I’ve been rewatching this video and applying the lessons on my instruments. I vaguely knew about tetrachords before but had never applied the idea to playing. I thank you so much for this video and this knowledge. This is truly the key to knowing the structure of the modes and immediately helps a person play better. I can’t praise it enough-just wonderful.
Your approach and explanation is by far the most accurate and best documentation both visually and audibly of the 7 Modes I have seen on TH-cam. Thanks for bringing the needed clarity to this subject of Modes. I love your graphics!! You have brought the use of the Modes to life and demonstrated their usages effectively & appropriately providing also the Tritone Interval which is one of the missing links so many leave out and fail to explain its usage. Tritones are a whole other subject that can be discussed in another lesson with their presence in all Dominant 7th chords, 9th chords, 11th chords, 13th chords, diminished, half diminished, minor 7b5ths, Dom7b9ths, minor 6ths, and several other chords. The use of the Tritone offers up a powerful source of musical emotion and tension. I have discovered yet another way to perceive Modes using the Circle of 5ths and a "numbered" Code that I have discovered that makes finding the Modes quite simple and completely well organized as seen in a perfectly ordered and sequentially numbered and lettered pattern on the Circle of 5ths. The perfect structure of music allows for these musical concepts to be seen in, not one, but several different ways. Thanks again for your kind and thorough documentation of the Modes.
Thanks Scott. Glad you like the method (and the graphics.) Modes are a very misunderstood concept. Too much is made of the relationships of every mode to the major scale/key. The structure of modes does not have to be comparative. It's more than just starting and ending on a different key degree, but a set of intervalic structures, which can each be treated as their own harmonic worlds. The circle of 5ths as also the circle of 4ths. There are indeed many ways to approach the theory of music. Ultimately its about expression, and having the vocabulary to say what you have to say. Making music isn't so different from making anything. You need materials, tools and the thing has to function. Knowing more about how it works is only a good thing.
Thanks for getting this out there. I arrived at almost all this independently, but it's most excellent to have this on the record. People should treat most Western scalar structures as tetrachords, imho, including blues & jazz. I draw the line at nine notes, but that's me.
I hit a rut with guitar so I bought a chromatic harmonica to change my perspective. Beside being a paradigm shift for my mental process, it has been a boon to my ears. And I’ll be thinking structurally about using modes according to the information you’ve given in this video as I work with my harmonica. It’s all going to come full circle on my guitar fretboard. The structure of the modes as you have presented it is fascinating and sure open new horizons for me. Thanks very much for the ideas!
I would some day like to find a video where someone actually demonstrates how they use the knowledge of modes. For example, we listen to a song and then they show how playing in a certain mode/key fits with that song. I can tell you all day what notes belong to a certain mode, but i don't know how to use that knowledge. Several song examples would be great, examples that illustrate how a song (or part of a song?) is in a certain mode and how to use that knowledge to guide you to play some sort of harmony or accompaniment with it.
Thats an excellent suggestion. My purpose in this particular video is to emphasize that it's not actually the notes, but the intervals of the modes that matter most in understanding diatonic modal structure. As far as what to do with that knowledge, I'll be including that in a future video. I think that knowing how to use modes, or really any musical concept, comes down to interval structure ... the specific notes are stops along the way ... the intervals are the journey. You can take the chord structure of any song and connect the chords to any mode in the key by recognizing its place intervallically, then you can connect the scale based modes with arpeggios and develop improvisational facility. I do begin the video with a simple example of using all seven modes to embellish a chord scale, but I can and will bring out more practical examples in the future. Thanks for your comment and your support.
@@Newstetter, I would greatly anticipate such a video about using modes. Yes, what little I know, it does seem to me that you are totally right that it's really about intervals. It also seems to me that songs can slip in and out of a mode. I say this not only because that's what I've heard, but also because as a teenager I was fooling around on the piano looking for something unique and came up with a rather weird song that opens and closes with a phrase that I now realize is the lower 5 notes of the Phrygian mode. The rest of the song consists of 5-note chromatic phrases and major chords that aren't "related" to each other. Even after the Phrygian phrase I played a major chord. Now it's years later and I started messing with the song again and realize that the Phrygian sounds rather dark and that the minor chord after the phrase is another great option (although somehow the major works too).
To be perfectly honest, I treat what you're talking about as a matter of your ear. Get a PhD in Music & the bottom line is, it's all in rhythm and how you use the half-steps. Chromaticism, jazz, enclosures, modes, yadda yadda - practice these things, but, as Yogi Berra said, "Who can think and hit at the same time?" This is why we practice, to get sounds, techniques, aural understanding and musical logic together. We study theory to cement foundations and broaden horizons. One of the single most difficult things to do is play an instrument as well as it can be played. I've been on it for decades now.
@@JESL_Only_1 -- a matter for the ear, sounds about right. Like after playing chords long enough I can usually name the chords in a song as it is played because I'm familiar enough with how they sound. I haven't totally mastered intervals in this way, and modes is maybe the same kind of thing of training the ears.
I’ve been rewatching this video and applying the lessons on my instruments. I vaguely knew about tetrachords before but had never applied the idea to playing. I thank you so much for this video and this knowledge. This is truly the key to knowing the structure of the modes and immediately helps a person play better. I can’t praise it enough-just wonderful.
I couldn't ask for a greater compliment. Thanks!
Yes, please keep going with this! Thank you ❤
Wooow... 😮 Master it is a person, who can explain and simplify issues that others make incomprehensible and... misty. Just Brilliant, thank you ❤
Thank you my friend!
Your approach and explanation is by far the most accurate and best documentation both visually and audibly of the 7 Modes I have seen on TH-cam. Thanks for bringing the needed clarity to this subject of Modes. I love your graphics!! You have brought the use of the Modes to life and demonstrated their usages effectively & appropriately providing also the Tritone Interval which is one of the missing links so many leave out and fail to explain its usage. Tritones are a whole other subject that can be discussed in another lesson with their presence in all Dominant 7th chords, 9th chords, 11th chords, 13th chords, diminished, half diminished, minor 7b5ths, Dom7b9ths, minor 6ths, and several other chords. The use of the Tritone offers up a powerful source of musical emotion and tension.
I have discovered yet another way to perceive Modes using the Circle of 5ths and a "numbered" Code that I have discovered that makes finding the Modes quite simple and completely well organized as seen in a perfectly ordered and sequentially numbered and lettered pattern on the Circle of 5ths. The perfect structure of music allows for these musical concepts to be seen in, not one, but several different ways. Thanks again for your kind and thorough documentation of the Modes.
Thanks Scott. Glad you like the method (and the graphics.)
Modes are a very misunderstood concept. Too much is made of the relationships of every mode to the major scale/key. The structure of modes does not have to be comparative. It's more than just starting and ending on a different key degree, but a set of intervalic structures, which can each be treated as their own harmonic worlds.
The circle of 5ths as also the circle of 4ths. There are indeed many ways to approach the theory of music. Ultimately its about expression, and having the vocabulary to say what you have to say.
Making music isn't so different from making anything. You need materials, tools and the thing has to function. Knowing more about how it works is only a good thing.
Tetrachords...the symmetry never stops
Thanks for getting this out there. I arrived at almost all this independently, but it's most excellent to have this on the record.
People should treat most Western scalar structures as tetrachords, imho, including blues & jazz. I draw the line at nine notes, but that's me.
⚓️ Thanks Mark 🌈
Welcome!
Your 3rd Rail bought me here - subbed 👍
Best explanation... Thank you
Thank you!
I hit a rut with guitar so I bought a chromatic harmonica to change my perspective. Beside being a paradigm shift for my mental process, it has been a boon to my ears. And I’ll be thinking structurally about using modes according to the information you’ve given in this video as I work with my harmonica. It’s all going to come full circle on my guitar fretboard. The structure of the modes as you have presented it is fascinating and sure open new horizons for me.
Thanks very much for the ideas!
Glad you're finding it helpful!
Thank you well done.
You're welcome!
Great explanation. Really helps make sense of modes. Thanks!
Thank you!
Best video ever thanks man this was a great explanation and completely changed how i think about modes
Thanks! Glad you found it helpful!
Great vid! Thanks!
Thank you!
Thanks for the thanks!
Fantastic ✌️
Thank you!
I would some day like to find a video where someone actually demonstrates how they use the knowledge of modes. For example, we listen to a song and then they show how playing in a certain mode/key fits with that song. I can tell you all day what notes belong to a certain mode, but i don't know how to use that knowledge. Several song examples would be great, examples that illustrate how a song (or part of a song?) is in a certain mode and how to use that knowledge to guide you to play some sort of harmony or accompaniment with it.
Thats an excellent suggestion.
My purpose in this particular video is to emphasize that it's not actually the notes, but the intervals of the modes that matter most in understanding diatonic modal structure. As far as what to do with that knowledge, I'll be including that in a future video.
I think that knowing how to use modes, or really any musical concept, comes down to interval structure ... the specific notes are stops along the way ... the intervals are the journey.
You can take the chord structure of any song and connect the chords to any mode in the key by recognizing its place intervallically, then you can connect the scale based modes with arpeggios and develop improvisational facility.
I do begin the video with a simple example of using all seven modes to embellish a chord scale, but I can and will bring out more practical examples in the future.
Thanks for your comment and your support.
@@Newstetter, I would greatly anticipate such a video about using modes. Yes, what little I know, it does seem to me that you are totally right that it's really about intervals. It also seems to me that songs can slip in and out of a mode. I say this not only because that's what I've heard, but also because as a teenager I was fooling around on the piano looking for something unique and came up with a rather weird song that opens and closes with a phrase that I now realize is the lower 5 notes of the Phrygian mode. The rest of the song consists of 5-note chromatic phrases and major chords that aren't "related" to each other. Even after the Phrygian phrase I played a major chord. Now it's years later and I started messing with the song again and realize that the Phrygian sounds rather dark and that the minor chord after the phrase is another great option (although somehow the major works too).
To be perfectly honest, I treat what you're talking about as a matter of your ear.
Get a PhD in Music & the bottom line is, it's all in rhythm and how you use the half-steps. Chromaticism, jazz, enclosures, modes, yadda yadda - practice these things, but, as Yogi Berra said, "Who can think and hit at the same time?"
This is why we practice, to get sounds, techniques, aural understanding and musical logic together. We study theory to cement foundations and broaden horizons.
One of the single most difficult things to do is play an instrument as well as it can be played. I've been on it for decades now.
@@JESL_Only_1 -- a matter for the ear, sounds about right. Like after playing chords long enough I can usually name the chords in a song as it is played because I'm familiar enough with how they sound. I haven't totally mastered intervals in this way, and modes is maybe the same kind of thing of training the ears.
Nice
👍👊✌️