You’re playing a dangerous game here, Michael. I’ve watched literal dozens of videos about modes on TH-cam over the last decade and you just gave away information about modes that has been jealously guarded. Keep it up and people might actually learn something.
@@michaelkeithson Thank you for not wasting ten minutes at the beginning explaining what a mode is. Like you said if someone doesn't know what a mode is then this probably isn't for them.
Yeah, thanks for that disclaimer. Made me realize the video wasn't for me and saved me some time. Waiting eagerly for that "modes for beginners" video, so I finally understand what they are and how they work. Also, props for all of your content. Coming from playing by ear, with 0 background in music theory, your videos are some of the best out there to get to know the basics.
Clear and concise without a whiff of self indulgence? A relaxing lesson with a bit of humor sprinkled on top? Just what I’ve come to expect from this channel.
Thanks man, I really appreciate this comment. It's just how I hope people receive the videos so it's great to hear that's how you feel. Thanks for sharing 🙏
That locrian piece was absolutely beautiful despite revolving around a diminished tonic. I brushed it off as an experimental “useless” mode but I seem to have completely underestimated it. Thanks for the inspiration!!
@@learningideas Hey Duncan! The music notation is simply created using the free app Musescore. Then I can export selections as transparent png files and drop them into Final Cut, all the other elements and animations are done directly in Final Cut. The midi keyboard is done through Midiculous. Hope that helps! 👍
It truly is criminal that all teachers are not at your level. I always go away with a new found knowledge on everything that you teach. Thank you so much for this mode lesson. Great Job Michael.
Agreed, Many other youtubers make this topic seem more difficult than it have to be, and also hard to understand. Michaels strength is he breaks down the subject and seamlessly connect all the dots. He also provides golden tips on how one can apply everything and practically use whatever he is addressing. Also there is no showing off, going through all modes in superspeed just to show how good he is. Just true and authentic intentions to really teach others what he knows. Definitely one of my favorites to learn more from 💯 It's easy to make things more difficult and it's difficult to make things easy. But you succeed Michael. Many thanks Michael, wish you the best!
Another great video Michael! Language teacher Luca Lampariello (speaks 14 languages) says “Find a guide, not an instructor.” Well you’re definitely a guide Michael, showing the path through the music jungle while pointing out beautiful views along the way. Thanks again.
You’ve got a real gift for teaching. I was just recently lamenting that I know what modes are, but don’t know how to make a particular mode feel like home base. Seems pretty obvious now that you explain it. Great explanation, especially for people who play alone
I just learned how to build chords in modes. I haven't studied theory, so I tend to forget to just build chords from the scale, with 3rds and 5ths. Already that is very valuable to me! The character notes, the two places where the semitones live, along with the root, is just brilliant! I had guitar lessons, and was supposed to learn the character notes, but I couldn't understand why they were character notes. It's the semitones in relation to the root! It's so simple!
@@ssaamil Composing in those keys works very much the same. I don’t have much experience composing with their modes though and fear they might be tricky but maybe worth some exploration!
Yep, just about to make the same comment! I love the melodic minor modes, particularly Dorian b2 and Lydian augmented (now that's a tricky one to compose anything!). Same principle, you just get a few stranger chords. For example the iii chord is a maj7#5 in melodic minor (I think. Im terrible at theory!).
One trick to make Locrian sound good is to not use full chords. You can omit the 5 from the i chord and it will still sound like Locrian but won’t have the same dissonance. Another trick with modes is that you can borrow chords/briefly modulate to other modes. In Phrygian, the b5 can be quite nice to “modulate” to Phrygian on the iv instead of the i (like adding a bit of D Phrygian to A Phrygian). Brief modulations can also help stabilize Lydian more, particularly to vi. E7 -> Am can help a lot in C Lydian to strengthen the sound of C. Borrowing other notes (like bb7 or b4) can also help destabilize Locrian enough to make the tonic sound like a reprieve and be more resolved. Modal music does not have to box itself into 7 notes-major and minor certainly don’t!
I'm a self-taught musician and I regard myself as 'barely conversant' with music theory. I must say that this is the most informative video I have ever watched on the topic of modes.
"mooch about for a bit" Sir, I resemble that remark. 😎Your explanation of color and mood of the modes related to the tonic and how they want to resolve is mammoth for me. Delicious lil example of Dorian at 13:00. Soundtrack worthy. Thanks again.
What a chance to preview this video. You've always got a flair for teaching. Every time, I say to myself: but of course, it's obvious! Your approach to modes using semitones is just incredible. I'm going to give it a try!
🙏 Thanks Corentin. I really appreciate your comment. Glad you could find something in there that was useful or interesting. I understand that not every video is going to appeal to every subscriber but I’m grateful for the continued support. Thank you 😀
Thanks indeed, I first learned about modes doing a unit of Baroque music at University 50 years ago. I've always wanted to do more with them. Your explanation chrystalised into a simplicity and consequently I have produced three pieces. In this composition I used the E Phrygian mode. The piece is made up of three sections, A, B and C, which are each played twice. Then there is one more time through the A section. I did three different treatments of the chord progression. The first two use the same Acoustic Jazz style (on my Yamaha arranger keyboard), but the solo's are developed differently. In "Waiting for the Rain" I improvise with just four notes (C Major pentatonic avoiding the C, just D E G and A.) It has a slightly monotonous feel, combined with the morose tone of the mode, I likened it to that feeling of when we are waiting for the weather to break. "The Sands of Time" has a little early King Crimson feel, mostly long notes. "Tango Friz" has just the backing track so you can hear it clearly. I could have done a solo but there is enough going on with this style. Waiting for the Rain th-cam.com/video/FNJG0TH32Fs/w-d-xo.html The Sands of Time th-cam.com/video/g9gfbS1onCs/w-d-xo.html Tango Friz th-cam.com/video/o73emTdMUHg/w-d-xo.html
Hey Michael, thanks for your video lesson on Composing using Modes. The possibilities in music are endless. When you understand the fundamentals (like Modes) there's a lot of creativity things you can do. I Thanks again, from Kingsville, Ohio 🎶🎹🎶🎹❤🙂👋👋👋
Each time i watch one of your videos , i thank you and send my love and prayer for your teachings to universe And i just pray you get millionssss of subscribers❤️❤️❤️🙌🏼you have my out most respect for love and knowledge that you put out for us for free. 😊Thanks to you a ton❤️❤️❤️❤️
🙏🤗 Thank you Yashasvi for your kind comment, it's much appreciated. I'm glad you're enjoying the videos. ps. I'm hoping for millions of subs too! Don't tell anyone! 🤫
@@michaelkeithson I've been teaching composition to high schoolers for 20 years (mostly focusing on songwriting) but your video has inspired me to try and new approach with my seniors this term. Thanks for all the great work you put into the video
Fantastic tutorial, I especially appreciated the graphic showing the chords in each mode together with the treble clef and the notes you played in the melody. Before your tutorial I had been using the circle of fifths to understand which chords were in each mode, however had not appreciated that the root note would remain a C or the one chord. Once again thanks very much for a great tutorial, cheers from sunny and warm Switzerland keith
I really enjoy all your videos Michael; in context, as well as your style of explaining things, keep up the good work! Another neat trick I learned at some point during my "intensive learning years", which helps highlight modes, was based around the strong relationship of triad V-IV movement (or even the other way around) in a major scale (Ionian mode). Keeping the root of each mode on top of that movement, e.g. in the form of a pedal tone, creates a strong basis which helps bring out the character of each mode. Well, it might be more suitable for creating vamps rather than composing interesting modal sequences, imho, but it's effective nevertheless in terms of learning to hear the character of each mode. Once again, kudos for another great video! Greetings from Greece!
Thank you. That was the basics, but it presented very well. Better than anything I've seen so far. This is also why I purchased a keyboard. Much easier to implement than the guitar. I'm improving at the guitar, but the added difficulties make it challenging to map out and practice all 7 modes. I tend to stick with Dorian and Mixolydian to assist with ii-V-I, for example. Mixo for blues, Dorian for minor songs. It does not work for me to stick to the major and start on a different degree to play a mode. The mode does not manifest. So, I need a chart; I can't remember all that since I'm a part-time musician.
So... AGAIN AND AGAIN... In the current glut of throw away videos w/poor information from "hey watch ME! - I'm another guy who knows the shit and shows it to the world", Mr. Keithson (and very few others) shines so bright in this pathetic swamp of darkness. Brilliant as always, good language, top knowledge, way to deliver it. Simply NICE! AGAIN AND AGAIN! Now Michael... how cool and challenging would this be if applied to the Melodic Minor scale modes... the world of dual tritones? There's some amazing stuff in there. Composing with those modes? Send out the chords and I'll add the melody to them! I swear.....
Haha I just made a similar comment. It’s like so many youtubers who talk about modes only know the basics and can only teach the scales, or they want to sell a course. Actual application is rarely approached.
😳🙏 Thank you kindly, I appreciate your generous comment and glad you're enjoying the videos. I've not explored doing the same with the modes of the melodic or harmonic minor scales - maybe it's worth a little play!
I don't know if it's luck or not but damn, so haapy to have acces to these videos ! for me it's the perfect video that that will improve my improvisation !! this is so underrated
Yeeeeaaah! so nice i had to watch it twice! I was eagerly waiting for yet another of your super amazing and extremely well crafted awesomely explained music masterclasses. Merci beaucoup Maestro. Best music theory Channel on the tube!!
Hey man, you're really what i was searching for on yt for a long time. You're really gifted for teaching and this format is simple, catchy and straight to the point. Btw i've got a request for a future video, could you spend a lesson or two on voicings? Like from basics to advanced, and maybe your favourite/most used ones. Thank you for everything.
Thanks for the comment, really glad you're finding some value from my videos. Thanks for the suggestion too. Are you looking for specifically jazz voicings or something else? You might typically use different kinds of voicings depending on the style of music you're playing?
@@michaelkeithson look, i've had an idea, maybe you will not like it but i'll write it anyway. You could make a video on jazz voicings, and you're favourite ones, and at the same time you could put you're favourite ones in a specific video, for example, let's say you're talking about major 7 chords you'll put as like a bonus tip your favourite voicings about those, or let's say a video about extension you'll put your favourite ones in there, like spending 2 minutes in the video. In that way if you're talking about jazz we world learn jazz voicings, and if you're talking r&b we'll learn r&b ones etc. Let me know if you like the idea. It's like they're contextualized in the video.
Great video, thanks Michael! I was familiar with the modes but you shared thoughts, insights and ideas that I hadn't come across or realised for myself. I enjoyed your negative (sorry...) harmony video too, for the same reasons. Subbed!
Hey! Thanks for the comment and thanks for the sub! Glad you've enjoyed the videos and they've made you think about those things from a different angle. Cheers 👍
🙏 Thanks Jade! Glad you felt like it was helpful. What sort of fingering are you having trouble with? Fingering will be different for different types of stuff and most of the time it's just about working out what's most ergonomic for the movement you're trying to make.
Thank you for the great video. Phrygian is my favourite mode for melody and most frustrating for harmonisation. Because any melody sounds absolutely fantastic in that mode, but that moment I add the (Phrygian) chords it all collapses like a house of cards. :( I wish I could have Phrygian melody and Aeolian chords at the same time. :)
You can! They're only one note different from each other. Look at Harmonic Minor, originally it wasn't invented to be a scale that stands on its own, but a modification of Aeolian (with a major 7th) to get that stronger V-I cadence in minor key songs. Sometimes the 7th would only be sharpened on those V chords (and nearby, wherever it was needed to sound right). And melodies might use major 6ths and 7ths ascending and flat 6ths and 7ths descending (melodic minor), it was all considered part of the minor key. The point is they varied those notes freely in the same piece and different preferences for harmony and for melody. Or think of it as composing in an octatonic key with both minor and major 2nds: 1 b2 2 b3 4 5 b6 b7. You can lean into the b2 melodically but allow the natural 2 in harmony when it helps the progression, while creatively avoiding any unwanted minor 9ths (between the 2 and the b2) using different voicings, rhythms, etc or just altering one of them for the bar. And anyway the fifth mode of Aeolian is Phrygian (and the fifth mode of Harmonic Minor is Phrygian Dominant aka Phrygian #3, characterized by the chord V7(b9)) so melody over the minor V naturally wants to be Phrygian (rooted on that V chord). If you hang out on the V enough you get to have a lot of Phrygian melody. It might not sounded rooted there but you can do some things to make it ambiguous like omitting the 3rd of the V so it gravitates less to the I.
I love your channel! Subscribed. To some, even the Phrygian example you played can sound more like a really good example of well placed modal interchange/mixture even in the melody, than it may a strictly modal progression/melody. The last i - vø - i resolution may not sound like a strong enough resolution to some ears to really establish i as the final tonic resolution, and may give the impression that the more permanent resolution needs to happen after the final i. The typical bII, or bvii movement to i to establish a Phrygian i modal tonic is the most common. Used a lot in film scoring too that way just like the Lydian example you used - camels, endless sand, pyramids, all that good stuff. Strictly Modal progressions outside the relative major/minor are just generally unstable and tough for anything other than a few chord vamp.
@@michaelkeithson keep on going with this channel. I happened across your modal interchange video about a month ago, and for how concise you had to make it for the 20-30 min playtime, thought it was one of the best if not THE best dives into the subject for its run time. It really was that good.
Is it possible to play, 'It's coming home !, it's coming home !' in Locrian Mode ? because I am convinced most of England's fans sing it thus...ha! ha! If I had a hat, I would certainly take if off to you as this - without exception - is simply the best explanation of Modes. Us guitar players love 'em but can never understand what the hell they are. Brilliant.
Can you make a video on rhythm and chord progression? Specifically, on how to mix them correctly to give sense to our music? Sometimes, I feel like I'm always doing the same thing with rhythm and chord progressions. How can I improve?
This is great; I've been trying to write a bit in locrian for a few months as an exercise, but there was a lot of me to learn in what you played in the locrian section. I think the fact that the A chord is a sus chord, leaving the ear wanting the C, might have something to do with why it sounds resolved -- or maybe I have it backwards and the absence of the C helps the progression to feel more like it goes somewhere before coming back...?
Thanks for the comment Joseph! Pleased you found it useful. To be honest, there wasn't a great deal of thought around the Absus and absence of the C, but thinking about it now, it probably helps strengthen the resolution. Cheers! 👍
You aren't using key signatures. I'm interested in your opinion because some people disagree with my view of it. I say that there are three major and three minor mods and they should be written in the corresponding minor or major key signatures - so A Aeolian in A minor, D Dorian in D minor (one flat) and E Phrygian in E minor (one sharp), C Ionian in C major, C Lydian in F major (one flat) and G Mixolydian in G major (one sharp) - then we would use appropriate accidentals to make them modal. The people who disagree say that these are all modes of C major, so they should be written with the C major key signature. The problem with that, I say, is that the C major (or A minor) key signature has a C (or A) tonal center and my way of writing it makes it clear what the tonal center is. So D Dorian is written with a B♭ in the key signature indicating D minor, then we use the natural accidental whenever a B appears. Isn't that clearer and cleaner? Isn't my way better? They say that minimizing accidentals is important. I don't agree. The accidentals emphasize the modal nature and they are the right way to do it. What do you think? What about Locrian? Nothing is written in Locrian, so I don't care. But what about Adam Neely's friends? First I have to ask if their exercises were really creating music in a Locrian mode. I think a careful study will show they didn't really do it. What about "Dust to Dust", the grave digger's song? Isn't that Locrian? Well, it was meant to be Locrian. It begins and ends with B and it has only natural notes. But it is melody only (no chords or harmony at all) and it never uses the G note. Why is that? I think it is because we can't really write music in Locrian. We can't end a song on a diminished chord.
Hi Mike, thanks for your comment. I don't really read music, or at least use it to learn a song or play a song so it feels like I would be the least qualified person to answer it. From my limited perspective it sounds like your way would add an extra layer of complexity. You're asking people to acknowledge a key signature but then telling them to correct all the accidentals. Also, I think an important element of playing in modes is recognising that mode to be, in itself, a new scale, its own entity - not a relative or part of another scale. So when we think of something like Dorian we see it as its own scale built from the intervals: Tone, Semitone, Tone, Tone, Tone, Semitone, Tone. Like I said, I'm not sure that I'm qualified to pass opinion on this but I appreciate the thought and conversation!
Content so good...No doubt you've considered this but surely you should put some short courses together and sell individually and then as bundles - at rates ordinary mortals can afford and you'll do well. Go on a deeper dive and you folk will pay. PS Seems to work for the other high quality producers and you've earnt a big and appreciative audience.
@@wae2kwick4u Thanks for the comment mate. I have ideas and desires for some separate video courses but I’m struggling to find the time to work on them. Hopefully I’ll get to them eventually though.
![[MV] A leap of faith...ความเชื่อใจครั้งสุดท้าย (From "Petrichor the series")](http://i.ytimg.com/vi/U1piZH2CNXA/mqdefault.jpg)
You’re playing a dangerous game here, Michael. I’ve watched literal dozens of videos about modes on TH-cam over the last decade and you just gave away information about modes that has been jealously guarded. Keep it up and people might actually learn something.
😂 Thanks for the great comment. Glad you enjoyed the video and really appreciate you taking the time to comment 🙏
@@michaelkeithson Thank you for not wasting ten minutes at the beginning explaining what a mode is. Like you said if someone doesn't know what a mode is then this probably isn't for them.
Yeah, thanks for that disclaimer. Made me realize the video wasn't for me and saved me some time.
Waiting eagerly for that "modes for beginners" video, so I finally understand what they are and how they work.
Also, props for all of your content. Coming from playing by ear, with 0 background in music theory, your videos are some of the best out there to get to know the basics.
Oh boy... I love this channel
Michael.. your content and the way you present it are truly unmatched
Ah, thanks Elisa! I appreciate the kind comment 🙏
Criminally underrated channel
🙏
This teaching connected SO MANY DOTS for me. Thanks for sharing this with so much clarity.
That's great to hear Cory, thanks for the comment 🙏
Clear and concise without a whiff of self indulgence? A relaxing lesson with a bit of humor sprinkled on top? Just what I’ve come to expect from this channel.
Thanks man, I really appreciate this comment. It's just how I hope people receive the videos so it's great to hear that's how you feel. Thanks for sharing 🙏
That locrian piece was absolutely beautiful despite revolving around a diminished tonic. I brushed it off as an experimental “useless” mode but I seem to have completely underestimated it. Thanks for the inspiration!!
Ah, cheers man. Glad you enjoyed it. Have fun exploring Locrian! 🎵
the on-screen graphics are really helpful. i'd have a lot of trouble following along if it weren't for them. thank you
Awesome! The extra work was worth it then, glad that they're helpful. Thanks for the comment 👍
What software did you use to create them?
@@learningideas Hey Duncan! The music notation is simply created using the free app Musescore. Then I can export selections as transparent png files and drop them into Final Cut, all the other elements and animations are done directly in Final Cut.
The midi keyboard is done through Midiculous. Hope that helps! 👍
It truly is criminal that all teachers are not at your level. I always go away with a new found knowledge on everything that you teach. Thank you so much for this mode lesson. Great Job Michael.
😳🙏 Ah, thanks Bill! I really appreciate your kind comment.
Agreed,
Many other youtubers make this topic seem more difficult than it have to be, and also hard to understand.
Michaels strength is he breaks down the subject and seamlessly connect all the dots. He also provides golden tips on how one can apply everything and practically use whatever he is addressing.
Also there is no showing off, going through all modes in superspeed just to show how good he is.
Just true and authentic intentions to really teach others what he knows.
Definitely one of my favorites to learn more from 💯
It's easy to make things more difficult and it's difficult to make things easy.
But you succeed Michael.
Many thanks Michael, wish you the best!
@@WP-pn6nu Thank you 🙏. I really appreciate the kind comment. Great to hear you're enjoying the videos. Cheers
this is the most straight forward, completely understandable, well articulated video I've ever seen explaining modes and how to use them.
🙏 Thank you for the nice comment. I'm really glad you feel that way. 👍
Another great video Michael! Language teacher Luca Lampariello (speaks 14 languages) says “Find a guide, not an instructor.” Well you’re definitely a guide Michael, showing the path through the music jungle while pointing out beautiful views along the way. Thanks again.
@@johngration9336 Thanks John! 🙏
The Screen Graphics/Animations are amazing! So helpful. Thank you ✨
Awesome! The extra work was worth it then, glad that they're helpful. Thanks for the comment 👍
So happy for your growth on the platform, great work Michael 🙏🏾
Cheers brother, I appreciate the support Dan 🙏
You sir are one of the best music educators I've come across. Thanks!
Cheers Tom, I appreciate the kind words 🙏 Glad you enjoyed the video.
Top notch discussion and ability to articulate the areas of importance.
🙏 Thanks for watching and the kind comment, much appreciated!
You’ve got a real gift for teaching. I was just recently lamenting that I know what modes are, but don’t know how to make a particular mode feel like home base. Seems pretty obvious now that you explain it. Great explanation, especially for people who play alone
Well said!
Thanks Darren, I really appreciate the kind comment. Glad the video was useful. Happy exploring!
Wow! I've been trying to understand modes for some time. Honestly, this is the best lesson on the subject that I've ever seen. Thank you!
Hey Reba, thanks for the nice comment. Glad you found the video helpful.
I just learned how to build chords in modes. I haven't studied theory, so I tend to forget to just build chords from the scale, with 3rds and 5ths. Already that is very valuable to me!
The character notes, the two places where the semitones live, along with the root, is just brilliant! I had guitar lessons, and was supposed to learn the character notes, but I couldn't understand why they were character notes. It's the semitones in relation to the root! It's so simple!
Thanks for the nice comment! Really happy that there were some good takeaways for you in this video. Happy exploring!!
locrian.
I'd love to watch about composing with Harmonic Minor, Melodic Minor, Double Harmonic Major and their modes!
@@ssaamil Composing in those keys works very much the same. I don’t have much experience composing with their modes though and fear they might be tricky but maybe worth some exploration!
Yep, just about to make the same comment! I love the melodic minor modes, particularly Dorian b2 and Lydian augmented (now that's a tricky one to compose anything!). Same principle, you just get a few stranger chords. For example the iii chord is a maj7#5 in melodic minor (I think. Im terrible at theory!).
One trick to make Locrian sound good is to not use full chords. You can omit the 5 from the i chord and it will still sound like Locrian but won’t have the same dissonance.
Another trick with modes is that you can borrow chords/briefly modulate to other modes. In Phrygian, the b5 can be quite nice to “modulate” to Phrygian on the iv instead of the i (like adding a bit of D Phrygian to A Phrygian). Brief modulations can also help stabilize Lydian more, particularly to vi. E7 -> Am can help a lot in C Lydian to strengthen the sound of C. Borrowing other notes (like bb7 or b4) can also help destabilize Locrian enough to make the tonic sound like a reprieve and be more resolved.
Modal music does not have to box itself into 7 notes-major and minor certainly don’t!
Thanks for sharing, appreciate your contribution to the conversation. 👍
Another trick for Locrian is to use quartal chords instead, which mixes in this additional "quartal" flavor but still feels very Locrian.
Awesome, thanks for sharing!
I'm a self-taught musician and I regard myself as 'barely conversant' with music theory. I must say that this is the most informative video I have ever watched on the topic of modes.
🙏 Thank you for the kind comment. Glad you enjoyed it.
The way you approach this is so precious! Thank you so much for sharing your knowlegde.... big sub!
🙏 Thanks for the sub! Glad you enjoyed the video. 👍
@@michaelkeithson Don't mention, I'm binging your channel come videos a day, I love the way you present the content and also your examples
You have a very good understanding of Harmony.
I remember trying to compose in locrian as a freshman.
it sounded worthless to me!
great insight!
Thanks man, appreciate the comment. 👍
Such a thoughtful presentation of a challenging topic.
Thanks Gene! I appreciate the kind comment. Glad you enjoyed it 👍
"mooch about for a bit" Sir, I resemble that remark. 😎Your explanation of color and mood of the modes related to the tonic and how they want to resolve is mammoth for me. Delicious lil example of Dorian at 13:00. Soundtrack worthy. Thanks again.
Thanks Mike, I appreciate your kind words and support 🙏
What a chance to preview this video. You've always got a flair for teaching. Every time, I say to myself: but of course, it's obvious! Your approach to modes using semitones is just incredible. I'm going to give it a try!
🙏 Thanks Corentin. I really appreciate your comment. Glad you could find something in there that was useful or interesting.
I understand that not every video is going to appeal to every subscriber but I’m grateful for the continued support. Thank you 😀
Thanks indeed, I first learned about modes doing a unit of Baroque music at University 50 years ago. I've always wanted to do more with them. Your explanation chrystalised into a simplicity and consequently I have produced three pieces.
In this composition I used the E Phrygian mode. The piece is made up of three sections, A, B and C, which are each played twice. Then there is one more time through the A section.
I did three different treatments of the chord progression. The first two use the same Acoustic Jazz style (on my Yamaha arranger keyboard), but the solo's are developed differently. In "Waiting for the Rain" I improvise with just four notes (C Major pentatonic avoiding the C, just D E G and A.) It has a slightly monotonous feel, combined with the morose tone of the mode, I likened it to that feeling of when we are waiting for the weather to break.
"The Sands of Time" has a little early King Crimson feel, mostly long notes.
"Tango Friz" has just the backing track so you can hear it clearly. I could have done a solo but there is enough going on with this style.
Waiting for the Rain
th-cam.com/video/FNJG0TH32Fs/w-d-xo.html
The Sands of Time
th-cam.com/video/g9gfbS1onCs/w-d-xo.html
Tango Friz
th-cam.com/video/o73emTdMUHg/w-d-xo.html
This is awesome! Thanks for sharing David. So cool that the video inspired you to create something. 😁👏
3 years of Uni wrapped up in a 20 minute video ❤❤❤
I agree -- one of the best presentations of modes I've seen on TH-cam.
🤗🙏 Thanks Elliot! I really appreciate the generous comment. Glad you enjoyed the video. Cheers
Well explained. Thanks.
Cheers. Appreciate the comment 👍
You’re doing everything right! Thank you for this
🙏 Cheers for the nice comment.
Very helpful, clearly explained. Top drawer, Mr K!
Cheers Stephen, appreciate the comment 👍
Hey Michael, thanks for your video lesson on Composing using Modes. The possibilities in music are endless. When you understand the fundamentals (like Modes) there's a lot of creativity things you can do. I
Thanks again, from
Kingsville, Ohio 🎶🎹🎶🎹❤🙂👋👋👋
Thanks Cynthia! 🙏
Thank you for the lesson. Very informative and easy to understand.
@@NguyenThinhPhat You are very welcome and thank you for the kind comment! Hope you found it helpful.
The edition work to show what is being played and its place in the scales is extremely helpful. Love the channel, keep up the great work!
Thanks Lucas! I appreciate the nice comment. Thanks for watching 👍
You're a good teacher Mike! I'm very inspired by the way you used Lydian, that's opened a few doors for me
Cheers Zak! Great to hear that it's inspired you to create. Happy exploring!
Each time i watch one of your videos , i thank you and send my love and prayer for your teachings to universe And i just pray you get millionssss of subscribers❤️❤️❤️🙌🏼you have my out most respect for love and knowledge that you put out for us for free. 😊Thanks to you a ton❤️❤️❤️❤️
🙏🤗 Thank you Yashasvi for your kind comment, it's much appreciated. I'm glad you're enjoying the videos.
ps. I'm hoping for millions of subs too! Don't tell anyone! 🤫
I know basic theory and this was so approachable and made sense!
🙏🤘
@@knowbody3751 Awesome, glad you could get something out of it. 👍. Cheers for the comment.
Please do a beginner's guide to modes. I found this video very informative and would love to know more. Modes seem very powerful!
Thanks Philip, good to know there's an audience for that. I'll add it to my list! 👍
Best teaching lesson ever about modes- Thanks so much.
@@TheLillid Thank you 🙏. Glad you enjoyed it. Thanks for the kind comment. 👍
Great video. The best explanation of how to use the modes I’ve ever seen
@@learningideas Cheers Duncan, I appreciate your kind comment 🙏
@@michaelkeithson I've been teaching composition to high schoolers for 20 years (mostly focusing on songwriting) but your video has inspired me to try and new approach with my seniors this term. Thanks for all the great work you put into the video
@@learningideas Ah thanks man, that’s really great to hear. Thanks for the support and encouragement. 👍
More analysis videos with chords and notes. I could listen/watch to that Phrygian improvisation forever and probably learn a lot from it! Thanks!
Ah, thanks man, I appreciate the kind comment 🙏 Glad you enjoyed it.
Incredibly useful subject area for me right now -
Thank you
Cheers Paul, glad you found it helpful 👍
Fantastic tutorial, I especially appreciated the graphic showing the chords in each mode together with the treble clef and the notes you played in the melody. Before your tutorial I had been using the circle of fifths to understand which chords were in each mode, however had not appreciated that the root note would remain a C or the one chord. Once again thanks very much for a great tutorial, cheers from sunny and warm Switzerland keith
🙏 Thanks for your comment Keith! Glad you found it helpful.
That was the best video I have ever seen on modes. Incredible!
🙏🤗 Thanks Doug! I really appreciate your kind comment.
Awesome! - so much deep knowledge - got me nerding out about the unstable tritone in the Lydian mode... never thought about that before 🙂🙃🙂🙃
😂 Happy that I've brought out your inner nerd!
Incredible video! Your teaching on the modes has been the single biggest help for me in understanding and using them in my playing.
Thanks Matt, that's great to hear. Glad you've found them useful. Thanks for leaving a comment 🙏
Thank you Michael for your effort on putting these videos together!
@@epweiland No worries man, thanks for showing your appreciation. Glad you enjoyed it. 👍
Incredibly concise. Thanks for a great lesson.
You are very welcome. Thanks for the kind comment 🙏
I really enjoy all your videos Michael; in context, as well as your style of explaining things, keep up the good work!
Another neat trick I learned at some point during my "intensive learning years", which helps highlight modes, was based around the strong relationship of triad V-IV movement (or even the other way around) in a major scale (Ionian mode). Keeping the root of each mode on top of that movement, e.g. in the form of a pedal tone, creates a strong basis which helps bring out the character of each mode.
Well, it might be more suitable for creating vamps rather than composing interesting modal sequences, imho, but it's effective nevertheless in terms of learning to hear the character of each mode.
Once again, kudos for another great video! Greetings from Greece!
Thanks for sharing George! Glad you're enjoying the videos, I appreciate you leaving a comment 🙏
Thank you. That was the basics, but it presented very well. Better than anything I've seen so far. This is also why I purchased a keyboard. Much easier to implement than the guitar. I'm improving at the guitar, but the added difficulties make it challenging to map out and practice all 7 modes. I tend to stick with Dorian and Mixolydian to assist with ii-V-I, for example. Mixo for blues, Dorian for minor songs. It does not work for me to stick to the major and start on a different degree to play a mode. The mode does not manifest. So, I need a chart; I can't remember all that since I'm a part-time musician.
Thanks for watching and taking the time to comment. I appreciate you sharing your thoughts too. Cheers.
So... AGAIN AND AGAIN... In the current glut of throw away videos w/poor information from "hey watch ME! - I'm another guy who knows the shit and shows it to the world", Mr. Keithson (and very few others) shines so bright in this pathetic swamp of darkness. Brilliant as always, good language, top knowledge, way to deliver it. Simply NICE! AGAIN AND AGAIN!
Now Michael... how cool and challenging would this be if applied to the Melodic Minor scale modes... the world of dual tritones? There's some amazing stuff in there. Composing with those modes? Send out the chords and I'll add the melody to them! I swear.....
Haha I just made a similar comment. It’s like so many youtubers who talk about modes only know the basics and can only teach the scales, or they want to sell a course. Actual application is rarely approached.
😳🙏 Thank you kindly, I appreciate your generous comment and glad you're enjoying the videos.
I've not explored doing the same with the modes of the melodic or harmonic minor scales - maybe it's worth a little play!
Thanks so much.
You're very welcome! Hope it was helpful 👍
I don't know if it's luck or not but damn, so haapy to have acces to these videos ! for me it's the perfect video that that will improve my improvisation !! this is so underrated
Great to hear! Glad you've found some value in the videos. Thanks so much for the comment nice comment 🙏
Yeeeeaaah! so nice i had to watch it twice! I was eagerly waiting for yet another of your super amazing and extremely well crafted awesomely explained music masterclasses. Merci beaucoup Maestro. Best music theory Channel on the tube!!
🙏 Cheers. I appreciate the love. Thanks for watching (twice!) and leaving a comment, really appreciate it.
Easy to understand ,thanks for simplifying it 🙏🙏🙏
Thank you! I appreciate the kind comment. 🙏
What a precious lesson! Excellent!❤
@@raffaelrameh14 Thanks Raffael! Appreciate the comment 👍
Thanks for a fascinating and very informative video.
You are very welcome! Thanks for watching and leaving a comment, much appreciated!
Amazing lesson ❤ thank you 🙏
@@tosco53 Thanks Carlo! Glad you enjoyed it. Cheers for the comment 👍
Hey man, you're really what i was searching for on yt for a long time. You're really gifted for teaching and this format is simple, catchy and straight to the point. Btw i've got a request for a future video, could you spend a lesson or two on voicings? Like from basics to advanced, and maybe your favourite/most used ones. Thank you for everything.
Thanks for the comment, really glad you're finding some value from my videos.
Thanks for the suggestion too. Are you looking for specifically jazz voicings or something else? You might typically use different kinds of voicings depending on the style of music you're playing?
@@michaelkeithson look, i've had an idea, maybe you will not like it but i'll write it anyway. You could make a video on jazz voicings, and you're favourite ones, and at the same time you could put you're favourite ones in a specific video, for example, let's say you're talking about major 7 chords you'll put as like a bonus tip your favourite voicings about those, or let's say a video about extension you'll put your favourite ones in there, like spending 2 minutes in the video. In that way if you're talking about jazz we world learn jazz voicings, and if you're talking r&b we'll learn r&b ones etc. Let me know if you like the idea. It's like they're contextualized in the video.
@@xsfusionx I think that could maybe work! I'll add it to the list. Thanks for the suggestion 🙏
Great video, thanks Michael! I was familiar with the modes but you shared thoughts, insights and ideas that I hadn't come across or realised for myself. I enjoyed your negative (sorry...) harmony video too, for the same reasons. Subbed!
Hey! Thanks for the comment and thanks for the sub! Glad you've enjoyed the videos and they've made you think about those things from a different angle. Cheers 👍
Great lessons! 👋 Thank you Michael.
🙏 Thanks Luc, glad you enjoyed it.
I loved this video Michael, it's moved my level up a bit. Thank you. Could you make a video on how to get proper fingering please 🙏
🙏 Thanks Jade! Glad you felt like it was helpful.
What sort of fingering are you having trouble with? Fingering will be different for different types of stuff and most of the time it's just about working out what's most ergonomic for the movement you're trying to make.
Thank you! Great lesson.
@@wpaganperez You’re very welcome! Thanks for the comment William 👍
Thank you. Very helpful.
Glad it was useful. Thanks for the comment 👍
Thank you for the great video. Phrygian is my favourite mode for melody and most frustrating for harmonisation. Because any melody sounds absolutely fantastic in that mode, but that moment I add the (Phrygian) chords it all collapses like a house of cards. :( I wish I could have Phrygian melody and Aeolian chords at the same time. :)
You can! They're only one note different from each other. Look at Harmonic Minor, originally it wasn't invented to be a scale that stands on its own, but a modification of Aeolian (with a major 7th) to get that stronger V-I cadence in minor key songs. Sometimes the 7th would only be sharpened on those V chords (and nearby, wherever it was needed to sound right). And melodies might use major 6ths and 7ths ascending and flat 6ths and 7ths descending (melodic minor), it was all considered part of the minor key. The point is they varied those notes freely in the same piece and different preferences for harmony and for melody.
Or think of it as composing in an octatonic key with both minor and major 2nds: 1 b2 2 b3 4 5 b6 b7. You can lean into the b2 melodically but allow the natural 2 in harmony when it helps the progression, while creatively avoiding any unwanted minor 9ths (between the 2 and the b2) using different voicings, rhythms, etc or just altering one of them for the bar.
And anyway the fifth mode of Aeolian is Phrygian (and the fifth mode of Harmonic Minor is Phrygian Dominant aka Phrygian #3, characterized by the chord V7(b9)) so melody over the minor V naturally wants to be Phrygian (rooted on that V chord). If you hang out on the V enough you get to have a lot of Phrygian melody. It might not sounded rooted there but you can do some things to make it ambiguous like omitting the 3rd of the V so it gravitates less to the I.
Great video! Nicely explained 👏
Cheers man, thanks for watching 👍
you are amazing, nothing else to add but thanks
🙏🤗 Ah, thanks very much. I appreciate the kind words. Glad you enjoyed the video. 👍
Really helpful, thanks!
Good to hear. Thanks for the comment Phil 👍
3:50 - 4:36 Beautiful and inspiring .
Thanks David! Appreciate your support 👍
Oh! Look here! I have a new favourite music theory channel 😎
@@JohnnyCameo Welcome Johnny! Glad to have you here! What took you so long?! 😉😂
love your voice man
bravo!! great lesson thank you
🙏 Thank you! I appreciate the kind comment.
Excellent Michael!
Thanks John!
Thanks for the tips
You are very welcome! Thanks for watching.
Now you gotta teach us how to modulate between modes!
I think this is close to what we were discussing in our class, I see you posted 4 wks ago, lol.
Yes, I think I may have touched on it a little. Thanks for watching!
Thank you!! This is really helpful :)
Cheers Kevin, I'm glad you found it useful 👍
I love this channel!
Cheers Christopher, I appreciate your support.
Absolutely!!!@@michaelkeithson
Another banger mate.
🙏
congratulations grate lesson
🙏 Thanks
Superb
I love your channel! Subscribed. To some, even the Phrygian example you played can sound more like a really good example of well placed modal interchange/mixture even in the melody, than it may a strictly modal progression/melody. The last i - vø - i resolution may not sound like a strong enough resolution to some ears to really establish i as the final tonic resolution, and may give the impression that the more permanent resolution needs to happen after the final i. The typical bII, or bvii movement to i to establish a Phrygian i modal tonic is the most common. Used a lot in film scoring too that way just like the Lydian example you used - camels, endless sand, pyramids, all that good stuff. Strictly Modal progressions outside the relative major/minor are just generally unstable and tough for anything other than a few chord vamp.
Thanks Joseph! I really appreciate you sharing your knowledge too. Thank you 🙏
@@michaelkeithson keep on going with this channel. I happened across your modal interchange video about a month ago, and for how concise you had to make it for the 20-30 min playtime, thought it was one of the best if not THE best dives into the subject for its run time. It really was that good.
@@FossegrimTheKnøkk Thanks Joseph, that's nice to hear 🤗
Amazing.
🙏
Nice!
Is it possible to play, 'It's coming home !, it's coming home !' in Locrian Mode ? because I am convinced most of England's fans sing it thus...ha! ha! If I had a hat, I would certainly take if off to you as this - without exception - is simply the best explanation of Modes. Us guitar players love 'em but can never understand what the hell they are. Brilliant.
Ha! And hopefully we'll be singing it loud and proud on Sunday! Come on England! 🏴
Glad you enjoyed the video, thanks for the comment 🙏
Can you make a video on rhythm and chord progression? Specifically, on how to mix them correctly to give sense to our music? Sometimes, I feel like I'm always doing the same thing with rhythm and chord progressions. How can I improve?
Hey man, my pal The Keys Coach has dropped a video that might be useful for you: th-cam.com/video/EsSecYkBDR8/w-d-xo.htmlsi=0CRFgpgAII5sJdAr
@@michaelkeithson Hey ! Oh wow thank you very much for coming back! It's very nice, I'll have a look right now 😉 thanks ✨🙌
This is great; I've been trying to write a bit in locrian for a few months as an exercise, but there was a lot of me to learn in what you played in the locrian section. I think the fact that the A chord is a sus chord, leaving the ear wanting the C, might have something to do with why it sounds resolved -- or maybe I have it backwards and the absence of the C helps the progression to feel more like it goes somewhere before coming back...?
Thanks for the comment Joseph! Pleased you found it useful.
To be honest, there wasn't a great deal of thought around the Absus and absence of the C, but thinking about it now, it probably helps strengthen the resolution. Cheers! 👍
beautiful resolution at 13:13
@@whitenoise9371 🙏 Thank you!
Michael Keithson is a Super Mode(l) ...
@@md-ps2hx 😳
Im sure you get this a lot, but you look a lot like Michael keaton and almost have the same name too!!
Anyways, great video as always!
Ha! I don't think anyone's ever said they think that I look Mr Keaton, although I have had a few Batman comments!
Glad you enjoyed the video 👍
Modes for beginners please!
👍 You not the first to say that so, looks like it might be worth doing. Cheers
I like to call the tonic chord B&Q instead of Homebase.
🤦♂️😣😂🤣
You aren't using key signatures. I'm interested in your opinion because some people disagree with my view of it. I say that there are three major and three minor mods and they should be written in the corresponding minor or major key signatures - so A Aeolian in A minor, D Dorian in D minor (one flat) and E Phrygian in E minor (one sharp), C Ionian in C major, C Lydian in F major (one flat) and G Mixolydian in G major (one sharp) - then we would use appropriate accidentals to make them modal. The people who disagree say that these are all modes of C major, so they should be written with the C major key signature. The problem with that, I say, is that the C major (or A minor) key signature has a C (or A) tonal center and my way of writing it makes it clear what the tonal center is. So D Dorian is written with a B♭ in the key signature indicating D minor, then we use the natural accidental whenever a B appears. Isn't that clearer and cleaner? Isn't my way better? They say that minimizing accidentals is important. I don't agree. The accidentals emphasize the modal nature and they are the right way to do it. What do you think?
What about Locrian? Nothing is written in Locrian, so I don't care. But what about Adam Neely's friends? First I have to ask if their exercises were really creating music in a Locrian mode. I think a careful study will show they didn't really do it. What about "Dust to Dust", the grave digger's song? Isn't that Locrian? Well, it was meant to be Locrian. It begins and ends with B and it has only natural notes. But it is melody only (no chords or harmony at all) and it never uses the G note. Why is that? I think it is because we can't really write music in Locrian. We can't end a song on a diminished chord.
Hi Mike, thanks for your comment.
I don't really read music, or at least use it to learn a song or play a song so it feels like I would be the least qualified person to answer it.
From my limited perspective it sounds like your way would add an extra layer of complexity. You're asking people to acknowledge a key signature but then telling them to correct all the accidentals.
Also, I think an important element of playing in modes is recognising that mode to be, in itself, a new scale, its own entity - not a relative or part of another scale. So when we think of something like Dorian we see it as its own scale built from the intervals: Tone, Semitone, Tone, Tone, Tone, Semitone, Tone.
Like I said, I'm not sure that I'm qualified to pass opinion on this but I appreciate the thought and conversation!
Content so good...No doubt you've considered this but surely you should put some short courses together and sell individually and then as bundles - at rates ordinary mortals can afford and you'll do well. Go on a deeper dive and you folk will pay. PS Seems to work for the other high quality producers and you've earnt a big and appreciative audience.
@@wae2kwick4u Thanks for the comment mate. I have ideas and desires for some separate video courses but I’m struggling to find the time to work on them. Hopefully I’ll get to them eventually though.
How do you write a song in BEAST mode! When you accidentally took high caffienated drink?
😂
In beast mode your song writes itself. 🤯
To put it simply the mod borrows the key/notes from a different key. I find myself having to subscribe
👍 Hey David! Thanks for the sub 🙏
Would it be possible to stop leaning into camera and whispering like a creep?
Sorry, no can do. It's my USP 😉😂