lydian are sort of "twins" in this regard, as they have no "avoid" notes that conflict with the main chord tones, especially not against the 3rd. This is apparently why so many like to voice their tonic Major chords as "Lydian" voicings, so the #4/#11 is whole-step above the quality 3rd & many pieces like to end on m6 "dorian" voicings. All other modes of the Major scale have some type of "conflict" with the chord tones. All of that is for chordal voicings though. Melodically, there is much more freedom, as notes may be played quickly or in passing, so there perhaps are not "avoid" notes. Playing different notes on different beats, or in-between beats, will bring definition or context to them, against an underlying chord or drone.
Musicians!
This post is excellent and outstanding and rather helpful to say the least.
This post will definitely help to improve your musicianship. Enjoy!
Glad it was helpful!
Dude your videos are so good. I feel like my understanding of Dorian has just been revolutionized
Thanks, I'm glad they help you!
Thank you for this lesson! I love Dorian mode and now have a better understanding of the mode, instead of just kinda blindly noodling it over a progression. I now have some song writing ideas based on the progressions you shared. 😊
Great to hear, thanks for the comment and good luck with your songwriting!
Brilliant! Thank you!
I liked the examples of progressions that you give. I also like the fact that you use the Roman numerals as well as the notations of the chords themselves. The Roman numerals being the larger part of the illustration really draws the attention to the quality of the chord as well as alerting the mind to setting up to be able to transpose the progressions. I love your videos!!
Thanks for the comment, I'm glad you like the videos!
This channel is super important to my music making journey. Thank you for all of this in depth informative content❤
Glad you enjoy it!
@@WriteASong YOU ROCK !!!
this is the best structured explanation ever. good job
Thank you!
i love this video, already subscribed!
Thanks for subbing!
Thank you for showing me a new way of thinking about this! Very good job, thanks for sharing this! Keep being awesome!
Thanks for the kind comment, I'm glad you found the video helpful! There are plenty more on the way!
Thanks
You're welcome AMD, thanks for the support!
Absolutely thrilled I found this channel
Welcome!
You really made me understand this! Congrats!
Thanks! I'm glad the video helped you.
Such a good and crystal clear Video! Now i am enlighted. Thank you
You're very welcome
Guitar teach here... great stuff guys! Thanks for your hard work
You're welcome!
I really like how you explained the theory.Nice video mate 👍
Thanks!
Thank you! Great explanation.
Glad you enjoyed it!
Well explained!!!!! Unlike other sites.
Thanks!
I find that well placed diminished chords sound sweet, even though the chord itself is dissonant
Yes I agree.
dissonance gives character
LOOOOOOOOVE this instructor!!
Thanks!
Awesome!!! I needed something to break me away of the same progressions I had been using. Thanks for getting me out of the rut!
Great to hear!
really helpful. thank you a lot !
You're welcome!
So interesting mode. The tonic chord is also minor but it's TEMPERATE. I love A Dorian scale which can make the progression Amadd9 - Emadd9 - Gmaj7 - Dadd11 for instance.
Nice and Clear, Thanks!!!
You're welcome!
Great vid!! I look forward to when you get up to explaining counterpoint in the modes. That is something I don't quite understand.
Thanks, I will add it to my to-do list!
Excellent tutorial.
Many thanks!
Nice, clear exposition, nothing extra; thanks. Liked and subbed.
Awesome, thank you!
Love this example. Appreciate adding the cord progressions. Very cool video
Thanks so much!
@@WriteASong do you have videos on each mode like you did with Dorian? Even though Dorian is what I’m drawn to, I’d still like videos just like this on the other modes as well. I also just found out about your channel so I will be digging
I've just released one about Phrygian : ruclips.net/video/c3RjlkENz6M/видео.html. The other modes will be coming to the channel over the next few weeks.
Nice explanation and thanks for giving some progression examples. I love the song Wicked Game by Chris Isaac which also has a Dorian feel to it.
You're welcome!
I think of it as Aeolian with raised 6... I try to see how each mode relates to the Major or minor - and what the differences are. I categorize accompaniment with respect to mathematical ratios in much the same way... main shades of color and then additive and subtractive variants, each with a slightly different characteristic and quality.
Interesting, thanks for the comment.
This was the way I began to remember them as well. There are 6 modes (because Locrian isn't worth worrying about when you're starting out), and most of us all know 2 without even realizing it, Major (Ionian), and Minor (Aeolian). The remaining 4 are simply a one note variation of either Major or Minor:
Mixolydian - Major with a b7
Lydian - Major with a #4
Dorian - Minor with a raised 6
Phrygian - Minor with a b2
If you're like me and found youurself jamming with some friends on some new chords in say, A Minor, a key you're very comfortable in, but every once in a while a note you play sounds way off, this is modes. Like me you might stop and retune your guitar even though it sounds fine, and make everyone else retune as well. And yet it still sounds bad? This is modes.
The chords dictate the modes, not knowing the right mode you're in is not an option. You will sound like a fool.
George Russell's Lydian Chromatic Concept suggests that these "Church" modes (modes that can be constructed using only the white keys of a keyboard instrument) can be ordered in terms of "brightness" from Locrian to Lydian. (In fact, Miles Davis, an advocate of this system, once suggested that the piano should have a "middle F" rather than a "middle C".)
@@kodowdus They are considered the static chords... C to F - tonic to subdominant... and F to C - tonic to dominant. The magic of the Circle. One direction it is fifths the other fourths and it all depends on the observer...
and how they perceive it. The basis for the 12 bar blues is just mainly a static loop like this with the defining dominant thrown in near the end.
@@geraldedwards5762 My impression is that the Lydian Chromatic Concept relates to the "Circle of Fifths" in the sense that the Lydian scale is what you get from progressively adding six notes to your tonic note by moving up a fifth (or down a fourth). The Lydian mode can thus be seen as a scale built on perfect fifths (hence the "brightness" character), and progressively altering that scale by flattening the fourth and every fourth note above that will take you through the seven "Church modes" in order of decreasing brightness until you get to the Locrian mode. (It also just occurred to me that the emphasis on the importance of cadences in the Western world might be why the Ionian ("major") scale and "middle C" have become the reference point in academic music theory rather than the Lydian scale and "middle F", since the Ionian mode is the only "Church mode" in which the V chord is a "dominant" V (i.e., a major chord with a flattened 7th).)
ahhh my favorite mode
Yes it's a good one!
Amazing videos. Some od them I must watch several times, because my brain doesn't work :D, but they are great.
Thanks for the kind words and repeated views! I'm glad the videos are helping you.
matur suksma untuk videonya
Thanks!
Thanks Ulrich, really appreciate the support!
Zabardast.....cheers mate....from Canada!!!
Welcome!
Great
Nice💯
Thanks 💯
PRO Lesson!
Thanks Matt!
@@WriteASong Thank You!
Really clear and concise lesson.
Ive heard much about Dorian, but had trouble understanding commiting it to my memory.
Until this lesson. .thx, Subscribed!
Exactly....treat everything intervallic-ly and you ll have no confusions about anything...chords,arpeggios,scales,modes....it ll be just a matter of using the right..intervalic recipe......
Nice, D Dorian is still one of my favourite keys for dad rock jams after several decades of failing to learn guitar properly !
Maybe would have been nice to hear the scale being played as well as just the chords, so people whoe aren't familiar with it can get a feel for the sound or 'flavour' of Dorian compared with the natural minor. It's a good aporoach though.
Next up, are you going to cover modes of the melodic or harmonic minor? 😉
Thanks, yes other mode videos play the scale notes.
I will get to melodic / harmonic minor modes eventually, I have a lot of videos to create!
@@WriteASong great! I'm the same, don't really have the time to be a youtuber to be honest. Watching other people's videos has really helped my understanding of music theory, so thanks to everyone who creates stuff like this.
Bye bye love, back in black, maiden Twilight zone, Crue stick to your guns, Schenker and Uli solos. U can surely hear Dorian floating aroind
When explaining modes to anyone, I suggest they keep in mind the term "mood"........ that each mode seems to convey a certain emotional state. Dorian is romantic, Phrygian mystical, Ionian uplifting, etc. As I follow this video, I'm thinking that the tonic and 5th together are pretty powerful, but the 3rd is perhaps the most powerful in terms of the "mood" of the song. From this I'm appreciating the importance of natural minor vs Dorian. When you introduced the powerful 6th, I'm hoping to hear more. When playing in Am, I'm curious as to why the 6th often turns out to be a semitone away...... sometime an F natural works, and other times only the F# will work. I'm trying to figure out how to know ahead of time which 6th will be the one I want/need.
While sight reading is a great skill, analytical listening is at least as valuable. You're generously covering the idea, to my greatest thanks.
Thanks for the kind comment and interesting anecdote! I agree with you about thinking of modes in terms of mood or emotion. As for your F/ F dilemma, sometimes only your ears have the answer!
The algorithm just today suggested this
Ty
You're welcome!
EXCELLENT
Many thanks!
The diminished chord is where it’s at
I finally understand the chord progression in the chorus of "For Your Love" (as recorded by the Yardbirds)! Now how could one use this approach to interpret the V major in Santana's otherwise Dorian vamp "Evil Ways"??
Without knowing the song, a V major in an otherwise Dorian song could be considered a borrowed chord from Major/Ionian or Lydian.
@@WriteASong Thanks. P.S. The V chord in "Evil Ways" (or "Greensleeves", for that matter) is actually a *dominant* 7, so I gather Ionian would be the only possible "lender" among the "Church" modes...?
Yes it would be Ionian then.
@@WriteASong Why not consider modes other than the "Church modes" (i.e., those that can be rendered on the white keys of a piano) as potential "lenders" of a dominant V in the Dorian mode (for example, the harmonic minor or melodic minor modes)? (Still thinking about the Dorian implementation of Greensleeves.)
Is there any way to functionally use the [vi] chord diatonically within Dorian, without flattening that root?
Not that I can think of. It pulls you so strongly to the VII chord that it disrupts the tonal centre.
I subscribed but really would like to see some jazz applications. Jazz is my genre.
Thanks for subscribing! I don't have a background in jazz, but I will try my best to include some jazz applications in the future.
Great video!!! May I ask, what software are you using for the "chord progressions" part?? Looks pretty and intuitive to try out chord progessions
Thanks! Yes it's called Hookpad, I did a video all about it here: ruclips.net/video/YwQxYsVpOq4/видео.html
@@WriteASong thank you, it looks really interesting. I've been learning programming and i actually want to program something like this, but more gided towards an interactive chords song book
Why can't you brilliant creative content creators understand that I already have too many channels subscribed? Sigh. Welp...*clicking Subscribe*
Thanks Dan. Always room for one more!
The diminished sound isn't very popular. - metal has entered the chat.
i-Vii-Iv-Iv reminds us of Ochman's River
Hello ! Thanx for a useful video ) Can you tell, should i avoid the major V chord or its ok to use it like in minor scale (where V7 is borrowed from harmonic minor). I heard its better not to use V7 chord in modal harmony(or use rarely) but i dont know if I must always stick to that modal harmony when using modes (like dorian for example).
Thanks for the question.
The short answer is you can use any chords you like!
If you are sticking strictly to the mode then obviously you wouldn't use V7. But the same would be true in minor/aeolian.
I would suggest trying the V7 in progressions that contain the ii and IV chords as these will help to keep the dorian sound and not draw the listener into minor / aeolian.
Modal chord progressions are all about tonal centres, the chords you focus on most of all. Briefly moving away can sound interesting if you come back to the tonal centre of your chosen mode.
I hope that helps you a little.
i-ii-III-IV is the Furious Angels song
I didn't think it would be possible to make chord theory this complicated. But you've succeeded! Ugh...
Thanks for watching!
Same
I'm not sure you can make it any simpler to be quite honest! Just look at the notes of the scale and see which chords you get out of it. This is the best way to approach the modes, instead of seeing it as a major scale shifted round (which obviously it is, that's how it's derived), I think it makes more sense to look at how each mode differs from a regular minor or major scale, as that's what makes it distinct.
@@VirtualModular mode is not a scale . you can try playing D dorian notes on a C ionion mode , it won't make it a D dorian mode no matter what .
@@VirtualModular you can correct me if i am wrong and i will learn something.
But in 4:56 the bass is the one that represents the Chord Progression, the Guitar Lead is always repeating the same notes in a loop, right?
In this example the bass is playing the root note of the chords, the guitar is playing a full arpeggio of the chords.
@@WriteASong I see, however, contrary to the bass, the guitar sounds always the same. Many songs that have Chord Progressions actually end up to have just one instrument doing the Progression. Am I wrong?
It depends on the song, but yes sometimes this is the case.
not enough pull to determine the tonic
Thank you. This would have been very helpful had you also played the notes, not just named them.
Thanks for the comment, in my other mode videos I play the notes so you can hear them.
the main chords of Ionian are I IV V
the main chords of Aeolian are i iv v
what are the main chords of the other five modes?
What do you mean by main chords?
I just don’t understand this . Maybe I’m dyslexic in music .. is there such a thing.
It's fine to not understand. Music is for everyone.
i'm officially diagnosed with dyscalculia, which bleeds into other aspects of life like reading maps and sheet music (that is, i can't). i still make music anyway and learn in my own way
You don't understand because he purposely made it complicated
Look at it this way
C Major scale
C D E F G A B C this is ionion mode the basic chords are
C Dm Em F G Am B diminished or half diminished
If you start from Dm its Dorian
Every time you chose a different starting chord in that you will get a different mode
How you Construct the chord is up to you , you can use any note that is not in the chord . Example C major chord is made up of CEG notes and now it is up to you to add or remove any note as you like it You could do C G B or CEGB or CGBD etc., all up to you . You can even use notes not in the scale but how you apply it is up to you.
@@lioneddy6702 Thanks for watching. It's not purposely complicated, it is just an alternative approach to learning the modes to the one that you have described.
Why do you use such weird keys for your examples? It would be much easier to follow if you used say, D dorian which is in the key of C, which makes it a little easier to follow for amateur musicians.
The video starts with building the chords of C Dorian, the examples then use these chords.
Excellent explanations thanks !
You are welcome!
Nice, clear exposition, nothing extra; thanks. Liked and subbed.
Awesome, thank you!
Thanks!
Thank you Alan! I really appreciate the support!