I'm no music theory expert, which is why I always appreciate how clearly you explain and demonstrate all these things about tones, scales, and whatnot in your videos. It never feels condescending or overbearing, and I always come away learning something new!
Agreed. So many people describe modes like “you play all the white keys, but start on a different key and that’s a mode”, and that makes it so much more confusing. Like, okay? How do I apply that to other keys, though? What makes the modes different from a major/minor key other than starting on a different white key?
@drakonisasmrtist9471 the worst is when people disregard modes because thats all they believe it to be. If that was the case, why bother with these weird forgein sounding terms rather than simply numbered positions of a scale?
Never in a million years did I expect the Zoombinis to show up in one of these. They did make it to at least one part of the UK in the mid-00s (not even in school, I think I got them as a Christmas present from my grandparents at some point), but I played the two sequels more.
I'm Canadian, and I remember playing this game on my grade 5 classroom computer whenever I could. Too bad it took a long time for the computer and the game to boot up, so I actually barely got any time at all to play. I'm so glad I know it's name now though!
I agree, always loved gerudo valley in Zelda oot, I’m aware it’s “spaghetti western” but it think it has that passionate, mysterious flavour you speak of.
@@10freekie2 the most popular term for it is "Phrygian dominant", but meh, this term is piece of shit in terms of music theory (Phrygian with raised 3rd? Excuse me, if 3rd is sharp - forget about word "Phrygian". And what does "dominant" means in this context? Literally nothing lol) Flamenco musicians call it "Dorico Flamenco mode" Jews call it "Freygish" or "Ahava rabbah" In Russian music theory we call it just "Jewish scale" or "dominant mode", because in some cases 1rd degree of this mode can sound like 5th ("dominant") degree of relative harmonic minor (yes, relative, because this mode is the 5th mode of harmonic minor), or "dominant mode type 1" (because type 2 is the 5th mode of double harmonic minor - so called "Gypsy scale") This shit is genius, it basically combines tonality (dominant is a function, and it can really sound and feel like the dominant of harmonic minor) and modality (like I said before, it's the 5th mode of harmonic minor)
You could genuinely make a full video about how phrygian defines the Pokemon battle sound (especially in Gen I). While the OSTs across the series vary significantly, the ways phrygian is used remains fairly consistent in a way that lets you know you're playing a Pokemon game.
from what I can tell, the elite for theme for scarlet/violet is written in E phrygian, with a brief stint in Bb major. so add one more pokemon battle phyrgian theme to the tally
I have seen some review channels talk about it an am always happy for more respact for it Brutalmoose wearing Zoombini makeup an nose while having ZOOMBINI yelled at me is my life
Phrygian mode must be why I was so freaked out by Zoombinis as a kid. My memories of the game are foggy at best but always have a sense of dread along with them, like it was some terrifying game where I got all the zoombinis killed or something.
That interplay in Hollow Bastion is such genius. The fact that it is full of wonder and curiosity, but with no room for doubt in the darkness and danger that lies there. It's very much part of what made Kingdom Hearts feel like an adventure, in the most pure form. And especially in a world not readily familiar to us.
Yes I loved the Hollow Bastion theme so much. The imminent encounter with Malefocent in the majestic backdrop of the bastion. Imposing beauty sonically looming as we scale the tower to rescue our friends. Such a rich series of moments for me in my gaming history.
I could be wrong, but I see some similarities between Hollow Bastion and Bonnie Tyler's "Total Eclipse of the Heart". It could be the use of relative major and minor.
I always felt the Red Brinstar theme to be extremely peaceful. You're descending deeper into the planet at that point, and the music and environment make you feel like you're being enveloped by something unfathomably larger than you, like some sort of cosmic womb. But it's not ominous. It's comforting. You feel you can relax and let the planet take care of you. It also helps that the enemies here are sparse and unthreatening, more like wildlife than anything. I sometimes put an extended version of it on when I need to relax; that or the amazing remix of it in Prime 2.
The Prime 2 version is peaceful, but I never got that from Super Metroid's Lower Brinstar. For me, it's the point where the game actually starts to get hard, and the chords underneath sound incredibly ominous to me.
I was actually thinking the same, it never really felt threatening to me either. Maybe kinda isolating, like you sort of realize that you're starting to descend further from your ship on the surface, but i wouldn't say there's necessarily an accompanying sense of danger. In fact i'd say that when it plays in Dread, it kinda does the opposite and sorta lulls you into a sense of letting your guard down and sets you up beautifully for the okie doke.
“Threatening” is a good description for Phrygian as it’s usually used: I remember a lot of 90s techno would use Phrygian riffs to indicate that it was proper hard, compared to fluffy house music. But as you say, it can take on some slightly less foreboding qualities depending upon context and instrumentation. In Brian Eno’s “Neroli: thinking music part IV”, the tentative rubato runs up and down the Phrygian scale feel much more pensive than threatening, to create a feeling that’s definitely ambient but not all sweetness and light.
Lots of pop and folk music from Southern Europe/North Africa is in Phrygian. Definitely nothing threatening in such songs. I can even remember a children song, called ïn my language "My dear mother" that is Phrygian
Yeah it may be my synaesthete brain but especially when I hear the Rameses portion of the Overture in The Ten Commandments, it just has the brainfeel of an impossibly large army marching toward you, or the erecting of an absurdly large monument to a king or a God/dess, or even arguably some of the more "panicky" chords that you see in math rock/mathcore or even jazz, and such that just feel more "stabby" and manic in a musical context. I'm not sure if science will ever be able to explain exactly why music makes us invoke these kind of physical and emotional reactions that should be incongruent to what we are merely hearing, but that's why brains are fascinating.
Huh. Apparently I've been writing in Phrygian like a LOT as I've started writing hardcore and horror punk bass parts. I don't know much music theory so I just thought it was "minor with a few extra spicy notes" but looking back, the notes I've added and replaced line up perfectly with Phrygian. Really shows how ingrained these feelings are in the cultural consciousness ig lmao. Great video! Glad to have the information to go forwards with more conscious intention now!
Same as for me I have been using this mode to come up with resonating sounds on depressive moody music in piano But I had no idea that I was playing with Phrygian mode
I have been thinking about the original trainer battle music from Pokémon recently. It's so great!!!! I noticed the use of the flat second throughout but I didn't realize that it might have a connection to the Phrygian mode. I simply thought it was a neat modulation trick to create intensity in the piece. I can't express how amazing of a theme it is, and how well it does its job! It is not only harmonically interesting, it is very melodic and memorable, as well as being very fast-paced, with much chromaticism. It is absolutely phenomenal! I also love how you pointed out that in "Those Who Fight", from Final Fantasy VII, the natural minor section sounds almost hopeful in comparison to the previous Phrygian section. I have always thought the same. That was really cool to have an insight as to why that is the case. Thanks for the wonderful video!
Super stoked to hear that someone else has played Zoombinis before-I’m not Canadian, but I did play it as a kid. I did want to add that after studying some Balinese Gamelan music in college, I started to think that the main Zoombini theme might be inspired by one of the main Gamelan modes-it’s sort of a Phrygian version of a pentatonic scale (think mi-fa-so-ti-do), and the Zoombini theme emphasizes those particular notes of the mode.
I an SO glad you mentioned Zoombinis! It was an integral part of my childhood that got me hooked on puzzles and the music was so mesmerizing. I too noticed the phrygian nature while studying on the piano not long ago. Imagine my surprise when the exact same combination of topics showed up on your channel. I feel seen!
I'm 38. Chrono Trigger has been my favorite video game since I was 11. I majored in music theory, and it was then that I learned what the modes were, and fell in love with Phrygian. Now... I understand so much of why.
Actually, there are TONS of uses of the Phrygian scale in Pokémon. Every gym leader theme uses it in some form except for SV, which is minor but doesn't use the second note in the scale at all in it's non-ace phase, so it could be Phrygian. GSC's theme (my personal favorite) in particular uses it throughout the entire song. Just about every legendary theme uses it as well, as well as some victory road themes (shout out for RSE for being awesome, part of which is the Phrygian scale use in it) And don't forget Lower Norfair from Super Metroid, Kefka's Tower from FFVI and You Will Know Our Names from XC1 who use the scale as well.
I believe when I was learning Cyrus’ theme during a guitar lesson it was explained to me as mixolydian, and it’s one of, if not my favorite Pokémon themes. I remember being a kid and being in absolute terror while I was just figuring out type matchups and getting my ass whooped to this theme. That rising scale was really something else that I haven’t quite heard before or since. I’d love to hear an in depth video on the music theory behind all of gen IV’s themes.
Phrygian is also an amazing mode for writing thrash metal riffs. And Phrygian Dominant is just an awesome scale to shred over. Why yes, I *am* a huge fan of James Hetfield and Ritchie Blackmore! What made you ask?
The Phrygian Dominant scale (or very similar, or scales with the same notes but different motivation) also gets used all over the Middle East, in klezmer music (because you can absolutely shred on violin, clarinet, etc.), and all over jazz.
The fact that I'm over halfway through this video and haven't heard E1M1 from Doom as an example makes me kinda sad, ngl. It's possibly the most iconic example. Even people who have never played doom recognize that song
My favorite element of Phrygrian mode is the Neapolitan chord when playing in minor. Gives the thing a mysterious and confusing element, especially when it's used to move to the V and you get the jarring tritone movement of the chord's root.
The "Altered Scale" for use over dominant chords uses a lot of Phrygian energy to increase tension. When I was learning jazz stuff and there was all this mystery around "Altered" dominant chords, just learning about Phrygian Dominant and really banging on that flat 2nd helped illuminate it a lot.
It sounds more like 90s EDM. The first three notes of the melody are D Eb G, the last note is F. Play a G minor chord for most of the melody, and then when the melody gets to F, play an F minor chord.
That Phrygian zoombinis melodic cell, when played as D Eb G A, is one of the leitmotifs from Avatar the last air bender series! Plays when something mysterious and bad is happening 🤩
Realizing that these songs share the same mode and hearing them back to back, it kinda gives me ideas for an arrangment mashing up Those who Fight, Battle with Magus, and Red Soil...
I've always thought it was really cool that a mode as dark as the Frigian one is right next to Lydian, the brightest mode there is. It makes for a really cool atmosphere when you cicle between the two in a chord vamp, a perfect example being the red Brinstar theme from Super Metroid. Both modes complement each other really well, with Lydian adding a sense of calmness to Frigian, and Frigian adding a somber seriousness to Lydian.
Never would I have expected Zoombinis to show up in one of your videos! I love this game to pieces and still play it on my phone from time to time. I remember it being very hard as a kid (it's sometimes really hard as an adult, too!) but I really loved it a lot, you could tell that every part of it was done with skill and love. I always like listening to your videos, I learn something new every time
I was so surprised seeing Zoombinis...I loved playing that game as a kid! Love your videos as always, so educational and making me want to study music as a hobby
The Phrygian is my favorite!!! It's not threatening if used correctly. It can be really sad and somber too. It's a commonly used raga in Indian music, Bhairavi. Edit: I think the tonic sus4 working so well is similar how in Indian theory, the 4th scale degree is the strong note. The tonic is the second-strongest.
Interesting. If the 4th degree of phrygian is the strongest melodic resolution, you're actually resolving to aeolian in terms of Western framing. Think of playing E phrygian and resolving to A.
@@MadassAlex it has that pull for the same reason that the a minor scale likes to end on a half cadence in e major Phrygian: I - iv - I minor: V - i- V Basically the modes aren't real. E phrygian and a minor are the same thing. The reason it wants to pull to the fourth is because the fourth is the tonic and you're starting a melody on the dominant and pretending that is the tonic. They're all the same cadences and voiceleadings, they're just different perspectives. E Phrygian is just a half cadence in a minor.
@@MadassAlex it's not the strongest note of resolution, but it's a strong melodic note that helps bring out the mood of the mode. The tonic is still the strongest note to which to resolve.
Love how these vids make me revisit and recontextualize songs I’ve heard dozens of times (and plenty I’ve never heard) with one of my favorite music theory rabbit holes in mind. This is optimal RUclips right here!
Wayne Shorter uses the i bII progression in a lot of his tunes like Deluge and Speak No Evil, playing the i minor pentatonic on top of the bII gives all the juicy notes
The balance of theory and application for this series is awesome! I've used these modes intuitively and this gives so much inspiration for how to approach it with intention and make even better stuff. Also, zoombinis forever.
Love seeing Kingdom Hearts representation in an 8-Bit Music Theory video! Another great phrygian example from the series is Dread of Night (Anti-Black Coat Nightmare boss theme). It sits on a i-bvii vamp that really captures the (literally) nightmarish essence of the boss and exemplifies the "threatening" side of phrygian. There's also Sinister Shadows (1000 Heartless Battle) which, like Hollow Bastion (where the fight actually takes place) has a section where it trades off between bII and i. While a less "threatening" example, the bII unsettles you after an initial i-iv vamp and lets you know the battle is serious.
I just discovered this channel today! A recent example that comes to my mind right away is from one of Elden Ring's possibly best songs, Rennala, Queen of the Moon's theme - there are some really restless, ominous, gorgeously intense, curious textures in there, with Phrygian structures around what feels like iiø7/iv and V42/VI (among possible interpretations) that seem to be extended questions without answers, all looking for resolution before a return of the dominant C and uplifting Db while still refusing to grant the listener any peace of mind and tonal rest. Very effective.
The bII chord is also known as “Neapolitan” in classical music. I personally guide “Neapolitan” as the name for the tone system based on ninths because the “Neapolitan sixth” structure is a common resting chord in harmony within it.
This is the mode that got me interested in modes in the first place. It's so unique and easy to identify, you really can tell when something is Phrygian.
The good part in this is that we are in 2022, Covid has kind of moved on a little bit even though not fully, it's there lurking, eventually catching a fellow or two, such a stinker it is... But in this crappy reality it's good to know that there are still people enthusiastic about creativity, people who love the gems of the old pixel artsy games, people who value content over newly served stuff. This channel is kind of an oldie already. But you know what they say... oldie, but goldie. Great content to watch here on a regular basis.
In the US the 1.0 version of the game was called "The Logical Journey of the Zoombinis" and my memory of both the graphics and sound were significantly lower quality than what I saw here. A quick google seems to indicate that Canada got a v2 called "Zoombinis: A Logical Journey" about 5 years later, and then another modern remake was made in 2015.
It's fun to not be scolded for having music theory taught to me for once. There are so many cases of "It just is that way, don't think about it" in my musical life I'm glad someone at least speaks to me as an equal and not as an unruly child. Music teachers and experts, learn from this man!
RUclips randomly brought me here from other videos about video games. I had to walk back and make a comment when you mentioned Zoombinis. Zoombinis was used in some American elementary schools in the mid to late 90s. It was one of my favorite games. I thought no one else was aware of it, given that I was in a very small area in the middle of nowhere surrounded by forests, kind of by Canada (Upper penisula of michigan). Happy to hear of other people who enjoyed it!
The best boss themes are always in phrygian. Maybe because I constantly died in boss battles as a kid and had to hear the boss theme over and over, they became the most memorable vidrogame music to me :)
Thanks for the explanation of Phrygian usage! I had lots of fun watching it. I had no idea 'till now that Battle With Magus used it. I also wanted to tell you that the ♭II in is so popular in western music theory that it has a name: The Neopolitan chord. Thanks again for the video! I am loving the mode series.
I love your series talking about different modes, it's been really fun seeing all the different ways different modes tend to be used commonly, and its variety of uses. Also, any time you check out the pokemon series, it's always fun to see what makes those games tick, and what formula they use to make their sound.
I love your modal videos, and just seeing the different creative ways composers go to generate a certain mood in video games is always inspiring to me. I went from not knowing jack about musical terms to lightly understanding them purely from watching your mode videos. Again, I really love these videos (I wanted to comment how much I enjoyed these modal videos in your last 2 ones, but pppffft) and personally I wish you could include more songs in your videos (though I know why this isn't necessarily possible.) And it's great to see the Zoombinis once again ^^
I know that the way we experience the emotional impact of modes and chord relations is highly subjective, but I think it's worth mentioning that where you are from and what you are used to hearing changes a lot. For example, I get that phrygian mode is often threatening because of the b2 tension with the tonic note but for me it also can sound heroic or romantic, depending on contexts. I'm polish, which means that I am legally required to like Chopin and other romantic era composers (plus a lot of folk music), and when encountering phrygian sound I have to consciously choose how it suppose to sound. Like, does music tell me how dangerous a boss I'm fighting is or is it a big main character being brave moment. As I'm writing this I realized that it seems to be the same thing, but the difference is between feeling scared and being like "hell yeah, I can do this!"
Can we please get a "part 2" of the odd time signatures video? I really enjoy odd time signatures in general and my personal favorite is how every track that plays during the horde/zombies mode Salmon Run in Splatoon 2 and 3 are in odd time signatures in some manner, highlighting the chaos of the mode. Special shoutouts to "Chaos Carnival" the new one which works by adding one more beat to the time signature each bar.
Ah! I vaguely remembered playing a stressful game during computer class in elementary school where you had to get several blue circular creatures through several dangerous obstacles, and that losing too many (maybe even just one?) would result in not being able to progress. For the life of me I could never remember what it was called, but I'm like 99% sure you just so happened to bring it up in this video! Thanks for bringing up Zoombinis, and for the excellent analyses as per usual.
I was so sure you'd mention Zanza's battle music from Xeno 1! It's simple but effective, uses a lot of the tricks you showed here Wouldn't be surprised if other instances of phrygian hid somewhere else in the soundtrack hinting at Zanza, a bit like (spoilers incoming!!!!!!!!!!!) the "Memories" theme plays in Alcamoth's main theme, until it becomes... well... a memory
Thanks to this video I finally understood why, even if modes are found in a scale by changing starter point, they are taken separatly, they share the same kinda sound for every phrygian in every scales ! Playing the C phrygian (which is by playing the A flat scale starting from C) actually have the same sound that when you play from E to E in the C scale. It's like answering the question : how to play the E to E sound from the C scale but by starting from C? Now I get it (sorry I had to write this to put words in my epiphany)
Just think of them as alternate scales that are starting from different notes of the major (Ionian) scale. Think of C Major, but start from the third note of that scale E, and then end the scale when you get to the next octave above an E (also an E.) There you have your E Phrygian scale. You can scale it up or down with every other key from there.
Another, related way to think about modes is to think in terms of the tonic chord. So if you resolved to the E minor chord in a C major scale, then you would be using the Phrygian mode. If you resolved to the A minor chord you would be using Aeolian, etc.
The Super Metroid Brinstar Red Soil Wetlands theme has always been my favorite example of how the music in Super Metroid emphasizes the sense of isolation and exploration of an alien world that the game elicits.
You unlocked such a good memory of my childhood. I have not thought about zoombinis in ages! Thank you so much for that. And it wasn't just Canada that played that game.
Could you possibly do videos on the dominant mode scales too? Phrygian Dominant for example has some really interesting uses in Video Games, biggest example that comes to mind is Dusty Dune Galaxy.
A very credible song is Mirror Mirror by Jeff Williams. The entire song is written in Phrygian and even the singer, Casey Lee Williams, sings a vocal riff in Phrygian, which is really impressive, especially considering the fact that she was 14 at the time.
DUDE! ZOOMBINIS WAS A F*CKING BLAST! DIDN'T EXPECT THAT! It was the best game to play at computer class when I was on elementary school! (And I'm from Chile)
It blows my mind to realize that this mode, COMPLETELY unembellished in the Magus theme makes up one of my oldest favorite pieces of music. Add to that how it is part of almost every one of my favorite childhood games and I can’t believe I never knew! Thank you so much for this new video!!! I always love coming back to your channel to enjoy some more insight into my favorite music.
the zoombins theme reminds me of ethiopian scales or balinese scales which are pentatonic ! 1 2b b3 5 6b check this scale out its one of my favourites!
This scale doesn't sound frightening to me though. You're playing instruments that are grating and trumpety so it sounds a bit frightening, there's that, but I think you're thinking of a phrygian with no _flat 3rd._ That's frightening, but the regular phrygian sounds extremely impersonal/unfamilar and a bit threatening, but not frightening.
This is so close to opening the can of worms that is Neapolitan chords and idk if everyone is ready for that. Also thanks for hinting at hexatonic at the end! Hexatonic and Phrygian tend to get confused a lot
The zoombinis reference brought back a part of my childhood I completely forgot about. We used to have that game on the school computers when I was in elementary school in Washington in the early 2000s
yoooo we got 8-bit Music Theory talkin about For The Frog The Bell Tolls :O I've never heard a stronger example of leitmotif than that soundtrack, it really, REALLY spams that six-note figure love these videos!
Watching this made me realise just how many of my absolute most favourite themes from video game music use the Phrygian mode. The best themes from Kingdom Hearts, Chrono Trigger, Pokémon, and Final Fantasy... all my favourite themes from these games is on this mode. For anyone else who loves these themes, there are some great orchestral arrangements on an album called 'Symphonic Fantasies Tokyo' you can find it on Spotify or RUclips - they make this amazing music even more epic! I especially like IV: Final Fantasy
It's so weird! I'm currently reading a gigantic book called "1001 Video Games You Must Play Before You Die" and I just got to a blurb about Zoombinis the other day, and had never heard of this game before then. And now you mention it. Frequency Illusion at its finest! I bet I'll be seeing this game everywhere now.
The Zoombinis melody you feature opens up very similar to a Gojira song, Flying Whales Thanks forr helping me understand that song a little beer,. Love the video!
One of my favorite videos you've ever done. I LOVE using Phrygian for anything that should feel tense in a way that isn't obvious, and doesn't settle the tension in a way you expect, if ever even after resolving. Fantastic lesson and great analysis.
I always appreciate the all-encompassing range of games and platforms discussed with videos like this on your channel, from early NES & Game Boy to modern titles! I really enjoy the mix of popular games with more obscure ones as well. For the Frog the Bell Tolls was a nice surprise, and it was neat learning about a game I've never heard about with Zoombinis 😄
Phrygian is probably my favorite mode ever, so happy you covered this and am loving these examples. So much inspiration in this video. Also how the hell does the music from that weird childrens flash game go so hard? It has absolutely no reason to go that hard lmao
Tomb Raider III's recurring "Meteorite Impact" leitmotif (some variations of which resemble the Jaws theme) also makes excellent use of the Phrygian (sometimes dominant) scale. Other honorable mentions are the intro of "Palace of Destruction", "Beat of the Terror" (Abandoned Mine) and the boss themes("Holders of Power", "Chase of Shadow", "Final Battle", "Protectors", "Over Drive", "Termination") from Ys I and II, "Heat Wave" from Bionic Commando(plays in the game's more difficult levels), "Hyrule Castle" from The Legend of Zelda: A Link To The Past, "Pyramid/Marahna" from ActRaiser"(alongside Lydian #2), "Lower Norfair/Magmoor Caverns" from Super Metroid and Metroid Prime, "Dance of Illusions" from the final battle of Castlevania: Rondo of Blood and the prologue of Castlevania: Symphony of the Night, the Spirit Temple, Ganondorf Battle, and Final Battle themes from The Legend of Zelda: Ocarina of Time, many of the action/danger themes in the Syphon Filter series (sometimes dipping into Locrian mode), the River of Souls theme from Turok 2: Seeds of Evil, "Faith" from Ikaruga's Chapter 3, where the difficulty ramps up in earnest, "Lament For Pvt. Jenkins" from Halo: Combat Evolved(plays just before encountering the Flood), and a sizable portion of the Halo: Reach soundtrack(e.g. "The Fall", "Lone Wolf", "Noble Mission", "Unreconciled", "Ashes"), exemplifying the story's darker tone. A notable use of the mode in a melancholy rather than threatening situation is the Sunken Glades theme from Ori and the Blind Forest.
I'm no music theory expert, which is why I always appreciate how clearly you explain and demonstrate all these things about tones, scales, and whatnot in your videos. It never feels condescending or overbearing, and I always come away learning something new!
Agreed. So many people describe modes like “you play all the white keys, but start on a different key and that’s a mode”, and that makes it so much more confusing. Like, okay? How do I apply that to other keys, though? What makes the modes different from a major/minor key other than starting on a different white key?
@drakonisasmrtist9471 the worst is when people disregard modes because thats all they believe it to be. If that was the case, why bother with these weird forgein sounding terms rather than simply numbered positions of a scale?
Yup. One of the best on youtube for making music theory accessible
Never in a million years did I expect the Zoombinis to show up in one of these. They did make it to at least one part of the UK in the mid-00s (not even in school, I think I got them as a Christmas present from my grandparents at some point), but I played the two sequels more.
I can say it made it to the primary school computer labs of Australia about 2 decades ago, alongside kid pix.
American here. They made it here as well.
I freaking loved Zoombinis!
I'm Canadian, and I remember playing this game on my grade 5 classroom computer whenever I could. Too bad it took a long time for the computer and the game to boot up, so I actually barely got any time at all to play. I'm so glad I know it's name now though!
The first game is currently on Steam, but the two sequels seem to have fallen by the wayside as abandonware.
As a Spaniard, Phrygian to me is about deep passions & feelings, mystery, not threat :D my favourite mode by far. It's awesome
I agree, always loved gerudo valley in Zelda oot, I’m aware it’s “spaghetti western” but it think it has that passionate, mysterious flavour you speak of.
Absolutely. The Phrygian mode is best!
Yeah flamenco uses it too right! But with sharpened 3
It's crazy to see how cultures influence our way of interpreting music
@@10freekie2 the most popular term for it is "Phrygian dominant", but meh, this term is piece of shit in terms of music theory (Phrygian with raised 3rd? Excuse me, if 3rd is sharp - forget about word "Phrygian". And what does "dominant" means in this context? Literally nothing lol)
Flamenco musicians call it "Dorico Flamenco mode"
Jews call it "Freygish" or "Ahava rabbah"
In Russian music theory we call it just "Jewish scale" or "dominant mode", because in some cases 1rd degree of this mode can sound like 5th ("dominant") degree of relative harmonic minor (yes, relative, because this mode is the 5th mode of harmonic minor), or "dominant mode type 1" (because type 2 is the 5th mode of double harmonic minor - so called "Gypsy scale")
This shit is genius, it basically combines tonality (dominant is a function, and it can really sound and feel like the dominant of harmonic minor) and modality (like I said before, it's the 5th mode of harmonic minor)
You could genuinely make a full video about how phrygian defines the Pokemon battle sound (especially in Gen I). While the OSTs across the series vary significantly, the ways phrygian is used remains fairly consistent in a way that lets you know you're playing a Pokemon game.
was thinking the same thing!
He already made two videos about Pokemon Gen 1 and 2 music, including one about the battle themes. Not sure if those are what you're looking for.
from what I can tell, the elite for theme for scarlet/violet is written in E phrygian, with a brief stint in Bb major. so add one more pokemon battle phyrgian theme to the tally
Reminds me of how almost all the Mario Kart Rainbow Roads across the series are defined by opening with the Lydian I and II chords
that´d be awesome
The mention of Zoombinis unlocked a memory that was lodged WAY deep in there, and now I’m feeling things about it.
Seriously, the game would not have crossed my mind for the rest of life without that prompt.
I have seen some review channels talk about it an am always happy for more respact for it
Brutalmoose wearing Zoombini makeup an nose while having ZOOMBINI yelled at me is my life
Same here. I forgot the name of the game and think about it all the time.
Sexual tension for zoombinis? Get a grip, dude.
Same. That's so strange how memory works
Phrygian mode must be why I was so freaked out by Zoombinis as a kid. My memories of the game are foggy at best but always have a sense of dread along with them, like it was some terrifying game where I got all the zoombinis killed or something.
They were really weird looking too.
Zoombinis gave me nightmares as a kid and the music was the cause.
Now that i think of it, I remember being scared of the phygian scale as a kid. There were other songs i vaguely remember. Lol
That interplay in Hollow Bastion is such genius. The fact that it is full of wonder and curiosity, but with no room for doubt in the darkness and danger that lies there. It's very much part of what made Kingdom Hearts feel like an adventure, in the most pure form. And especially in a world not readily familiar to us.
such a masterpiece.
Phrygian mode + 5/4= Hollow Bastion.
Yes I loved the Hollow Bastion theme so much. The imminent encounter with Malefocent in the majestic backdrop of the bastion. Imposing beauty sonically looming as we scale the tower to rescue our friends. Such a rich series of moments for me in my gaming history.
I could be wrong, but I see some similarities between Hollow Bastion and Bonnie Tyler's "Total Eclipse of the Heart". It could be the use of relative major and minor.
I always felt the Red Brinstar theme to be extremely peaceful. You're descending deeper into the planet at that point, and the music and environment make you feel like you're being enveloped by something unfathomably larger than you, like some sort of cosmic womb.
But it's not ominous. It's comforting. You feel you can relax and let the planet take care of you. It also helps that the enemies here are sparse and unthreatening, more like wildlife than anything.
I sometimes put an extended version of it on when I need to relax; that or the amazing remix of it in Prime 2.
The Prime 2 version is peaceful, but I never got that from Super Metroid's Lower Brinstar. For me, it's the point where the game actually starts to get hard, and the chords underneath sound incredibly ominous to me.
I was actually thinking the same, it never really felt threatening to me either. Maybe kinda isolating, like you sort of realize that you're starting to descend further from your ship on the surface, but i wouldn't say there's necessarily an accompanying sense of danger.
In fact i'd say that when it plays in Dread, it kinda does the opposite and sorta lulls you into a sense of letting your guard down and sets you up beautifully for the okie doke.
No real disagreement, though it's still dark, and the 7/8 time makes it feel off.
Meanwhile, Prime 1 has the deepest part of its world having an awesome electronica beat.
That's why all villains feel spanish, I see.
“Threatening” is a good description for Phrygian as it’s usually used: I remember a lot of 90s techno would use Phrygian riffs to indicate that it was proper hard, compared to fluffy house music. But as you say, it can take on some slightly less foreboding qualities depending upon context and instrumentation. In Brian Eno’s “Neroli: thinking music part IV”, the tentative rubato runs up and down the Phrygian scale feel much more pensive than threatening, to create a feeling that’s definitely ambient but not all sweetness and light.
I would like to see an analysis video on Prodigy riffs, lot of phrygian there
Lots of pop and folk music from Southern Europe/North Africa is in Phrygian. Definitely nothing threatening in such songs. I can even remember a children song, called ïn my language "My dear mother" that is Phrygian
I was utterly unprepared for Zoombinis to make an appearance in an 8-bit music theory video. You have unlocked so many core memories today!
I always felt "Strength" or "Power" may be more fitting for Phrygian than an explicitly "Evil" or "Dangerous" sense. Lovely analysis
Yeah it may be my synaesthete brain but especially when I hear the Rameses portion of the Overture in The Ten Commandments, it just has the brainfeel of an impossibly large army marching toward you, or the erecting of an absurdly large monument to a king or a God/dess, or even arguably some of the more "panicky" chords that you see in math rock/mathcore or even jazz, and such that just feel more "stabby" and manic in a musical context. I'm not sure if science will ever be able to explain exactly why music makes us invoke these kind of physical and emotional reactions that should be incongruent to what we are merely hearing, but that's why brains are fascinating.
Huh. Apparently I've been writing in Phrygian like a LOT as I've started writing hardcore and horror punk bass parts. I don't know much music theory so I just thought it was "minor with a few extra spicy notes" but looking back, the notes I've added and replaced line up perfectly with Phrygian. Really shows how ingrained these feelings are in the cultural consciousness ig lmao.
Great video! Glad to have the information to go forwards with more conscious intention now!
Same as for me
I have been using this mode to come up with resonating sounds on depressive moody music in piano
But I had no idea that I was playing with Phrygian mode
I have been thinking about the original trainer battle music from Pokémon recently. It's so great!!!! I noticed the use of the flat second throughout but I didn't realize that it might have a connection to the Phrygian mode. I simply thought it was a neat modulation trick to create intensity in the piece. I can't express how amazing of a theme it is, and how well it does its job! It is not only harmonically interesting, it is very melodic and memorable, as well as being very fast-paced, with much chromaticism. It is absolutely phenomenal!
I also love how you pointed out that in "Those Who Fight", from Final Fantasy VII, the natural minor section sounds almost hopeful in comparison to the previous Phrygian section. I have always thought the same. That was really cool to have an insight as to why that is the case. Thanks for the wonderful video!
Super stoked to hear that someone else has played Zoombinis before-I’m not Canadian, but I did play it as a kid.
I did want to add that after studying some Balinese Gamelan music in college, I started to think that the main Zoombini theme might be inspired by one of the main Gamelan modes-it’s sort of a Phrygian version of a pentatonic scale (think mi-fa-so-ti-do), and the Zoombini theme emphasizes those particular notes of the mode.
I an SO glad you mentioned Zoombinis! It was an integral part of my childhood that got me hooked on puzzles and the music was so mesmerizing. I too noticed the phrygian nature while studying on the piano not long ago. Imagine my surprise when the exact same combination of topics showed up on your channel. I feel seen!
I'm 38. Chrono Trigger has been my favorite video game since I was 11. I majored in music theory, and it was then that I learned what the modes were, and fell in love with Phrygian.
Now... I understand so much of why.
Actually, there are TONS of uses of the Phrygian scale in Pokémon. Every gym leader theme uses it in some form except for SV, which is minor but doesn't use the second note in the scale at all in it's non-ace phase, so it could be Phrygian. GSC's theme (my personal favorite) in particular uses it throughout the entire song.
Just about every legendary theme uses it as well, as well as some victory road themes (shout out for RSE for being awesome, part of which is the Phrygian scale use in it)
And don't forget Lower Norfair from Super Metroid, Kefka's Tower from FFVI and You Will Know Our Names from XC1 who use the scale as well.
I believe when I was learning Cyrus’ theme during a guitar lesson it was explained to me as mixolydian, and it’s one of, if not my favorite Pokémon themes. I remember being a kid and being in absolute terror while I was just figuring out type matchups and getting my ass whooped to this theme. That rising scale was really something else that I haven’t quite heard before or since. I’d love to hear an in depth video on the music theory behind all of gen IV’s themes.
I'd love to watch a video about them too. They're formulaic, but have a great formula, and never get old.
Pretty sure _Final Boss Theme Of XC1_ uses Phrygian too
@@not_an_humin3710 You're right. The first phase theme is in E Phrygian.
Phrygian is also an amazing mode for writing thrash metal riffs. And Phrygian Dominant is just an awesome scale to shred over.
Why yes, I *am* a huge fan of James Hetfield and Ritchie Blackmore! What made you ask?
The Phrygian Dominant scale (or very similar, or scales with the same notes but different motivation) also gets used all over the Middle East, in klezmer music (because you can absolutely shred on violin, clarinet, etc.), and all over jazz.
@@M_M_ODonnell Yeah, and Phrygian Dominant is also the flamenco scale because of the I-bII sound.
why stop at phrygian :D
chromatic power chord chugs in, like, the 1st octave are so metal
The fact that I'm over halfway through this video and haven't heard E1M1 from Doom as an example makes me kinda sad, ngl. It's possibly the most iconic example. Even people who have never played doom recognize that song
@@VeritabIlIti it's locrian though, he mentions it in his locrian video
My favorite element of Phrygrian mode is the Neapolitan chord when playing in minor. Gives the thing a mysterious and confusing element, especially when it's used to move to the V and you get the jarring tritone movement of the chord's root.
The "Altered Scale" for use over dominant chords uses a lot of Phrygian energy to increase tension. When I was learning jazz stuff and there was all this mystery around "Altered" dominant chords, just learning about Phrygian Dominant and really banging on that flat 2nd helped illuminate it a lot.
Now I can't stop imagining how frightening would Baby Shark sound in Phrygian mode
It sounds more like 90s EDM.
The first three notes of the melody are D Eb G, the last note is F. Play a G minor chord for most of the melody, and then when the melody gets to F, play an F minor chord.
The Zoombinis part made this canadian who grew up in the early 2000s go for a trip down memory lane. Great video, as always
That Phrygian zoombinis melodic cell, when played as D Eb G A, is one of the leitmotifs from Avatar the last air bender series! Plays when something mysterious and bad is happening 🤩
Understanding modes is what unlocked a lot of music for me. The gradient of major and minor modes, the characteristic notes, and how they each feel.
Realizing that these songs share the same mode and hearing them back to back, it kinda gives me ideas for an arrangment mashing up Those who Fight, Battle with Magus, and Red Soil...
Do it! I'd love to hear it.
I've always thought it was really cool that a mode as dark as the Frigian one is right next to Lydian, the brightest mode there is. It makes for a really cool atmosphere when you cicle between the two in a chord vamp, a perfect example being the red Brinstar theme from Super Metroid. Both modes complement each other really well, with Lydian adding a sense of calmness to Frigian, and Frigian adding a somber seriousness to Lydian.
Never would I have expected Zoombinis to show up in one of your videos! I love this game to pieces and still play it on my phone from time to time. I remember it being very hard as a kid (it's sometimes really hard as an adult, too!) but I really loved it a lot, you could tell that every part of it was done with skill and love. I always like listening to your videos, I learn something new every time
I was so surprised seeing Zoombinis...I loved playing that game as a kid! Love your videos as always, so educational and making me want to study music as a hobby
The moment I saw the animation of Frog from Chrono Trigger entering Magus's chamber I knew his theme would be in this video, what an awesome piece.
Magus Battle is a badass boss theme in a game of nothing but badass boss themes
The Phrygian is my favorite!!! It's not threatening if used correctly. It can be really sad and somber too. It's a commonly used raga in Indian music, Bhairavi.
Edit: I think the tonic sus4 working so well is similar how in Indian theory, the 4th scale degree is the strong note. The tonic is the second-strongest.
Hey man where can i learn more about indian classical music theory more? Im v interested would you have sources? Thanks! :D
Interesting. If the 4th degree of phrygian is the strongest melodic resolution, you're actually resolving to aeolian in terms of Western framing. Think of playing E phrygian and resolving to A.
@@MadassAlex it has that pull for the same reason that the a minor scale likes to end on a half cadence in e major
Phrygian: I - iv - I
minor: V - i- V
Basically the modes aren't real. E phrygian and a minor are the same thing. The reason it wants to pull to the fourth is because the fourth is the tonic and you're starting a melody on the dominant and pretending that is the tonic. They're all the same cadences and voiceleadings, they're just different perspectives. E Phrygian is just a half cadence in a minor.
@@sameash3153 "modes aren't real, they can't hurt you" lmao
meanwhile, Creeping Death be like
@@MadassAlex it's not the strongest note of resolution, but it's a strong melodic note that helps bring out the mood of the mode. The tonic is still the strongest note to which to resolve.
Love how these vids make me revisit and recontextualize songs I’ve heard dozens of times (and plenty I’ve never heard) with one of my favorite music theory rabbit holes in mind. This is optimal RUclips right here!
Wayne Shorter uses the i bII progression in a lot of his tunes like Deluge and Speak No Evil, playing the i minor pentatonic on top of the bII gives all the juicy notes
The balance of theory and application for this series is awesome! I've used these modes intuitively and this gives so much inspiration for how to approach it with intention and make even better stuff.
Also, zoombinis forever.
Love seeing Kingdom Hearts representation in an 8-Bit Music Theory video! Another great phrygian example from the series is Dread of Night (Anti-Black Coat Nightmare boss theme). It sits on a i-bvii vamp that really captures the (literally) nightmarish essence of the boss and exemplifies the "threatening" side of phrygian. There's also Sinister Shadows (1000 Heartless Battle) which, like Hollow Bastion (where the fight actually takes place) has a section where it trades off between bII and i. While a less "threatening" example, the bII unsettles you after an initial i-iv vamp and lets you know the battle is serious.
Both the field and battle themes of The World That Never Was also use Phrygian, I always really liked the dark sound they have.
I just discovered this channel today! A recent example that comes to my mind right away is from one of Elden Ring's possibly best songs, Rennala, Queen of the Moon's theme - there are some really restless, ominous, gorgeously intense, curious textures in there, with Phrygian structures around what feels like iiø7/iv and V42/VI (among possible interpretations) that seem to be extended questions without answers, all looking for resolution before a return of the dominant C and uplifting Db while still refusing to grant the listener any peace of mind and tonal rest. Very effective.
The bII chord is also known as “Neapolitan” in classical music. I personally guide “Neapolitan” as the name for the tone system based on ninths because the “Neapolitan sixth” structure is a common resting chord in harmony within it.
I write a lot of metal music so Phrygian and I are old friends. Excited to try out some new tricks.
This is the mode that got me interested in modes in the first place. It's so unique and easy to identify, you really can tell when something is Phrygian.
The good part in this is that we are in 2022, Covid has kind of moved on a little bit even though not fully, it's there lurking, eventually catching a fellow or two, such a stinker it is... But in this crappy reality it's good to know that there are still people enthusiastic about creativity, people who love the gems of the old pixel artsy games, people who value content over newly served stuff. This channel is kind of an oldie already. But you know what they say... oldie, but goldie. Great content to watch here on a regular basis.
Hearing you nerd out about Zoombinis was adorable
In the US the 1.0 version of the game was called "The Logical Journey of the Zoombinis" and my memory of both the graphics and sound were significantly lower quality than what I saw here. A quick google seems to indicate that Canada got a v2 called "Zoombinis: A Logical Journey" about 5 years later, and then another modern remake was made in 2015.
It's fun to not be scolded for having music theory taught to me for once. There are so many cases of "It just is that way, don't think about it" in my musical life I'm glad someone at least speaks to me as an equal and not as an unruly child. Music teachers and experts, learn from this man!
RUclips randomly brought me here from other videos about video games. I had to walk back and make a comment when you mentioned Zoombinis.
Zoombinis was used in some American elementary schools in the mid to late 90s. It was one of my favorite games. I thought no one else was aware of it, given that I was in a very small area in the middle of nowhere surrounded by forests, kind of by Canada (Upper penisula of michigan). Happy to hear of other people who enjoyed it!
The best boss themes are always in phrygian. Maybe because I constantly died in boss battles as a kid and had to hear the boss theme over and over, they became the most memorable vidrogame music to me :)
AYO I WAS JUST WATCHING THE MIXOLYDIAN VIDEO YESTERDAY!! Great video as always!!
Zoombinis, an absolute classic. I put so much time into game as a kid, and as an adult.
bro you awakened some core memories with that zoombini analysis omg i never thought i'd see that game again
You just explained why I found the music from Zoombinis to be so foreboding and enchanting when I was a kid, oh my gosh.
Thanks for the explanation of Phrygian usage! I had lots of fun watching it. I had no idea 'till now that Battle With Magus used it.
I also wanted to tell you that the ♭II in is so popular in western music theory that it has a name: The Neopolitan chord.
Thanks again for the video! I am loving the mode series.
I love your series talking about different modes, it's been really fun seeing all the different ways different modes tend to be used commonly, and its variety of uses.
Also, any time you check out the pokemon series, it's always fun to see what makes those games tick, and what formula they use to make their sound.
I love your modal videos, and just seeing the different creative ways composers go to generate a certain mood in video games is always inspiring to me. I went from not knowing jack about musical terms to lightly understanding them purely from watching your mode videos. Again, I really love these videos (I wanted to comment how much I enjoyed these modal videos in your last 2 ones, but pppffft) and personally I wish you could include more songs in your videos (though I know why this isn't necessarily possible.)
And it's great to see the Zoombinis once again ^^
Really incredible video here! Phrygian is a mode that I’m very interested in and this really helped solidify a lot of its characteristics
OMFG Zoombinis! You literally just unlocked a treasured childhood memory that I had completely forgotten until now! Bless you 8-Bit, bless you!
I know that the way we experience the emotional impact of modes and chord relations is highly subjective, but I think it's worth mentioning that where you are from and what you are used to hearing changes a lot. For example, I get that phrygian mode is often threatening because of the b2 tension with the tonic note but for me it also can sound heroic or romantic, depending on contexts. I'm polish, which means that I am legally required to like Chopin and other romantic era composers (plus a lot of folk music), and when encountering phrygian sound I have to consciously choose how it suppose to sound. Like, does music tell me how dangerous a boss I'm fighting is or is it a big main character being brave moment. As I'm writing this I realized that it seems to be the same thing, but the difference is between feeling scared and being like "hell yeah, I can do this!"
Woooo a new mode video! I'll have to watch this one over Christmas break
Can we please get a "part 2" of the odd time signatures video? I really enjoy odd time signatures in general and my personal favorite is how every track that plays during the horde/zombies mode Salmon Run in Splatoon 2 and 3 are in odd time signatures in some manner, highlighting the chaos of the mode. Special shoutouts to "Chaos Carnival" the new one which works by adding one more beat to the time signature each bar.
I liked how he called the Zoombini opening a “3-note cell”, when it’s also the same 3 notes as the Bruce Faulconers’ “Perfect Cell” theme.
NO. WAY. You unlocked a memory almost THIRTY years old just now - we had that same game at my AUSTRALIAN primary school 🤣
Ah! I vaguely remembered playing a stressful game during computer class in elementary school where you had to get several blue circular creatures through several dangerous obstacles, and that losing too many (maybe even just one?) would result in not being able to progress. For the life of me I could never remember what it was called, but I'm like 99% sure you just so happened to bring it up in this video! Thanks for bringing up Zoombinis, and for the excellent analyses as per usual.
OMG ZOOMBINIS!!!! A friend of mine had this game and I only got to see it like once or twice but it looked so fun!
We played Zoombinis in Kentucky in the early 2000s too, don't feel alone! Loved the video, great job!
I was so sure you'd mention Zanza's battle music from Xeno 1! It's simple but effective, uses a lot of the tricks you showed here
Wouldn't be surprised if other instances of phrygian hid somewhere else in the soundtrack hinting at Zanza, a bit like (spoilers incoming!!!!!!!!!!!) the "Memories" theme plays in Alcamoth's main theme, until it becomes... well... a memory
you hear the “zanza motif” in aeolian in prison island! i am so disappointed that he didn’t cover zanza the divine
Loving the mode series. Thank you for all the work that goes into these videos!
Zoombinis! I didn't know that anyone but me remembered those games, they were incredible.
Thanks to this video I finally understood why, even if modes are found in a scale by changing starter point, they are taken separatly, they share the same kinda sound for every phrygian in every scales ! Playing the C phrygian (which is by playing the A flat scale starting from C) actually have the same sound that when you play from E to E in the C scale.
It's like answering the question : how to play the E to E sound from the C scale but by starting from C? Now I get it
(sorry I had to write this to put words in my epiphany)
Man. I always struggled with theory of modes, but this series has really helped me grasp wtf is going on with them.
Just think of them as alternate scales that are starting from different notes of the major (Ionian) scale.
Think of C Major, but start from the third note of that scale E, and then end the scale when you get to the next octave above an E (also an E.)
There you have your E Phrygian scale. You can scale it up or down with every other key from there.
Another, related way to think about modes is to think in terms of the tonic chord. So if you resolved to the E minor chord in a C major scale, then you would be using the Phrygian mode. If you resolved to the A minor chord you would be using Aeolian, etc.
You made me realize that one of my favorite video game tracks, the Elite Four theme from Ruby/Sapphire/Emerald, is in Phrygian! Thanks ^^
The first notes of the zoombini song sounds like perfect cell's theme.
I was gonna comment this! Talk about threatening
Zoombinis was possibly my first experience ever using a computer, and yes, part of my grade school curriculum.
The Super Metroid Brinstar Red Soil Wetlands theme has always been my favorite example of how the music in Super Metroid emphasizes the sense of isolation and exploration of an alien world that the game elicits.
You unlocked such a good memory of my childhood. I have not thought about zoombinis in ages! Thank you so much for that. And it wasn't just Canada that played that game.
Could you possibly do videos on the dominant mode scales too? Phrygian Dominant for example has some really interesting uses in Video Games, biggest example that comes to mind is Dusty Dune Galaxy.
I think the part at the end about desert themes is hinting that there will soon be a video on Phrygian Dominant.
A very credible song is Mirror Mirror by Jeff Williams. The entire song is written in Phrygian and even the singer, Casey Lee Williams, sings a vocal riff in Phrygian, which is really impressive, especially considering the fact that she was 14 at the time.
DUDE! ZOOMBINIS WAS A F*CKING BLAST! DIDN'T EXPECT THAT! It was the best game to play at computer class when I was on elementary school! (And I'm from Chile)
It blows my mind to realize that this mode, COMPLETELY unembellished in the Magus theme makes up one of my oldest favorite pieces of music. Add to that how it is part of almost every one of my favorite childhood games and I can’t believe I never knew!
Thank you so much for this new video!!! I always love coming back to your channel to enjoy some more insight into my favorite music.
the zoombins theme reminds me of ethiopian scales or balinese scales which are pentatonic ! 1 2b b3 5 6b check this scale out its one of my favourites!
OMG DUDE I FORGOT ABOUT ZOOMBINIS, THANK YOU FOR BRINGING IT BACK
This scale doesn't sound frightening to me though. You're playing instruments that are grating and trumpety so it sounds a bit frightening, there's that, but I think you're thinking of a phrygian with no _flat 3rd._ That's frightening, but the regular phrygian sounds extremely impersonal/unfamilar and a bit threatening, but not frightening.
This is so close to opening the can of worms that is Neapolitan chords and idk if everyone is ready for that. Also thanks for hinting at hexatonic at the end! Hexatonic and Phrygian tend to get confused a lot
Phrygma Male Grindset™
Zoombinis! I can't believe you just posted this. Just the other day I was trying to remember what that game was called. I have fond memories.
The zoombinis reference brought back a part of my childhood I completely forgot about. We used to have that game on the school computers when I was in elementary school in Washington in the early 2000s
yoooo we got 8-bit Music Theory talkin about For The Frog The Bell Tolls :O
I've never heard a stronger example of leitmotif than that soundtrack, it really, REALLY spams that six-note figure
love these videos!
ZOOMBINIS what a deeply-buried memory that was, thanks for that
Watching this made me realise just how many of my absolute most favourite themes from video game music use the Phrygian mode. The best themes from Kingdom Hearts, Chrono Trigger, Pokémon, and Final Fantasy... all my favourite themes from these games is on this mode. For anyone else who loves these themes, there are some great orchestral arrangements on an album called 'Symphonic Fantasies Tokyo' you can find it on Spotify or RUclips - they make this amazing music even more epic! I especially like IV: Final Fantasy
This is quality content. The way this guy talks about music theory shows how much he clearly understands it and knows how to use it.
Awesome that you used Zoombinis as an example, love that soundtrack and literally started playing it again last week
It's so weird! I'm currently reading a gigantic book called "1001 Video Games You Must Play Before You Die" and I just got to a blurb about Zoombinis the other day, and had never heard of this game before then. And now you mention it. Frequency Illusion at its finest! I bet I'll be seeing this game everywhere now.
The Zoombinis melody you feature opens up very similar to a Gojira song, Flying Whales Thanks forr helping me understand that song a little beer,. Love the video!
Damnnnn, you unlocked a deep memory with those Zoombinis
*hears "Majus" and was unable to focus afterwards.
Awesome analysis. When I first learned to improvise I always found myself gravitating to phrygian
One of my favorite videos you've ever done. I LOVE using Phrygian for anything that should feel tense in a way that isn't obvious, and doesn't settle the tension in a way you expect, if ever even after resolving. Fantastic lesson and great analysis.
Keep up the good work! I learn so much from your videos, and I get a ton of "A-ha". Thanks!
I always appreciate the all-encompassing range of games and platforms discussed with videos like this on your channel, from early NES & Game Boy to modern titles! I really enjoy the mix of popular games with more obscure ones as well. For the Frog the Bell Tolls was a nice surprise, and it was neat learning about a game I've never heard about with Zoombinis 😄
I spit out my drink when you mentioned Zoombinis. I never thought someone would reference it in actual content.
The idea that I don't understand any of the terms used but am still able to learn from you speaks volumes to your video quality.
Everyone: The PHRYGIAN Mode Feels THREATENING!
España Cañí: ¿Am I a joke to you?
Phrygian is probably my favorite mode ever, so happy you covered this and am loving these examples. So much inspiration in this video. Also how the hell does the music from that weird childrens flash game go so hard? It has absolutely no reason to go that hard lmao
Tomb Raider III's recurring "Meteorite Impact" leitmotif (some variations of which resemble the Jaws theme) also makes excellent use of the Phrygian (sometimes dominant) scale. Other honorable mentions are the intro of "Palace of Destruction", "Beat of the Terror" (Abandoned Mine) and the boss themes("Holders of Power", "Chase of Shadow", "Final Battle", "Protectors", "Over Drive", "Termination") from Ys I and II, "Heat Wave" from Bionic Commando(plays in the game's more difficult levels), "Hyrule Castle" from The Legend of Zelda: A Link To The Past, "Pyramid/Marahna" from ActRaiser"(alongside Lydian #2), "Lower Norfair/Magmoor Caverns" from Super Metroid and Metroid Prime, "Dance of Illusions" from the final battle of Castlevania: Rondo of Blood and the prologue of Castlevania: Symphony of the Night, the Spirit Temple, Ganondorf Battle, and Final Battle themes from The Legend of Zelda: Ocarina of Time, many of the action/danger themes in the Syphon Filter series (sometimes dipping into Locrian mode), the River of Souls theme from Turok 2: Seeds of Evil, "Faith" from Ikaruga's Chapter 3, where the difficulty ramps up in earnest, "Lament For Pvt. Jenkins" from Halo: Combat Evolved(plays just before encountering the Flood), and a sizable portion of the Halo: Reach soundtrack(e.g. "The Fall", "Lone Wolf", "Noble Mission", "Unreconciled", "Ashes"), exemplifying the story's darker tone. A notable use of the mode in a melancholy rather than threatening situation is the Sunken Glades theme from Ori and the Blind Forest.