major=ionian lydian: major with raised 4th mixolydian: major with lowered 7th minor=aeolian phyrigian: minor with lowered 2nd dorian: minor with raised 6th
This has been the ONLY explanation of modes I've ever seen that makes the slightest bit of sense. All others that I've seen have never explained the relationship between the modes without causing more confusion. Michaels demonstration here shows how it all links together in a very simple way.
If you'll play only white keys on a piano the modes will appears in this sequence: I Ionian 1 2 3 4 5 6 7 C D E F G A B II Dorian 1 2 b3 4 5 6 b7 D E F G A B C III Phrygian 1 b2 b3 4 5 b6 b7 E F G A B C D IV Lydian 1 2 3 #4 5 6 7 F G A B C D E V Myxolydian 1 2 3 4 5 6 b7 G A B C D E F VI Aeolian 1 2 b3 4 5 b6 b7 A B C D E F G VII Locrian 1 b2 b3 4 b5 b6 b7 B C D E F G A Thank You for doing this videos Michael!
This confuses me. I play guitar and want to know the chord qualities for the modes. Why isn't C the 1 chord for each mode that you have listed?And where are the sharps and flats? In the Locrian mode how do you flatten a C?
what he meant is, that D dorian or G Mixolydian contain the same notes as C Major (Ionian) so you dont have any sharps or flats in the notes he listed, but in terms of thinking within the major scale he listed the flats and sharps in the number of the note and you flatten a C by playing a B, but technically it is not a B, but a Cb (I think if you got a perfekt intonated instrument, not like a piano, where every half step is not sqrt(12) of an octave it is a different note, not too sure about that)
Moving modes to guitar is pretty easy, if you think of it in terms of "boxes". For example, I bet you're used to playing a C major scale using only frets 7 to 10. In that box, starting on the 7th fret on your low E string would give you a locrian scale starting with B. If you want another starting note, you just move the box. If you try starting at different points using a scale you're familiar with, you should find it's not that tricky. As chords qualities go, you'll mostly have to test it out, once you've figured out which notes you have in each mode, and think of it in terms of shifting along the major/minor scale containing the same notes as your mode. But if you want a raw theory list, I guess you could have it. Chords in order I, II, III, IV, V, VI, VII, followed by explaining characteristics (m = minor, 7 = major chord with low 7th, dim = diminished). Ionian: I, II m, III m, IV, V 7, VI m, VII dim. Just like you're used to with a major scale. Dorian: I m, II m, III m, IV 7, V m, VI dim, VII What you get if you use a minor key and set the IV as your new starting point. The major IV has a lot of neat applications. Phrygian: I m, II, III 7, IV m, V dim, VI, VII m. Frequently explained as "A minor starting with E". Lydian: I, II 7, III m, IV dim, V, VI m, VII m. Mixolydian: I 7, II m, III dim, IV, V m , VI m, VII. Aeolian: I m, II dim, III, IV m, V m, VI, VII 7. Locrian: I dim, II, III m, IV m, V, VI 7, VII m. In each next step, the first chord in the previous mode becomes the last chord in your new mode.
You know what is interesting? That sharp right in the middle. The thing is, if you construct this based on the Lydian mode 2-2-2-1-2-2-1, the sharp will go away. If I'm not mistaken, Lydian mode is the only one without any sharps. Furthermore, the progression of tones on the circle of fifths somehow magically completes one turn after arriving at F or B. This makes me think that perhaps the Lydian mode should be the main mode for constructing music, because then these anomalies go away.
+RonPaul Revered It looks like there are no flats... look at Dorian starting on D, for example. The 3rd and the 7th should be flatted, right? Well, not here. Compare the Dorian mode starting on D to a D major scale. In a D major scale, you have: D E F# G A B C#. Now compare that to the Dorian mode... D E F# G A B C# (D major) D E F G A B C (D Dorian) Now, you can see that, compared to the major scale, the F and the C are lowered by one half step (instead of being sharped, they are natural) essentially, they are flatted. This holds true for each of the examples in the original comment above. Thus, to play these modes, you can just start on the corresponding letter and go up the alphabet and get an accurate modal scale. This is just a shift in perspective. To some, it might be helpful, others may prefer to think of it in the way presented in the video.
I've watched several lessons on modes. Lessons taught by westerners. And when it comes to the phrygian, most tend to dismiss it as weird, a bit queer, etc. I'm from Turkey, and the funny thing is, when I hear phrygian my eastern ears say " oh yeah, that's what I call music" :)
+rüştü cüneyt güren For me, this only reinforces how much of our musical aesthetic is determined by culture, and not by any mathematical propriety of the intervals. I particularly love the sound of the diminished second, and think you can do lots of great things with it, but we insist in pigeonholing certain sounds as "weird" because they're not used often, or because they're traditionally associated with some mood. This also applies to the "major keys are happy and minor keys are sad" nonsense. How can you explain that so many "happy" songs are in minor keys (Get Lucky by Daft Punk, Stayin' Alive by the Bee Gees), and so many "sad" songs are in major keys (second movement of Beethoven's Pathétique sonata, Pictures of You by The Cure, Five Years by David Bowie). And I'll never understand why people think atonal music sounds ugly and/or scary, and yet find birdsong so beautiful and relaxing.
I was thinking the same thing. I'm from India. The Phrygian is the same as Raga Bhairavi for us and some of the most beautiful music I've heard has been in this "mode".
Yep, it's called the Bhairavi in Indian music, one of the most mellifluous modes IMHO, and I suppose one RUclips search on "Bhairavi Indian Music" would convince anyone to start using that mode!
Examples: Bryan Adams - Run to you - Dorian mode Lorde - Royals - Mixolydian mode . These are the two most common modes in pop music generally, except for the normal major/minor scales. Concerning creating different vibes in songs one can, a bit simplified, think about it like this: . - Pure minor key, normal mode/scale. Sad vibe. - Dorian mode, major key. Fairly sad vibe. - Mixolydian mode, major key. Fairly happy vibe. - Pure major key, normal mode/scale. Happy vibe. . A certain lyric often fits best with one of these vibes.
I am so thrilled. After decades of winging it, Michael, you taught me how chords work, circle of fifths, and modes. Honestly, this is huge for me. I never figured I could fit these ideas in my brain. THANK YOU!
Hi Thomas, I do not undetstand. One piano video teaches Dorian starting on D and another video teaches Dorian starting on G. Which is right, and what is the Definition of Dorian anyway?
@@TheSunshinedreamer1 Dorian can start on any notes, the concept of modes and scales are that they are interval patterns, they are not a fixed notes combination, as long as your notes fit that pattern, it is the mode, e.g. Dorian pattern is whwwwhw(as Michael's drawing shows) , so let us start on D(we can start on any note), the interval between the next note with D should be a whole step(or 2 semi tones, they are the same thing), so we pick E(piano and guitar are made like that, interval between D and E are a whole step), then next step is a half step, so we pick F(on piano, E and F is a half step, but on guitar, all frets are half step), and go on, if you still not sure what is interval, you can check Michael's basic chord video.
Dude...thank you so much! I've been trying to self-teach music theory, and modes have always confused the hell out of me. This really laid it out for me and made it all come together. You're a fantastic teacher!
You know those moments when you feel your mind literally open wide with new comprehension. That was this video on modes. All the years of never really understanding what the hell modes are all about feel so silly now. Thanks! Keep up the great work!
phrygian isn't used much in classical piano music but it is in a lot of eastern music and in rock and metal. phrygian dominant is probably used more so than the normal phrygian but that's for another video i guess.
I have to disagree with people not really caring about Phrygian mode, or that it doesn't bring anything that sounds good. The "i - bII" chord progression is natural in Prygian mode and it's one that you've probably heard before (I believe it's quite common in Spanish guitar music). Here's an example of those chord changes in Phrygian mode ruclips.net/video/SZes2J4ALt0/видео.html
I think you're referring to major -phrygian, used in the so-called andalusian cadence (which really isn't a cadence, but that's neither here nor there, it still sounds cool ). In music like flamenco you don't have i-bII but I-bII (i.e. major I). Sounds very different than what people usually think of when they think phrygian.
Pink Guy I've had quite a few discussions about this. A lot of the problem is just that, like other "eastern" forms of music, western music theory just wasn't thought out to accurately describe flamenco. Not that it can't be done of course, just that it's fairly convoluted. The time signature is probably the main issue, and there are different schools of thought on this. And as far as the scale/mode goes, it's phrygian but, the chord patterns are based on phrygian dominant but the melodic scale used is usually phrygian natural. Add to that that some notes serve solely a rythmic purpose and they don't seem to care whether it fits in any scale or not. That rythmic note is usually the top E of the guitar (1st string). In the past, flamenco was mostly played in two "positions", either E phrygian or A phrygian (what they "por arriba" and "por medio", and to play in any other key, they'd use capo but wouldn't change the hand patterns they used), so that rythmic "E" note fit in quite nicely in the scale. But for the last 40 years or so, they've started experimenting quite a lot with other keys, Eb phrygian or G# phrygian are quite common nowadays in open position, and with some of those the rythmic E note is completely out of the scale but they'll still use for rythmic purposes.
I cannot agree with you enough! The phrygian has a very distinctive sound and is not even that uncommon. "Spanish" sounding is the first thing that pops into mind, but it has other uses too. Frank Zappa's Black Napkins is in C# phrygian and is based on a simple alternating chord sequence of C#m - D. I do, btw, think most of the modes have such an alternating chord formula, such as i - IV for the dorian and I - bVII for mixo. These can be used for establishing the tonality and feel of the mode. That would at least be a quick way to get into them. I agree with him on the locrian though... kind of. The problem is not that it's weird but that it's hard to stay *in* the locrian. I tried writing something in it once, but I figured out eventually that I was actually in the phrygian, i.e. the center of gravity wasn't where I'd thought it was originally. Any attempt at an alternating sequence will just make it resolve somewhere else!
In terms of actually playing this on the guitar, from a purely practical point of view, this is how I try to get my head around it on the fretboard. ALWAYS keeping the tonal centre or root on C, try this: For: C Ionian - play C Maj C Dorian - play A# Maj scale - which starts a second interval below C C Phrygian - play G# Maj scale - which starts a third interval below C C Lydian - play G Maj scale - which starts a fourth interval below C C Mixolydian - play F Maj scale - which starts a fifth interval below C C Aeolian - play D# Maj scale - which starts a sixth interval below C C Locrian - play C# Maj scale - which starts a seventh interval below C This can be transposed to any other key. I hope this helps somebody! Thanks for all the brilliant vidz Michael. You are a great teacher.
I just watched 12 of your videos in a row. You're an awesome teacher, man! I've learned so much in the last hour and a half or so then I ever thought I could! I'll definitely be back for more!
I have looked on the internet about modes and I was always confused by them and how to apply them. This is hands down the simplest and most useful explanation on modes. Most people never explain the relationship of the whole step and half step and how the starting point affects the order based on which mode you play. Thanks for making this clear. Seems so easy to understand now.
The locrian mode isn't utilized as much, but phyrigian is a very popular mode in metal and classical guitar pieces where the b2 is a useful grace note, trill, or part of a run, and doesn't interfere with your chordal harmonies unless you really want to sound weird. It's what you'd use if you want to sound eastern or get a "desert" feeling.
I never realised that when you're looking for the chords that go in a scale, you're basically just playing each mode's root chord! Ionan's is a major, Dorian's is minor, Phrygian is minor, Lydian is Major, Myxolydian is Major, Aeolian is minor and Locrian is diminished. Just like the chords that go on a major scale! It's amazing just how everything in music theory is connected Really love your videos man, these are some of the most useful videos i've watched. Thank you so much!
I've spent the last 3 days looking at videos about modes on RUclips. This one wins the race. The clearest, most concise and easiest to follow. I feel like I really made a step forward because of it. Top job, sir! you have my like&sub :)
Totally agree. All the other videos I've watched on modes approach things from the other direction (if that makes sense), and it seemed to be just "this is how it is. Learn it". I think concentrating on the why underneath it all (i.e., the shifting patterns of intervals) made things clear to me immediately.
Both the major and minor scales and the modes , are the indian-hindustani-classical-music equivalent of a "raag"(infact there are about a hundred raagas defined) . Untill I saw this video , I wondered how the western music manages with just the major and minor scales! . Got my answer :) . Also , as always , you're a wonderful teacher :)
+Sravani Vadlamani From what little I know, raagas are a lot more complex, and offer many more possibilities than Western modes. For example, if I want to have an augmented fourth *and* a diminished seventh in my scale, that's no longer a mode, but something else entirely. And for people thinking such a scale would sound utterly bizarre: that's the theme from The Simpsons. Western music just has a lot of very arbitrary and nonsensical definitions that we just happen to follow. The raag system just sounds a lot more flexible and interesting, while still holding a strong level of rigour. As a result, it sounds "weird" to much of the Western world, which is a shame.
you're close but those are actually 'thaats' in indian-hindustani-classical. 'Thaats' are the bases from where ragas are derived and unlike the ragas, there are only 10 thaats. To compare the two: ionian mode = bilaval thaat dorian mode = kaafi thaat phrygian mode = bhaiavi thaat lydian mode = kalyan thaat mixed lydian mode = khamaj thaat aeonian mode = asavari thaat There are 4 more thaats - Bhairav, Marva, Purvi and Todi. All these have a lowered second and sound pretty cool. In fact Bhairav is considered a go-to thaat when composing dark/sad music... Hope this helps... :)
I have been playing the piano and I have been struggling with music theory so much. Watching your videos has been so helpful. Thanks to you now I know what I am doing. :) Thank you so much!
Hey Michael, thanks a lot for taking the time to do these lessons. I know it takes time and effort to do them. You helped me a lot, and I am sure you helped a lot of other people as well who don't comment at all.
A dear friend of mine tried to explain modes earlier this year, and I could not wrap my head around them. I am a self-taught guitarist (~10 years) that lacks music theory. Your way of visualizing it with the half-lines, full-lines, makes it extremely helpful to memorize. Thank you very much! :D
Thanks Michael. For years i have referred to countless books to understand the concept of modes but never understood clearly. You made it pretty simple to follow. Keep up the good work.
Just finished your series on basic music theory and I owe you big :D I've tried several textbooks only to quit all of them. But you really make these things interesting and easy to learn. Now I'm ready for more in music theory :) Really big thanks man.
This video has cleared up modes for me in a way that I've not seen elsewhere on the internet. For the longest time I'd been thinking about them in completely the wrong way. Definitely helped me understand them!
Hey, I'm 60 years old. I live in Belgium and I'm not native english speaker (rather frnch and dutch). During de Covid-19, I started to learn music theory and I just followed a few of your videos about 7th chords, key changes and some others). In 1:30 hour, I have understood many notions that I didn't luck in french books ! Thank you very much !!! :-)
As the "Circle od Fifth" one, this video is the most clear and easy to understand lesson on modes. I saw tons of videos about it on guitar (i'm a guitar player), but this is the best.
You are such an awesome teacher! You take the most fundamental points of a given topic and make it immediately understandable. I wish all teaching was done this way. Once the basic concept is understood, it's much easier to then learn the more complicated nuances of it. Thank you so much again for creating these videos.
I thought you said this would be complicated! The most complicated thing about this was the names! But you really taught it well. I thought this would be years ahead of me and here you are explaining it to me in a 15 minute video. I'm going to have to watch more of your videos; this is really good.
i've watched all your music theory videos. i dont know that i'll ever write any music but i love playing it and music theory just baffles me. it's cool stuff and i like knowing why some things work and why others dont and you manage to make it super clear, something that can be super hard to do with music. can't wait for the next one
I have a couple of points to make. 1. Thank you for your videos. They are really top notched. I learn a great deal. 2. The Phrygian scale is actually used a fair bit in music that's fairly popular. It tends to favour music in the heavy metal genre, but Metallica's "Wherever you may Roam" is Phrygian. Also, Yngwie Malmsteen uses it a lot. A lot of people like scales that touch with the middle eastern/gypsy scales. Makes for some really interesting, yet passionate phrases. Thanks again!
Hi Thanks for the videos. When looking at where scales from, that is a series of fifths because the third harmonic is the strongest after the second (octave), I realised that starting on C one gets C G D A E B F# which is C Lydian not Ionian (major). We have our harmonic progression 4 7 3 6 2 5 1 each step being one more flat. If one follows the order of flats one goes through the modes as Lydian Ionian Mixolydian Dorian Aeolian Phrygian Locrian or b4 b7 b3 b6 b2 b5. As a learning step this is of course the circle and possibly why so many Bb jazz players write the Circle as Fourths rather than fifths. Especially as F major is the bebop scale - Miles Davis said they should have started with F not C - and George Russell's Lydian Theory of Tonal Gravity is based on this. Rand Scullard's interactive Circle of Fifths was a great help in realising this. Your comments would be much appreciated.
I've been trying to teach myself guitar for the past year and a half...I didn't understand any of the modal stuff until JUST NOW! Thanks, and I just SUBSCRIBED!
Locrian, Phrygian and Phrygian dominant are often used in metal and sometimes in rock as well. ex- Black Sabbath. Outside of those genres, I can see why it's often said that they're "weird" in western music. I had a hard time grasping modes until I learned it like this: Major - 1234567 = WWHWWWH Lydian - major with augmented 4th, 123#4567 Mixolydian - 1 2 3 4 5 6 b7 Dorian - 1 2 b3 4 5 6 b7* Minor/aeolian - 1 2 b3 4 5 b6 b7 Phrygian - 1 b2 b3 4 5 b6 b7 Locrian - 1 b2 b3 4 b5 b6 b7 Phrygian dominant is the same as Phrygian with a raised 3rd. *Dorian is also a minor scale with a #6. This parallels the order of sharps/flats in the circle of fifths (specifically, what happens when the sharps/flats are not added every time the root goes up by fifths). It makes it way easier to see how the modes relate to each other, and why some musicians/composers might change between modes.
I love your videos Michael! You have honestly taught me more about music theory than anything else. I just wanna point out that the distinct sounds and 'vibes' emanating from the phrygian and locrian modes are used lots in progressive rock, and 'scary' cinemac soundtracks, and phrygian is also used in spanish music quite often. I wouldn't discredit them as being unfavorable :] i'm sure in classical music they sound very odd and out of place, but in other genres, they are used extensively. Again, thank you so much for making these videos; You're a godsend mate. Cheers!
I'd definitely love to see you talk about my favorite scale, the Arabic scale. It goes half step, whole and a half step, half step, whole step, half step, whole and a half step, half step. In the key of C, it's C, C#, E, F, G, G#, B. I think I've also heard this called the Phrygian Dominant scale but I don't know if that's right.
WolfLink64 Yep, that's the phrygian dominant, which is a mode of the harmonic minor scale. I'm planning on doing a video on some of the harmonic scales and modes, and I'll definitely mention that :)
Hehe, I now started to like it too from your videos - it is nice when I want something not that sad as minor scale but also not that sugary sweetness of major scale. Lydian makes it sound more or less happy but with a touch of mystery.
i made some notes in notepad that i guess i may as well share with you guys Major scale 1__ 2__ 3- 4__ 5__ 6__ 7- Modes: onian = 1 = major scale dorian = 2 = minor scale with a raised 6th phrygian = 3 = minor scale with a lowerd 2nd lydian = 4 = major scale with a raised 4th mixolydian = 5 = major scale with a lowerd 7th minor scale = 6 = a fuckin minor scale (aolian) locrian = 7 = lowerd 2nd and lowerd 5th
+Kandoblu KingofSpades if your learn these other scales. You'll get a total of 35different modes...instead of 7 modes in different PITCH. KEYS are just PITCH.The term he should had used is INTERVALS.If you play the key board then it should jump out at ya...Chord structureare just EVERY OTHER fucken NOTE....CEGBDFAC....or modes are just completed extended chords.lolBecause you don't always go straight up or down the scale.You'll play around the arpeggios to modulate, axis pitch, or vamp.The notes that you show shifted...that's the notes you want to targetwhen modulating. why modulated or play a different mode?lmaoCEGB or...Cmaj7add 9, 11,13...or fucken 1,3,5,7,9,11,13..lmaoDFACEGBD......ect.Use the major scale as a reference.......Learn these other scales.When you go every other note you'll simply get different chords/modes.The note that shifted is just the second arpeggio of the basic I, IV, V movement.You start in major then the chord turns into minorThen it's easier to learn the other chords...because it'll just be an extention of them.lmaoSome people do It in the reverse order...they transfer fromthe natural minor into major....such as raising the b7 into a maj7 of theaeolydian mode to get the harmonic minor.....b3 = melodic minorb3, b6, harmonic minorb,3,b6, b7....natural minor.lmaob6= major harmonic...the iV turns into a minor.b3, #4, b6 = double harmonic.....the #4 turns the II chord into a maj or dominant.or like thismelodic minor b3. that's the EbC, Eb, G, BD, F, A, CEb, G, B, DF, A, C, Eb.......ect lmaoor like thisIonian with b3dorian with b2Phrygian with b1Lydian with b7Mixolydain with b6Aeolydian with b5locrain wirh b4...................lmaoHarmonic minor,...in A minor.That maj7 is a G#....A, C, E, G#B, D, F, AC, E, G#, BD, F, A, CE, G#, B, D.....ect lolor like this...In other words raise the note accordingly....Notice the pattern.?It's esier than you think or what people makes it....aolydian with #7locran with #6Ionian with #5dorian with #4Phrygian with #3
It's XDaniC It's easy you just have to do this. Also notice these are the second arpeggio of the I, IV, V chords Melodic minor = b3 Ionian b3 dorian b2 Phrygian b1 Lydian b7 mixolian b6 aeolian b5 locrian b4 Harmonic Maj = b6 Ionian b6 Dorian b5 Phrygian b4 Lydian b3 Mixolian b2 Aeolian b1 Locrian bb7 Hamonic minor.=.3b,b6 Just transfer to natural minor with raised 7 Aeolian maj7 Locrian maj6 Ionian #5 Dorian #4 Phrygian Maj3 Lydian #2 Mixolian #1 Natural minor b3,b6,b7 I almost have them all memorized...chords too. Im working the double harmonic minor
The names of the modes came from regions of Ancient Greece. There was a place called Lydia, Ionia, Locris etc. If it wasn’t a place it was a type of people. The modes were named after those places because their music in their region used those scales. The names of the modes were used by future musicians because they thought it would be cool for the modes to keep their old names(I think). Its no different if we had a mode named Chicagoan or New Yorker today.
Your approach really works for me. Hearing about modes before somehow always triggered a cow chewing cud in my brain, but your way of talking about it was very interesting.
He is starting from the same note (G) but A different mode each time, when you do that, you change parent scale! (G Lydian is actually D Major Parent scale) because in G Parent scale, there is only one sharp, F#.. This is an intresting way thinking about modes,,, Not the way i've learned, but like he mentions, it's easier to hear the differences...
H-Djo if you played all the modes starting from the same root note bleach mold you would be in a different key. it's non diatonic. but if you started the ionian mode in G the Dorian mode in A , phrygian mode in B, the lydian mode on C mixolydian on D, aeolian on E , locrian on F#; then you would have a diatonic morel progression meaning all the modes are built from the parent scale of G.. another non diatonic example would be: if you're in the key of G major the parent scale but you played G Dorian that is actually in the key of f. if you started phrygian on the note of G you would be in the parent key of E flat. If you did lydian starting on G that would be D major parents scale. did that help?
H-Djo diatonic modes can start sounding stale. If your playing over a minor chord you can choose Dorian, phrygian or aeolian to change things up a little bit. II 3rd and 6 mode is minor same goes for major. You can substitute ionian lydian or mixolydian for any major chord. but then you would be changing parent keys meaning it's a non diatonic modal progression
Fourth video I've watched trying to figure out modes. Only now do I understand!! thanks a million. Your diagram showing steps made it all clear. Thanks!
I never comment on videos, but I had to make an exception. THANK YOU for these videos. Your explanations and examples are great. You have definitely earned a subscription from me. I can't wait to tackle your next lesson.
I am finding extreme differences in the way people are explaining modes. In many other tutorials they explain it as playing the same scale starting from a different note. (G major) G A B C D E F# Different mode A B C D E F# G And another mode B C D E F# G A ect. So always the same notes. But here you gave an example that contained different notes. So the whole thing is confusing for me.
+thevisi0nary You're going to have to judge for yourself what makes the most sense, but personally I think the "same scale on a different note" approach is a bad one. It is technically correct, but if you just learn that D Mixolydian and G major are the same thing then you might as well just ignore modes altogether since they're not offering anything new. I tried to explain why you shouldn't look at them that way in this video: ruclips.net/video/UcviIQg_BlU/видео.html. Hopefully that clears things up a little for you.
+Michael New Technically modes were originally just "white key" scales starting on different notes. But yeah, to understand them properly, you need to understand what a tonic is. And it makes more sense if you use the same tonic for all of them. @ the other people in this thread: The different modes, just like the major and minor scales, are transposable. So you can have A Dorian, G Dorian, C Dorian, whatever. If you use only white keys, yes, C major and D Dorian have the same notes. But they are way way different. D Dorian is actually soundwise a lot closer to D minor than C major. It's all about understanding what tonic means. Similarly as A minor and C major are totally different sounds, all of the other modes are totally different sounds too. You could think D Dorian as C major "starting with a D", but that's really not the best way to describe the sound. I would rather say D Dorian is D minor with a B natural instead of a Bb (ie, the 6th note of the minor scale gets raised). Also, technically Dorian is the 1st mode. The modes predate major and minor keys. The first modes that were in use were Dorian, Phrygian, Lydian and Mixolydian. That was back when major and minor didn't even exist - they are a bit later additions. Actually, modes evolved into keys.
thevisi0nary, You understand correctly. In your example you use the G as the parent scale to build the other modes. But you can have other parent scales.
The other way to explain it is more confusing because you are changing two variables, the key and the mode, in order to keep the played notes the same. Instead, one can more clearly see the differences between the modes if the key remains fixed and only the mode changes. It's actually conceptually simpler that way.
I'm doing music by ear and every time I tryed to learn some theory... It was always too boring... But YOU guy made it interesting and clear ! Thanks a lot for all your lessons !!!
Nice explanation. I hear pieces of these scales when I noodle a ukulele and guitar, but I didn't know they all had names or tied together like that. You've sir have earned a subscriber
Can I just say I'm a guitarist and I've watched multiple guitar videos explaining modes and this video, a piano one 😂, just made me completely understand the foundation of the modes so thank you so much!
I was shown to form the modes by mapping out the whole and half steps for each mode starting on the tonic and only including the naturals. Then I learned on my own to take two circle of fifths one in side the other then rotate the center circle so the desired tonic is at top, then rotate the outer to the letter of the mode such so the letter is at top such as d for Dorian or e for Phrygian, then just look at the c on the outer ring find the letter that is at that position on the inner circle so this will always give you the key to play in. Also look at how the positions show! Very cool!
Really enjoying your lessons... and I'm a supporter :D Just wondering if you could do a lesson on when and how to use augmented and diminished chords. Thanks!!
+Keith Selbee Hey, thanks for supporting :) I think that would be a good topic, maybe alongside something about diminished and augmented scales. I'll definitely put that on the list.
hey michael, i have a slight question. When you say that the locrian mode and the phrygian mode are not used very often, that confuses me by the fact that say for example the phrygian mode starting at E is the C major key. Locrian mode starting at B is also the same thing, just a C major key. I know you say to avoid C major key in the next video, as i've already watched it, this is me coming back and using it as an easy representation. the main point here is that in technicality when i play something in G major key per say, i'm also playing all of the other modes for one note or another, thus they truly don't change much, do they not? you can change your music by rooting it around a different note, (playing in G major key but maybe using D as my main note) which might make writing in a mode a good representation to see. But besides that, is it truly anything more than a representation of another key in a different order? Thanks for reading all that if you did... i probably didn't phrase some of that very well XD
This is probably a good video to watch to help understand the difference: ruclips.net/video/UcviIQg_BlU/видео.html The important part is that there's a huge difference between (in C major), making the C your root note vs making the B your root note. It changes everything about the way those notes work, what chords you use, how your melodies behave, and so on.
I am primarily a guitarist and Dorian is one of my favorite modes because it basically allows me to extend the scale up on the neck of the guitar and allows a major extension of the Major and Minor scales.
Thank you for explaining this! I have been learning piano on my own for almost a yr now. I had a hard time grasping modes! Your videos have been helpful for me during my journey, esp for someone without a teacher. 😁
I've been exploring modes on my bass (guitar) for the past month or so, this video couldn't have been timed any better. As every video, very helpful :).
cool :) really great lesson! i knew before how to build modes, but hadn't really an understanding of how they really work und sound. thank you very much
Great videos! I love what your doing. I know a few things but I always still got confused on just the basics. Past explanations were always so baffling. Can't wait till the next video.
Just before this I watched another video on modes. One public comment showed the there are other ways of thinking of the Phrygian scale. A man from Turkey commented that when he hears the Phrygian scale inks “now that is music.” His ear was raised on Eastern rather than Western music, and therefore the Phrygian appeals to him. It is cultural, and different from Western ear development. Just proves that what sounds good, as in what tastes good, is cultural, and not innate to all listeners.
One of the first melodies i wrote for vocals was using phrygian mode, though, this was just by ear. I had very little understanding of music theory and I wanted to figure out what else I could play to accompany the melody, and now I'm here =) Metro boomin uses phrygian mode a lot in his beats, so as far as western music goes its useful in trap/hip hop. Thanks for the lesson!
He Michael, the Dorian mode is simply the the scale of the note minus one..........e.g. G doriian is F-major starting on G; D Dorian is C major starting on D. This also goes for the Lydian and the Myxolydian mode....If you know your Cycle of Fifths...the Lydian refers to starting on the fourth, the C -note, while the Myxoly...refers to starting on the Fifth...the D-note.
The best way to use modes I found is to turn them teratonic. Use 4 note. Root note obviously as 1 . Then experiment until you find the combination of extra notes that actually does something good. It's like trimming off the fat and it really has an effect. Then each teratonic shape from the major and minor scale modes has a unique sounds. Obviously the difference between major and minor is that one note, so include that when chosen notes, unless the note is the roots, then find a unique pattern/sound.
![Figuring Out Your Practice Routine | What are your options? [1/3]](http://i.ytimg.com/vi/JEigEVDkj_A/mqdefault.jpg)
For anyone curious, they're named after regions in Ancient Greece, where the idea of modes in Western music comes from.
Some regions like Lydia and Phrygia were outside of ancient Greece. (Asia minor, neighbouring ancient Greece)
major=ionian
lydian: major with raised 4th
mixolydian: major with lowered 7th
minor=aeolian
phyrigian: minor with lowered 2nd
dorian: minor with raised 6th
Thanks for the summary
@@vlc-cosplayer Nah, just a Major scale with a raised tonic and subdominant! ;)
locrian: *error* *forbidden mode*
you forgot
locrian: stupid from most angles
@@majorlycunningham5439 Pretty amazing how flattening the tonic will give us the benign Lydian
This is without a doubt the best explanation of the modes I have ever seen. Thank you !
Michael really does a great job. I've really been enjoying his music theory videos.
Jesse Atwood i ate a lot watching i need to loo
besides him being wrong. the F# is in AMajb7. and in DMaj which is the 1st degree of this scale.
This has been the ONLY explanation of modes I've ever seen that makes the slightest bit of sense. All others that I've seen have never explained the relationship between the modes without causing more confusion. Michaels demonstration here shows how it all links together in a very simple way.
If you'll play only white keys on a piano the modes will appears in this sequence:
I Ionian 1 2 3 4 5 6 7 C D E F G A B
II Dorian 1 2 b3 4 5 6 b7 D E F G A B C
III Phrygian 1 b2 b3 4 5 b6 b7 E F G A B C D
IV Lydian 1 2 3 #4 5 6 7 F G A B C D E
V Myxolydian 1 2 3 4 5 6 b7 G A B C D E F
VI Aeolian 1 2 b3 4 5 b6 b7 A B C D E F G
VII Locrian 1 b2 b3 4 b5 b6 b7 B C D E F G A
Thank You for doing this videos Michael!
This confuses me. I play guitar and want to know the chord qualities for the modes. Why isn't C the 1 chord for each mode that you have listed?And where are the sharps and flats? In the Locrian mode how do you flatten a C?
what he meant is, that D dorian or G Mixolydian contain the same notes as C Major (Ionian)
so you dont have any sharps or flats in the notes he listed, but in terms of thinking within the major scale he listed the flats and sharps in the number of the note
and you flatten a C by playing a B, but technically it is not a B, but a Cb (I think if you got a perfekt intonated instrument, not like a piano, where every half step is not sqrt(12) of an octave it is a different note, not too sure about that)
Moving modes to guitar is pretty easy, if you think of it in terms of "boxes". For example, I bet you're used to playing a C major scale using only frets 7 to 10. In that box, starting on the 7th fret on your low E string would give you a locrian scale starting with B. If you want another starting note, you just move the box. If you try starting at different points using a scale you're familiar with, you should find it's not that tricky.
As chords qualities go, you'll mostly have to test it out, once you've figured out which notes you have in each mode, and think of it in terms of shifting along the major/minor scale containing the same notes as your mode. But if you want a raw theory list, I guess you could have it.
Chords in order I, II, III, IV, V, VI, VII, followed by explaining characteristics (m = minor, 7 = major chord with low 7th, dim = diminished).
Ionian: I, II m, III m, IV, V 7, VI m, VII dim.
Just like you're used to with a major scale.
Dorian: I m, II m, III m, IV 7, V m, VI dim, VII
What you get if you use a minor key and set the IV as your new starting point. The major IV has a lot of neat applications.
Phrygian: I m, II, III 7, IV m, V dim, VI, VII m.
Frequently explained as "A minor starting with E".
Lydian: I, II 7, III m, IV dim, V, VI m, VII m.
Mixolydian: I 7, II m, III dim, IV, V m , VI m, VII.
Aeolian: I m, II dim, III, IV m, V m, VI, VII 7.
Locrian: I dim, II, III m, IV m, V, VI 7, VII m.
In each next step, the first chord in the previous mode becomes the last chord in your new mode.
You know what is interesting? That sharp right in the middle. The thing is, if you construct this based on the Lydian mode 2-2-2-1-2-2-1, the sharp will go away. If I'm not mistaken, Lydian mode is the only one without any sharps. Furthermore, the progression of tones on the circle of fifths somehow magically completes one turn after arriving at F or B. This makes me think that perhaps the Lydian mode should be the main mode for constructing music, because then these anomalies go away.
+RonPaul Revered It looks like there are no flats... look at Dorian starting on D, for example. The 3rd and the 7th should be flatted, right? Well, not here. Compare the Dorian mode starting on D to a D major scale. In a D major scale, you have: D E F# G A B C#. Now compare that to the Dorian mode...
D E F# G A B C# (D major)
D E F G A B C (D Dorian)
Now, you can see that, compared to the major scale, the F and the C are lowered by one half step (instead of being sharped, they are natural) essentially, they are flatted. This holds true for each of the examples in the original comment above. Thus, to play these modes, you can just start on the corresponding letter and go up the alphabet and get an accurate modal scale. This is just a shift in perspective. To some, it might be helpful, others may prefer to think of it in the way presented in the video.
I've watched several lessons on modes. Lessons taught by westerners. And when it comes to the phrygian, most tend to dismiss it as weird, a bit queer, etc. I'm from Turkey, and the funny thing is, when I hear phrygian my eastern ears say " oh yeah, that's what I call music" :)
+rüştü cüneyt güren
For me, this only reinforces how much of our musical aesthetic is determined by culture, and not by any mathematical propriety of the intervals. I particularly love the sound of the diminished second, and think you can do lots of great things with it, but we insist in pigeonholing certain sounds as "weird" because they're not used often, or because they're traditionally associated with some mood. This also applies to the "major keys are happy and minor keys are sad" nonsense. How can you explain that so many "happy" songs are in minor keys (Get Lucky by Daft Punk, Stayin' Alive by the Bee Gees), and so many "sad" songs are in major keys (second movement of Beethoven's Pathétique sonata, Pictures of You by The Cure, Five Years by David Bowie). And I'll never understand why people think atonal music sounds ugly and/or scary, and yet find birdsong so beautiful and relaxing.
I was thinking the same thing. I'm from India. The Phrygian is the same as Raga Bhairavi for us and some of the most beautiful music I've heard has been in this "mode".
I'm American and It's always been my favorite mode I hadn't heard much like it until I learned it
Hahaha I feel you! from Kurdistan Region, Iraq.
Yep, it's called the Bhairavi in Indian music, one of the most mellifluous modes IMHO, and I suppose one RUclips search on "Bhairavi Indian Music" would convince anyone to start using that mode!
Examples:
Bryan Adams - Run to you - Dorian mode
Lorde - Royals - Mixolydian mode
.
These are the two most common modes in pop music generally, except for the normal major/minor scales. Concerning creating different vibes in songs one can, a bit simplified, think about it like this:
.
- Pure minor key, normal mode/scale. Sad vibe.
- Dorian mode, major key. Fairly sad vibe.
- Mixolydian mode, major key. Fairly happy vibe.
- Pure major key, normal mode/scale. Happy vibe.
.
A certain lyric often fits best with one of these vibes.
I am so thrilled. After decades of winging it, Michael, you taught me how chords work, circle of fifths, and modes. Honestly, this is huge for me. I never figured I could fit these ideas in my brain. THANK YOU!
Hi Thomas, I do not undetstand. One piano video teaches Dorian starting on D and another video teaches Dorian starting on G. Which is right, and what is the Definition of Dorian anyway?
@@TheSunshinedreamer1 Dorian can start on any notes, the concept of modes and scales are that they are interval patterns, they are not a fixed notes combination, as long as your notes fit that pattern, it is the mode, e.g. Dorian pattern is whwwwhw(as Michael's drawing shows) , so let us start on D(we can start on any note), the interval between the next note with D should be a whole step(or 2 semi tones, they are the same thing), so we pick E(piano and guitar are made like that, interval between D and E are a whole step), then next step is a half step, so we pick F(on piano, E and F is a half step, but on guitar, all frets are half step), and go on, if you still not sure what is interval, you can check Michael's basic chord video.
Dude...thank you so much! I've been trying to self-teach music theory, and modes have always confused the hell out of me. This really laid it out for me and made it all come together. You're a fantastic teacher!
Yea I agree amazing video!!
You know those moments when you feel your mind literally open wide with new comprehension. That was this video on modes.
All the years of never really understanding what the hell modes are all about feel so silly now.
Thanks! Keep up the great work!
You are the man.
The savior of musicians who can't afford a musical education.
Thank you.
Getting tired of all this Locrian/Phrygian hatred.
Wow, nice to see you here!
salad man
Best explanation EVER! I couldn't understand this, until now...
phrygian isn't used much in classical piano music but it is in a lot of eastern music and in rock and metal. phrygian dominant is probably used more so than the normal phrygian but that's for another video i guess.
I have to disagree with people not really caring about Phrygian mode, or that it doesn't bring anything that sounds good. The "i - bII" chord progression is natural in Prygian mode and it's one that you've probably heard before (I believe it's quite common in Spanish guitar music).
Here's an example of those chord changes in Phrygian mode
ruclips.net/video/SZes2J4ALt0/видео.html
Just gonna jump in and add to what ur saying..Radiohead often use Phrygian too in their songs
I think you're referring to major -phrygian, used in the so-called andalusian cadence (which really isn't a cadence, but that's neither here nor there, it still sounds cool ). In music like flamenco you don't have i-bII but I-bII (i.e. major I). Sounds very different than what people usually think of when they think phrygian.
The flamenco thing comes from Phrygian Dominant I think, a mode of harmonic minor. Very exotic sounding.
Pink Guy I've had quite a few discussions about this. A lot of the problem is just that, like other "eastern" forms of music, western music theory just wasn't thought out to accurately describe flamenco. Not that it can't be done of course, just that it's fairly convoluted. The time signature is probably the main issue, and there are different schools of thought on this. And as far as the scale/mode goes, it's phrygian but, the chord patterns are based on phrygian dominant but the melodic scale used is usually phrygian natural. Add to that that some notes serve solely a rythmic purpose and they don't seem to care whether it fits in any scale or not. That rythmic note is usually the top E of the guitar (1st string). In the past, flamenco was mostly played in two "positions", either E phrygian or A phrygian (what they "por arriba" and "por medio", and to play in any other key, they'd use capo but wouldn't change the hand patterns they used), so that rythmic "E" note fit in quite nicely in the scale. But for the last 40 years or so, they've started experimenting quite a lot with other keys, Eb phrygian or G# phrygian are quite common nowadays in open position, and with some of those the rythmic E note is completely out of the scale but they'll still use for rythmic purposes.
I cannot agree with you enough! The phrygian has a very distinctive sound and is not even that uncommon. "Spanish" sounding is the first thing that pops into mind, but it has other uses too.
Frank Zappa's Black Napkins is in C# phrygian and is based on a simple alternating chord sequence of C#m - D. I do, btw, think most of the modes have such an alternating chord formula, such as i - IV for the dorian and I - bVII for mixo. These can be used for establishing the tonality and feel of the mode.
That would at least be a quick way to get into them.
I agree with him on the locrian though... kind of. The problem is not that it's weird but that it's hard to stay *in* the locrian. I tried writing something in it once, but I figured out eventually that I was actually in the phrygian, i.e. the center of gravity wasn't where I'd thought it was originally. Any attempt at an alternating sequence will just make it resolve somewhere else!
In terms of actually playing this on the guitar, from a purely practical point of view, this is how I try to get my head around it on the fretboard.
ALWAYS keeping the tonal centre or root on C, try this:
For: C Ionian - play C Maj
C Dorian - play A# Maj scale - which starts a second interval below C
C Phrygian - play G# Maj scale - which starts a third interval below C
C Lydian - play G Maj scale - which starts a fourth interval below C
C Mixolydian - play F Maj scale - which starts a fifth interval below C
C Aeolian - play D# Maj scale - which starts a sixth interval below C
C Locrian - play C# Maj scale - which starts a seventh interval below C
This can be transposed to any other key.
I hope this helps somebody!
Thanks for all the brilliant vidz Michael. You are a great teacher.
Your videos have truly changed how I think about music theory. I've never heard these concepts explained with such clarity! Thank you!
I just watched 12 of your videos in a row. You're an awesome teacher, man! I've learned so much in the last hour and a half or so then I ever thought I could! I'll definitely be back for more!
I have looked on the internet about modes and I was always confused by them and how to apply them. This is hands down the simplest and most useful explanation on modes. Most people never explain the relationship of the whole step and half step and how the starting point affects the order based on which mode you play. Thanks for making this clear. Seems so easy to understand now.
The locrian mode isn't utilized as much, but phyrigian is a very popular mode in metal and classical guitar pieces where the b2 is a useful grace note, trill, or part of a run, and doesn't interfere with your chordal harmonies unless you really want to sound weird. It's what you'd use if you want to sound eastern or get a "desert" feeling.
I never realised that when you're looking for the chords that go in a scale, you're basically just playing each mode's root chord! Ionan's is a major, Dorian's is minor, Phrygian is minor, Lydian is Major, Myxolydian is Major, Aeolian is minor and Locrian is diminished. Just like the chords that go on a major scale!
It's amazing just how everything in music theory is connected
Really love your videos man, these are some of the most useful videos i've watched. Thank you so much!
I've spent the last 3 days looking at videos about modes on RUclips. This one wins the race. The clearest, most concise and easiest to follow. I feel like I really made a step forward because of it. Top job, sir! you have my like&sub :)
Totally agree. All the other videos I've watched on modes approach things from the other direction (if that makes sense), and it seemed to be just "this is how it is. Learn it". I think concentrating on the why underneath it all (i.e., the shifting patterns of intervals) made things clear to me immediately.
Both the major and minor scales and the modes , are the indian-hindustani-classical-music equivalent of a "raag"(infact there are about a hundred raagas defined) . Untill I saw this video , I wondered how the western music manages with just the major and minor scales! . Got my answer :) . Also , as always , you're a wonderful teacher :)
+Sravani Vadlamani
From what little I know, raagas are a lot more complex, and offer many more possibilities than Western modes. For example, if I want to have an augmented fourth *and* a diminished seventh in my scale, that's no longer a mode, but something else entirely. And for people thinking such a scale would sound utterly bizarre: that's the theme from The Simpsons.
Western music just has a lot of very arbitrary and nonsensical definitions that we just happen to follow. The raag system just sounds a lot more flexible and interesting, while still holding a strong level of rigour. As a result, it sounds "weird" to much of the Western world, which is a shame.
you're close but those are actually 'thaats' in indian-hindustani-classical. 'Thaats' are the bases from where ragas are derived and unlike the ragas, there are only 10 thaats.
To compare the two:
ionian mode = bilaval thaat
dorian mode = kaafi thaat
phrygian mode = bhaiavi thaat
lydian mode = kalyan thaat
mixed lydian mode = khamaj thaat
aeonian mode = asavari thaat
There are 4 more thaats - Bhairav, Marva, Purvi and Todi. All these have a lowered second and sound pretty cool. In fact Bhairav is considered a go-to thaat when composing dark/sad music...
Hope this helps... :)
Vatsal Pandya 😎Good Info
Fernie Canto appreciate your perspective good food for thought.
@@vatsalpandya5415 Thank you Vatsal
I have been playing the piano and I have been struggling with music theory so much. Watching your videos has been so helpful. Thanks to you now I know what I am doing. :) Thank you so much!
This is the clearest explanation of modes I've heard so far. Thanks for a great lesson!
Hey Michael, thanks a lot for taking the time to do these lessons. I know it takes time and effort to do them. You helped me a lot, and I am sure you helped a lot of other people as well who don't comment at all.
THE ONLY TUTORIAL THAT HELPED ME UNDERSTAND WHY THESE EXIST OMG ILY
A dear friend of mine tried to explain modes earlier this year, and I could not wrap my head around them. I am a self-taught guitarist (~10 years) that lacks music theory. Your way of visualizing it with the half-lines, full-lines, makes it extremely helpful to memorize. Thank you very much! :D
Thanks Michael. For years i have referred to countless books to understand the concept of modes but never understood clearly. You made it pretty simple to follow. Keep up the good work.
Just finished your series on basic music theory and I owe you big :D I've tried several textbooks only to quit all of them. But you really make these things interesting and easy to learn. Now I'm ready for more in music theory :) Really big thanks man.
This video has cleared up modes for me in a way that I've not seen elsewhere on the internet. For the longest time I'd been thinking about them in completely the wrong way. Definitely helped me understand them!
Hey, I'm 60 years old. I live in Belgium and I'm not native english speaker (rather frnch and dutch). During de Covid-19, I started to learn music theory and I just followed a few of your videos about 7th chords, key changes and some others). In 1:30 hour, I have understood many notions that I didn't luck in french books ! Thank you very much !!! :-)
As the "Circle od Fifth" one, this video is the most clear and easy to understand lesson on modes. I saw tons of videos about it on guitar (i'm a guitar player), but this is the best.
Never thought I'd understand the daunting "modes of music," but you've proven me wrong! Thanks for the lesson!
You are such an awesome teacher! You take the most fundamental points of a given topic and make it immediately understandable. I wish all teaching was done this way. Once the basic concept is understood, it's much easier to then learn the more complicated nuances of it. Thank you so much again for creating these videos.
I thought you said this would be complicated! The most complicated thing about this was the names!
But you really taught it well. I thought this would be years ahead of me and here you are explaining it to me in a 15 minute video.
I'm going to have to watch more of your videos; this is really good.
"its going to get really hard fast" - Michael New
"That's what she said!" - Michael Scott
Giggity
Giggity goooo
You're the best hands down man, I've learned so much from you that I had to show some appreciation!
i've watched all your music theory videos. i dont know that i'll ever write any music but i love playing it and music theory just baffles me. it's cool stuff and i like knowing why some things work and why others dont and you manage to make it super clear, something that can be super hard to do with music. can't wait for the next one
Yes! A new video to watch! Truly grateful to see your video again,and a HUGE thanks.
I have taken enough lessons and music theory classes to know this, but it's been over a decade, so I enjoyed watching your videos. Thanks.
I have a couple of points to make.
1. Thank you for your videos. They are really top notched. I learn a great deal.
2. The Phrygian scale is actually used a fair bit in music that's fairly popular.
It tends to favour music in the heavy metal genre, but Metallica's "Wherever you may Roam" is Phrygian. Also, Yngwie Malmsteen uses it a lot.
A lot of people like scales that touch with the middle eastern/gypsy scales. Makes for some really interesting, yet passionate phrases.
Thanks again!
Hi Thanks for the videos. When looking at where scales from, that is a series of fifths because the third harmonic is the strongest after the second (octave), I realised that starting on C one gets C G D A E B F# which is C Lydian not Ionian (major). We have our harmonic progression 4 7 3 6 2 5 1 each step being one more flat. If one follows the order of flats one goes through the modes as Lydian Ionian Mixolydian Dorian Aeolian Phrygian Locrian or b4 b7 b3 b6 b2 b5. As a learning step this is of course the circle and possibly why so many Bb jazz players write the Circle as Fourths rather than fifths. Especially as F major is the bebop scale - Miles Davis said they should have started with F not C - and George Russell's Lydian Theory of Tonal Gravity is based on this.
Rand Scullard's interactive Circle of Fifths was a great help in realising this.
Your comments would be much appreciated.
I've been trying to teach myself guitar for the past year and a half...I didn't understand any of the modal stuff until JUST NOW! Thanks, and I just SUBSCRIBED!
Now I understand! I've watched 5 or 6 explanations already tonight and this was the only one that made any sence. Brilliant.
Locrian, Phrygian and Phrygian dominant are often used in metal and sometimes in rock as well. ex- Black Sabbath. Outside of those genres, I can see why it's often said that they're "weird" in western music.
I had a hard time grasping modes until I learned it like this:
Major - 1234567 = WWHWWWH
Lydian - major with augmented 4th, 123#4567
Mixolydian - 1 2 3 4 5 6 b7
Dorian - 1 2 b3 4 5 6 b7*
Minor/aeolian - 1 2 b3 4 5 b6 b7
Phrygian - 1 b2 b3 4 5 b6 b7
Locrian - 1 b2 b3 4 b5 b6 b7
Phrygian dominant is the same as Phrygian with a raised 3rd.
*Dorian is also a minor scale with a #6.
This parallels the order of sharps/flats in the circle of fifths (specifically, what happens when the sharps/flats are not added every time the root goes up by fifths). It makes it way easier to see how the modes relate to each other, and why some musicians/composers might change between modes.
I love your videos Michael! You have honestly taught me more about music theory than anything else. I just wanna point out that the distinct sounds and 'vibes' emanating from the phrygian and locrian modes are used lots in progressive rock, and 'scary' cinemac soundtracks, and phrygian is also used in spanish music quite often. I wouldn't discredit them as being unfavorable :] i'm sure in classical music they sound very odd and out of place, but in other genres, they are used extensively.
Again, thank you so much for making these videos; You're a godsend mate. Cheers!
I'd definitely love to see you talk about my favorite scale, the Arabic scale. It goes half step, whole and a half step, half step, whole step, half step, whole and a half step, half step. In the key of C, it's C, C#, E, F, G, G#, B. I think I've also heard this called the Phrygian Dominant scale but I don't know if that's right.
WolfLink64 Yep, that's the phrygian dominant, which is a mode of the harmonic minor scale. I'm planning on doing a video on some of the harmonic scales and modes, and I'll definitely mention that :)
Is Lydian your favorite mode? :) You seem to use it a lot
+Yarbro45 You got me.
Hehe, I now started to like it too from your videos - it is nice when I want something not that sad as minor scale but also not that sugary sweetness of major scale. Lydian makes it sound more or less happy but with a touch of mystery.
I watched many, many videos on modes and walked away confused, but your explanation makes it easy. Thank You!
you literally are the best teacher ever. you have a gift
i made some notes in notepad that i guess i may as well share with you guys
Major scale
1__ 2__ 3- 4__ 5__ 6__ 7-
Modes:
onian = 1 = major scale
dorian = 2 = minor scale with a raised 6th
phrygian = 3 = minor scale with a lowerd 2nd
lydian = 4 = major scale with a raised 4th
mixolydian = 5 = major scale with a lowerd 7th
minor scale = 6 = a fuckin minor scale (aolian)
locrian = 7 = lowerd 2nd and lowerd 5th
Justin Lundgren Thanks! So usefull.
+Kandoblu KingofSpades if your learn these other scales. You'll get a total of 35different modes...instead of 7 modes in different PITCH. KEYS are just PITCH.The term he should had used is INTERVALS.If you play the key board then it should jump out at ya...Chord structureare just EVERY OTHER fucken NOTE....CEGBDFAC....or modes are just completed extended chords.lolBecause you don't always go straight up or down the scale.You'll play around the arpeggios to modulate, axis pitch, or vamp.The notes that you show shifted...that's the notes you want to targetwhen modulating. why modulated or play a different mode?lmaoCEGB or...Cmaj7add 9, 11,13...or fucken 1,3,5,7,9,11,13..lmaoDFACEGBD......ect.Use the major scale as a reference.......Learn these other scales.When you go every other note you'll simply get different chords/modes.The note that shifted is just the second arpeggio of the basic I, IV, V movement.You start in major then the chord turns into minorThen it's easier to learn the other chords...because it'll just be an extention of them.lmaoSome people do It in the reverse order...they transfer fromthe natural minor into major....such as raising the b7 into a maj7 of theaeolydian mode to get the harmonic minor.....b3 = melodic minorb3, b6, harmonic minorb,3,b6, b7....natural minor.lmaob6= major harmonic...the iV turns into a minor.b3, #4, b6 = double harmonic.....the #4 turns the II chord into a maj or dominant.or like thismelodic minor b3. that's the EbC, Eb, G, BD, F, A, CEb, G, B, DF, A, C, Eb.......ect lmaoor like thisIonian with b3dorian with b2Phrygian with b1Lydian with b7Mixolydain with b6Aeolydian with b5locrain wirh b4...................lmaoHarmonic minor,...in A minor.That maj7 is a G#....A, C, E, G#B, D, F, AC, E, G#, BD, F, A, CE, G#, B, D.....ect lolor like this...In other words raise the note accordingly....Notice the pattern.?It's esier than you think or what people makes it....aolydian with #7locran with #6Ionian with #5dorian with #4Phrygian with #3
You're right about the locrian (those two lowered notes come from the minor scale btw)
It's XDaniC It's easy you just have to do this. Also notice these are the second arpeggio of the I, IV, V chords
Melodic minor = b3
Ionian b3
dorian b2
Phrygian b1
Lydian b7
mixolian b6
aeolian b5
locrian b4
Harmonic Maj = b6
Ionian b6
Dorian b5
Phrygian b4
Lydian b3
Mixolian b2
Aeolian b1
Locrian bb7
Hamonic minor.=.3b,b6
Just transfer to natural minor with raised 7
Aeolian maj7
Locrian maj6
Ionian #5
Dorian #4
Phrygian Maj3
Lydian #2
Mixolian #1
Natural minor b3,b6,b7
I almost have them all memorized...chords too. Im working the double harmonic minor
You my friend, is a fucking legend.
The names of the modes came from regions of Ancient Greece. There was a place called Lydia, Ionia, Locris etc. If it wasn’t a place it was a type of people. The modes were named after those places because their music in their region used those scales. The names of the modes were used by future musicians because they thought it would be cool for the modes to keep their old names(I think). Its no different if we had a mode named Chicagoan or New Yorker today.
Locrians were preety metal then
Can't say if I've seen or heard such detailed explanation, but it's worthwhile, thanks!
Your approach really works for me. Hearing about modes before somehow always triggered a cow chewing cud in my brain, but your way of talking about it was very interesting.
He is starting from the same note (G) but A different mode each time, when you do that, you change parent scale! (G Lydian is actually D Major Parent scale) because in G Parent scale, there is only one sharp, F#..
This is an intresting way thinking about modes,,, Not the way i've learned, but like he mentions, it's easier to hear the differences...
could you please elaborate? didn't understand :p
H-Djo if you played all the modes starting from the same root note bleach mold you would be in a different key. it's non diatonic. but if you started the ionian mode in G the Dorian mode in A , phrygian mode in B, the lydian mode on C mixolydian on D, aeolian on E , locrian on F#; then you would have a diatonic morel progression meaning all the modes are built from the parent scale of G.. another non diatonic example would be: if you're in the key of G major the parent scale but you played G Dorian that is actually in the key of f. if you started phrygian on the note of G you would be in the parent key of E flat. If you did lydian starting on G that would be D major parents scale. did that help?
H-Djo diatonic modes can start sounding stale. If your playing over a minor chord you can choose Dorian, phrygian or aeolian to change things up a little bit. II 3rd and 6 mode is minor same goes for major. You can substitute ionian lydian or mixolydian for any major chord. but then you would be changing parent keys meaning it's a non diatonic modal progression
awesome, thanks !
Anthony Lundell isn't a Lydian another word for a minor ?
Maan, great explanation once again! It's a gift of yours to simplify things but at the same time have a lot of depth in them!
This was an incredible explanation. Simple but complete, easy to follow but not necessarily superficial. Thanks a bunch!
The best Lesson about Modes available in the universe 👌👌
I watched a few videos about modes by now. Only now that I watch this, I really get it. Good work!
Fourth video I've watched trying to figure out modes. Only now do I understand!! thanks a million. Your diagram showing steps made it all clear. Thanks!
I've heard many explanations on modes but this is the best. Great demonstration. Thank you very much!
I never comment on videos, but I had to make an exception. THANK YOU for these videos. Your explanations and examples are great. You have definitely earned a subscription from me. I can't wait to tackle your next lesson.
thank you so much
Phrygian mode is used in the middle east a lot
we really love it..!
I am finding extreme differences in the way people are explaining modes. In many other tutorials they explain it as playing the same scale starting from a different note.
(G major)
G A B C D E F#
Different mode
A B C D E F# G
And another mode
B C D E F# G A
ect.
So always the same notes. But here you gave an example that contained different notes. So the whole thing is confusing for me.
+thevisi0nary You're going to have to judge for yourself what makes the most sense, but personally I think the "same scale on a different note" approach is a bad one. It is technically correct, but if you just learn that D Mixolydian and G major are the same thing then you might as well just ignore modes altogether since they're not offering anything new.
I tried to explain why you shouldn't look at them that way in this video: ruclips.net/video/UcviIQg_BlU/видео.html. Hopefully that clears things up a little for you.
+thevisi0nary you are right this is the way we are taught...The only thing that changes is the starting note...now im confused...lol
+Michael New
Technically modes were originally just "white key" scales starting on different notes. But yeah, to understand them properly, you need to understand what a tonic is. And it makes more sense if you use the same tonic for all of them.
@ the other people in this thread:
The different modes, just like the major and minor scales, are transposable. So you can have A Dorian, G Dorian, C Dorian, whatever. If you use only white keys, yes, C major and D Dorian have the same notes. But they are way way different. D Dorian is actually soundwise a lot closer to D minor than C major. It's all about understanding what tonic means.
Similarly as A minor and C major are totally different sounds, all of the other modes are totally different sounds too.
You could think D Dorian as C major "starting with a D", but that's really not the best way to describe the sound. I would rather say D Dorian is D minor with a B natural instead of a Bb (ie, the 6th note of the minor scale gets raised).
Also, technically Dorian is the 1st mode. The modes predate major and minor keys. The first modes that were in use were Dorian, Phrygian, Lydian and Mixolydian. That was back when major and minor didn't even exist - they are a bit later additions. Actually, modes evolved into keys.
thevisi0nary, You understand correctly. In your example you use the G as the parent scale to build the other modes. But you can have other parent scales.
The other way to explain it is more confusing because you are changing two variables, the key and the mode, in order to keep the played notes the same. Instead, one can more clearly see the differences between the modes if the key remains fixed and only the mode changes. It's actually conceptually simpler that way.
I'm doing music by ear and every time I tryed to learn some theory... It was always too boring...
But YOU guy made it interesting and clear ! Thanks a lot for all your lessons !!!
Nice explanation. I hear pieces of these scales when I noodle a ukulele and guitar, but I didn't know they all had names or tied together like that. You've sir have earned a subscriber
Can I just say I'm a guitarist and I've watched multiple guitar videos explaining modes and this video, a piano one 😂, just made me completely understand the foundation of the modes so thank you so much!
I have watched 100 mode videos. None helped. You, sir, are a god send of a teacher.
The songs Forty Six and 2 and The Pot by the band Tool both use the Locrian and Phrygian modes, and it sounds awesome.
You are the only one that made me realize what a mode really is, thank U so much Michael
I was shown to form the modes by mapping out the whole and half steps for each mode starting on the tonic and only including the naturals. Then I learned on my own to take two circle of fifths one in side the other then rotate the center circle so the desired tonic is at top, then rotate the outer to the letter of the mode such so the letter is at top such as d for Dorian or e for Phrygian, then just look at the c on the outer ring find the letter that is at that position on the inner circle so this will always give you the key to play in. Also look at how the positions show! Very cool!
You should write a book on music theory! One of the easiest to follow and best videos I have watched on theory..
I'm really enjoying your videos Michael... You've got a natural gift for teaching! Cheers
Fantastic! You're helping me eradicate(almost) the frustration of making electronic music. Fun to write a song before even making the synth.
This is THE BEST modes video i've ever watched, and i've seen a looot. Thanks duude!
Really enjoying your lessons... and I'm a supporter :D Just wondering if you could do a lesson on when and how to use augmented and diminished chords. Thanks!!
+Keith Selbee Hey, thanks for supporting :) I think that would be a good topic, maybe alongside something about diminished and augmented scales. I'll definitely put that on the list.
hey michael, i have a slight question. When you say that the locrian mode and the phrygian mode are not used very often, that confuses me by the fact that say for example the phrygian mode starting at E is the C major key. Locrian mode starting at B is also the same thing, just a C major key. I know you say to avoid C major key in the next video, as i've already watched it, this is me coming back and using it as an easy representation. the main point here is that in technicality when i play something in G major key per say, i'm also playing all of the other modes for one note or another, thus they truly don't change much, do they not? you can change your music by rooting it around a different note, (playing in G major key but maybe using D as my main note) which might make writing in a mode a good representation to see. But besides that, is it truly anything more than a representation of another key in a different order?
Thanks for reading all that if you did... i probably didn't phrase some of that very well XD
This is probably a good video to watch to help understand the difference: ruclips.net/video/UcviIQg_BlU/видео.html
The important part is that there's a huge difference between (in C major), making the C your root note vs making the B your root note. It changes everything about the way those notes work, what chords you use, how your melodies behave, and so on.
I am primarily a guitarist and Dorian is one of my favorite modes because it basically allows me to extend the scale up on the neck of the guitar and allows a major extension of the Major and Minor scales.
Thank you for explaining this! I have been learning piano on my own for almost a yr now. I had a hard time grasping modes! Your videos have been helpful for me during my journey, esp for someone without a teacher. 😁
I've been exploring modes on my bass (guitar) for the past month or so, this video couldn't have been timed any better. As every video, very helpful :).
You're the best teacher, man. Love your material and I've learned so many things I've always wondered. :)
Dude, watched a number of your videos on theory and you really nail it. Awesome work 🙌 thank you 🙏
Best explanation of the modes I've seen yet.
Wow so so clear. Great video!!! Seriously appreciate the clear and conciseness of your content!!
This was my first lesson of modes and damn there is so much understanding just got it 15mins, thanks alot, huge love man ❤️
this is the best explanation on modes i've come across
Your tutorials are pure gold. I've seen paid courses much worse than this. Congrats for such an amazing thing you have done
cool :) really great lesson! i knew before how to build modes, but hadn't really an understanding of how they really work und sound. thank you very much
Thank you! You're the best teacher
Great videos! I love what your doing. I know a few things but I always still got confused on just the basics. Past explanations were always so baffling. Can't wait till the next video.
This was the best and easiest to understand lesson on modes. Thank you.
Thank you. This has helped me to learn the theory of modes. I'm just digging away at what modes are about before I apply them to the guitar.
Just before this I watched another video on modes. One public comment showed the there are other ways of thinking of the Phrygian scale. A man from Turkey commented that when he hears the Phrygian scale inks “now that is music.” His ear was raised on Eastern rather than Western music, and therefore the Phrygian appeals to him. It is cultural, and different from Western ear development. Just proves that what sounds good, as in what tastes good, is cultural, and not innate to all listeners.
sir.. you are such a great teacher.. wow.. best explanation ever..
Thank you. So helpful. Simple but conveys all the important ideas.
Best explanation ever， I finally have a clue on modes. Thank you so much!!!
wow man that's so great , i finally learned what made hardstyle melodies sound that good, seems like they use a lot of lydian mode , thank you so much
One of the first melodies i wrote for vocals was using phrygian mode, though, this was just by ear. I had very little understanding of music theory and I wanted to figure out what else I could play to accompany the melody, and now I'm here =) Metro boomin uses phrygian mode a lot in his beats, so as far as western music goes its useful in trap/hip hop. Thanks for the lesson!
He Michael, the Dorian mode is simply the the scale of the note minus one..........e.g. G doriian is F-major starting on G; D Dorian is C major starting on D. This also goes for the Lydian and the Myxolydian mode....If you know your Cycle of Fifths...the Lydian refers to starting on the fourth, the C -note, while the Myxoly...refers to starting on the Fifth...the D-note.
The best way to use modes I found is to turn them teratonic. Use 4 note. Root note obviously as 1 . Then experiment until you find the combination of extra notes that actually does something good. It's like trimming off the fat and it really has an effect. Then each teratonic shape from the major and minor scale modes has a unique sounds. Obviously the difference between major and minor is that one note, so include that when chosen notes, unless the note is the roots, then find a unique pattern/sound.
This just made modes click for me. Thank you for the wonderful explanation!