@@bluebotlivingston6016 oh and btw! i currently have a sale on my new beato book on my website and u can aso buy these cups that we have.. wait a minute where was i?? lool that guy 70% pitch 30 % content
They are known as Church modes, which were used to sing Latin hymns in Medieval Europe. The Greek names are a reference to Pythagorean Music theory. Much of Greek antiquity's body of knowledge was actually salvaged and translated into latin by very dedicated monks.
Such a great video, thank you. For folks who are confused about the difference between scales and modes (just about everybody), this still adds to the confusion, since you're using the terms interchangeably, but this was not the purpose for your video, I understand. Extremely useful and informative. If only the modern musicians who use the "one scale per chord" approach would realize and admit that they're playing scales, the world would be so much better. "Dorian" is a mode; "D Dorian" is a scale. No one can refute this, since it is self-evident. There just seems to be a persistence out there in keeping everyone as confused as possible. But thank you, again. I really gained a lot from this, myself.
Great lesson. I have been puzzling over this for a while and you made it very clear. Also, for someone who doesn't know what scale to play, you could focus on the chord tones and add notes in between as you feel (either diatonic or more exotic ones). This video is the perfect add-on to your other video on "why a chord is a scale and why multiple scales work over one chord".
This are the best and original explanations on the web. Could you explain how notes of a scale tends to move to create melodies with enphasis on the gravitational force that every note hold within the key or scale? Thanks a lot!
I have read and seen numerous articles and videos about "modes". The internet is full of them. But they all are useless. They only explain WHAT a mode is, but not how to use them and what is their benefit. Thanks for the best video out of more than a thousand.
thinking of different modes per chord and connecting the chords together is very difficult for me, so for now i just try hit chord tones on the strong beats and include chromatic passing notes in between.
A new video by "Walk that Bass", my dearly beloved jazz piano channel! You are so great, free teaching, excellent teaching, sorry, I cannot find the words in English!! I am so grateful!!
It is the best explanaition of fundamental jazz music principle for non-jazz people . Its finally put my thoughts together. Thank you a lot. Im hoping for some more very basic & deep videos about music theory fundamentals. Good luck!
Perhaps it is better to say: a good explanation of a jazz music principle that *SOME* use. It is something that came up mostly since the bebop time and that was later again refuted by many. There are a lot real jazz players that think in the so called 'non-jazz' way, or think both ways with a more general, universal approach. Imho the latter are the best. The term non jazz people is in fact not correct. Vertical modewise improvisation is not the essence of jazz.
@@mer1red I am a non-pro music maker and thi is my hobby for most of the time. In that way for me there are a jazz way and a classic way of teaching music theory. And because im not deeply involved to both of them this is a pretty good explanaition for me.
@@jaseyn Since it is your hobby, your time is limited. If you want to evolve quickly: when you hear a phrase, melody or solo that you like, learn it by heart. There is good software to support that, eg for slowing down while keeping the pitch. After that, make little changes according to your taste. That is how most of the masters learned their art.
Why does no one use the word "permutation"? Each mode is a cyclic permutation of the scale from which it is derived. If you neglect differences by octaves, then that *precisely* captures what a mode is.
That's true, they're permutations, or rotations of the same interval pattern of tones and semitones in diatonic scale. My question is why am I seeing two completely different definitions of modes of a major scale. On the one hand people say that you can get different modes of a major scale by staying in the same key, but just starting on a different note/tonic. On the other hand the definition is one that's based on sharpening or flattening certain scale degrees to create a darker or lighter feeling. (eg Dorian mode of a major scale is when we flatten the 3rd & 7th note. Etc) How can the Aeolian mode of C major both be : A B C D E F G A (Like it says in this video) But also be, by definition, the natural minor of c major: C D Eb F G Ab Bb C Which one is the aeolian mode of c major scale?
@@madeline569 A B C D E F G A is the Aeolian mode of the "C Major Scale". C D Eb F G Ab Bb C is the Aeolian mode of the "C note", in other words "C Aeolian". So if you want to get the mode of a note, you can take the major scale of that note and add the appropriate sharps and flats onto it. As far as I understand anyway.
After years of study and playing, I can state that the theory above is correct but it all goes out the window while performing. Best theory lesson I learned was from a chance remark I heard that all Chet Baker wanted to know is the starting note of any given tune. Of course he had internalized hundreds of tunes and could "hear" how each one was structured within a few bars and play accordingly. Moral of the story: Learn tunes first; theory second (if at all). I wasted years memorizing modes and scales when I could have been MAKING MUSIC all that time. Ironic.
I learned the bit I know exactly in the way you described it. First, learned some tunes and songs, then years later I went into learning the theory behind it. I didn't do it consciously, it just happened, but it worked well for me. Abraços
This is a great video! I’m struggling understanding one part and I’m sure it’s simple but I just don’t get it. About 3:50 in, how do you get the related major scales to the modes?
How did you get this good in “music theory math “ like in 04:19 for example ? Do you have any tips for getting good in easily recognizing the scales degrees like this ?
Well, there's only seven letters, and with very few exceptions each will be used once, with very rare exceptions, none will be used more than once. C D E F G A B The order doesn't matter as much as the distances between them, but the above is fairly standard. Once one of them, any one of them, is known, the others are naturally ordered. For example, let's say we want to look at a key of E, where E is given the number one for tonic... C D E F G A B 6 7 1 2 3 4 5 The sharps and flats won't even change the scale degree (with a few rare exceptions like some scales with more than 7 notes). So, if you're in a key of E, of any kind, a C, of any kind, will be the 6th scale degree. Whether it's C# like in major, or C like in minor. There's not much to it, you just need to learn to recognize the gaps, and fill in the scale degrees based on what you km now the gaps are.
at 5:15 when he is saying that the Dm7 chord could belong to either the C, Bb, or F. how do you know that the Dm7 relates to just those keys? I am new to piano and i feel like i am missing something.
Its either eolian or dorian or phrygian. There are only 3 modes for minor7. So Dm7 in C is Dorian, in Bb its Phrygian and in F it is Eolian None of other 9 keys have the exact notes of Dm7
COrrect me if I am wrong - I think the issue is - are all the chords in the progression (beyond a simple ii V I) are derived from the Primary keys (C in this case), than all the notes in that key are considered acceptable. It is when you progression deviates from the Diatonic harmony where using modes comes in because the notes played over the individual chords will likely have variations beyond the tonic Dorian scale,
soooo i've been improvising lately over Silly love songs' backing tracks (C-Em-F) and got confused whether i should or not really care about modes here. Basic Ionian and penta sounded the best of all, Mixolydian (C as tonic everywhere) and Lydian aswell as Dorian were also okie, even Phrygian works. But i really dont see any complexity being added to the melody whilst i use E Phrygian and F Lydian over corresponding chords ... idk really how it turned out such a way.
wow thanks for the video! I finally get it why to use modes :) now I see the advantage of modes. awesome! btw: your voice sounds diferrent. new mic? I think it sounds better because there is less echo
One mode per chord is vertical thinking. The result is like composing a phrase with arbitrary words: often just meaningless as a story. It is more like poetry: the sound effect of juxtaposed words. Worse: a chord progression with fast changing changes will drive you crazy. So, imho, don't use modes as a scale per chord, or only very exceptionally. Don't waste your time exercising this way, it will never make you a satisfying improvisor. My answer to the described jam session situation is: if you have no time to familiarise yourself with the song, refuse to play. The result is rarely good. Luckily, there are jazz instructors that promote horizontal playing and explain how to do that. If you have some training, analysing a new song in that way should not take very long, say 5 to 15 minutes, even a very complex one. Modes come from the old music where they definitely make sense, but are used differently, and as such they offer possibilities in modern music.
What you just said matches exactly my intuitive feeling towards chord-scale theory. It's like people use that stuff because they're only concerned with playing something that "sounds good", but not with making actual music.
This makes so much sense. When modes were taught to me and then I tried to hear that type of playing in actual jazz recordings i was thinking what the masters play sound so much more musical then just running scales over chord changes
@@AZ19AZ199 Yes. Fareed Haque, a well known guitarist says: modes are entirely academic, real world playing is different and does not work that way. Aside: of course we are not talking about the so called modal jazz, which is another direction.
Self answer after playing a bit on the piano: that is done to avoid the F (avoid note in the key of C) replacing it with F sharp? Right or wrong? Thanks :)
@@biancoeblu Yeah, many Jazz guys that don’t think of Keys but “chords as individual separate islands, playing the Lydian mode over a Major7” and your right, it’s because they choose to avoid the 4th (avoid note) and replace it with the better sounding #4. I personally dislike thinking in this Modal “chord of the moment” way of thinking. All the greatest jazz bebop players didn’t think this way, neither did all the great classical composers of the past. The old time Bebop cats didn’t even think of modes at all! Barry Harris has a great video on TH-cam explaining “how this modal thinking was created by to keep the students studying for longer.” The modern modal way of teaching/thinking was so the students would keep coming back for more, spending more cash 💵 for lessons. I mean they needed something to keep teaching these students at music schools. (Keep them coming back for more) Barry Harris could play over any Jazz progression no matter how complex (like Giant Steps) and he didn’t know anything about modes. I choose to think in keys instead modes myself. e.g: I know a Dorian mode simply means “a two chord” (which is some minor chord) so I target the appropriate chord tones, using the Major/diatonic scale notes that surrounds it as passing notes, creating tension and release. I don’t know why modes are so over complicated today. If you learn the diatonic scale and how to target all the chord tones (each of its seven diatonic arpeggios) that belong to that key, you already know the modes. You don’t have to learn anything else. Everything else concerning the modes is just extra details that tell us something about them. (Like intervals and so on) Anyway I’ve gone into a bit of a rant lol. It just really gets to me how modern teaching methods like to really drag it out, for a long term steady income. Then the students pass the process down throughout each generation.
@@jazznotes3802 Barry Harris also outright stated that he dislikes most jazz that came after his time, including Coltrane, so... Not to mention that, maybe Barry Harris didn't ever think of modes, but he does have his own theory of thinking about things with his own 6th Diminished Scale and whatnot, and nobody in the world could convince me that that stuff's easier to learn than modes when the channel Things I've Learned From Barry Harris is on episode number 115 with over three years of uploads, while most videos on modes explain what they are in 10 to 15 minutes and this one even manages to tell you how to use them in under 10 minutes.
@@Copperhell144 Did you even read all of my comment? 🤔. How I explained it is even easier. If you think of the modes as being part of one big family (the diatonic scale lets say) it makes things very simple. You don’t need to learn different scale patterns for each mode, as it’s all the same scale. e.g. To play in the Dorian mode your emphasising the two chord of a particular key and so on for the rest of the modes. To play in a mode you take the diatonic scale then place the emphasis on one of it’s seven diatonic arpeggios. Then you have the mode. That’s why it’s called a mode, because you take the same scale and click it into a mode. After you’ve done this for a while you don’t need to think about what key the mode belongs to, because you develop an ability to just play it from whatever root note you choose. It becomes instinctive and natural without years of memorisation. Path of least resistance!
@@jazznotes3802 Did YOU even read all of my comment? That has nothing to do with what I wrote... I don't care what you explained, I'm talking about Barry Harris. Also, you don't need to think about "what key the mode belongs to" in the method that this video explains either. The video is only about finding what scale/mode you can play over a certain chord.
CST (chord scale theory) has been dying out for years now. As Jazz master Jerry Bergonzi says... Knowing the right scale will get you in the ballpark, but your still not on base.
You know, funnily enough I was actually debating whether to say 'Greek Names' or 'Latin Names' - but decided to go with Latin because the word 'Dorian' is the Latinised version derived from the the Greek word (roughly pronounced) 'Dories'. en.wiktionary.org/wiki/Dorian
Nice explanation. But modes and scales are overrated. ;-) To sound good you should know what the chord tones are and that they are consonant sounding and additionally you use the not chord tones which are to some extent dissonant and request solution to a chord tone. The not chord tones are only three! All three come in two "flavors" a half step apart which in essence determines the mode. You only need to know how the flavors in respect to the actual chord and the context of the progression sound and when which flavor is sounding good.
Best explanation on modes I've ever seen on TH-cam, thank you sir
What about Ricky Beatos video on this topic ?
@@jamesudoko
I prefer this one, more straight to the point.
@@bluebotlivingston6016 oh and btw! i currently have a sale on my new beato book on my website and u can aso buy these cups that we have.. wait a minute where was i?? lool that guy 70% pitch 30 % content
I agree: best explanation of modes and especially modes vs keys on YT yet. Great job, succinct, clear and precise. Thank you.
Love your work. But the mode names are greek I am pretty sure. They are named after different parts of ancient greece
I'm sure- they're definitely Greek
Came here to be this pedantic but I'm glad you were before me
They are known as Church modes, which were used to sing Latin hymns in Medieval Europe. The Greek names are a reference to Pythagorean Music theory. Much of Greek antiquity's body of knowledge was actually salvaged and translated into latin by very dedicated monks.
Yup, Greek names. Plus, most of the Greek was actually translated to Arabic then to Latin.
Greek
Such a great video, thank you. For folks who are confused about the difference between scales and modes (just about everybody), this still adds to the confusion, since you're using the terms interchangeably, but this was not the purpose for your video, I understand. Extremely useful and informative. If only the modern musicians who use the "one scale per chord" approach would realize and admit that they're playing scales, the world would be so much better. "Dorian" is a mode; "D Dorian" is a scale. No one can refute this, since it is self-evident. There just seems to be a persistence out there in keeping everyone as confused as possible. But thank you, again. I really gained a lot from this, myself.
Great lesson. I have been puzzling over this for a while and you made it very clear.
Also, for someone who doesn't know what scale to play, you could focus on the chord tones and add notes in between as you feel (either diatonic or more exotic ones).
This video is the perfect add-on to your other video on "why a chord is a scale and why multiple scales work over one chord".
This are the best and original explanations on the web. Could you explain how notes of a scale tends to move to create melodies with enphasis on the gravitational force that every note hold within the key or scale? Thanks a lot!
I have read and seen numerous articles and videos about "modes". The internet is full of them. But they all are useless. They only explain WHAT a mode is, but not how to use them and what is their benefit. Thanks for the best video out of more than a thousand.
Thiiisss, my friend, is what we call liquid GOLD... I don't think anyone has done as good as a job as this guy has done explaining the modes.
thinking of different modes per chord and connecting the chords together is very difficult for me, so for now i just try hit chord tones on the strong beats and include chromatic passing notes in between.
A new video by "Walk that Bass", my dearly beloved jazz piano channel! You are so great, free teaching, excellent teaching, sorry, I cannot find the words in English!! I am so grateful!!
Brilliant explanation of modes and their application. Thank you very much!
Hi.
You have the best style of explanation about music theory,that I ever seen.
And I am music teacher and seen a lot...
This answers the exact question I formulated in my head when trying to understand why modes and not just keys. Thank you 🙏 outstanding explanation
thanks for another great lesson, can you do a few more where you arrange a basic jazz standard?
It is the best explanaition of fundamental jazz music principle for non-jazz people . Its finally put my thoughts together. Thank you a lot. Im hoping for some more very basic & deep videos about music theory fundamentals. Good luck!
Perhaps it is better to say: a good explanation of a jazz music principle that *SOME* use. It is something that came up mostly since the bebop time and that was later again refuted by many. There are a lot real jazz players that think in the so called 'non-jazz' way, or think both ways with a more general, universal approach. Imho the latter are the best. The term non jazz people is in fact not correct. Vertical modewise improvisation is not the essence of jazz.
@@mer1red I am a non-pro music maker and thi is my hobby for most of the time. In that way for me there are a jazz way and a classic way of teaching music theory. And because im not deeply involved to both of them this is a pretty good explanaition for me.
@@jaseyn Since it is your hobby, your time is limited. If you want to evolve quickly: when you hear a phrase, melody or solo that you like, learn it by heart. There is good software to support that, eg for slowing down while keeping the pitch. After that, make little changes according to your taste. That is how most of the masters learned their art.
Great explanation
Why does no one use the word "permutation"? Each mode is a cyclic permutation of the scale from which it is derived. If you neglect differences by octaves, then that *precisely* captures what a mode is.
That's true, they're permutations, or rotations of the same interval pattern of tones and semitones in diatonic scale.
My question is why am I seeing two completely different definitions of modes of a major scale. On the one hand people say that you can get different modes of a major scale by staying in the same key, but just starting on a different note/tonic. On the other hand the definition is one that's based on sharpening or flattening certain scale degrees to create a darker or lighter feeling. (eg Dorian mode of a major scale is when we flatten the 3rd & 7th note. Etc)
How can the Aeolian mode of C major both be : A B C D E F G A (Like it says in this video)
But also be, by definition, the natural minor of c major: C D Eb F G Ab Bb C
Which one is the aeolian mode of c major scale?
@@madeline569 A B C D E F G A is the Aeolian mode of the "C Major Scale". C D Eb F G Ab Bb C is the Aeolian mode of the "C note", in other words "C Aeolian". So if you want to get the mode of a note, you can take the major scale of that note and add the appropriate sharps and flats onto it.
As far as I understand anyway.
After years of study and playing, I can state that the theory above is correct but it all goes out the window while performing. Best theory lesson I learned was from a chance remark I heard that all Chet Baker wanted to know is the starting note of any given tune. Of course he had internalized hundreds of tunes and could "hear" how each one was structured within a few bars and play accordingly. Moral of the story: Learn tunes first; theory second (if at all). I wasted years memorizing modes and scales when I could have been MAKING MUSIC all that time. Ironic.
I learned the bit I know exactly in the way you described it. First, learned some tunes and songs, then years later I went into learning the theory behind it. I didn't do it consciously, it just happened, but it worked well for me.
Abraços
Good explanation. I had this question in mind for a long time. Finally got the answer
i play a different instrument but these videos taught me so much man. they are appreciated
I really dig your channel, you explain things clearly, which helps to
demystify theory.
Keep up the great work
This is a great video! I’m struggling understanding one part and I’m sure it’s simple but I just don’t get it.
About 3:50 in, how do you get the related major scales to the modes?
Merci beaucoup for this.
Thanks for you explanation it was really informative
How did you get this good in “music theory math “ like in 04:19 for example ? Do you have any tips for getting good in easily recognizing the scales degrees like this ?
Well, there's only seven letters, and with very few exceptions each will be used once, with very rare exceptions, none will be used more than once.
C D E F G A B
The order doesn't matter as much as the distances between them, but the above is fairly standard. Once one of them, any one of them, is known, the others are naturally ordered. For example, let's say we want to look at a key of E, where E is given the number one for tonic...
C D E F G A B
6 7 1 2 3 4 5
The sharps and flats won't even change the scale degree (with a few rare exceptions like some scales with more than 7 notes). So, if you're in a key of E, of any kind, a C, of any kind, will be the 6th scale degree. Whether it's C# like in major, or C like in minor.
There's not much to it, you just need to learn to recognize the gaps, and fill in the scale degrees based on what you km now the gaps are.
at 5:15 when he is saying that the Dm7 chord could belong to either the C, Bb, or F. how do you know that the Dm7 relates to just those keys?
I am new to piano and i feel like i am missing something.
Its either eolian or dorian or phrygian. There are only 3 modes for minor7. So Dm7 in C is Dorian, in Bb its Phrygian and in F it is Eolian
None of other 9 keys have the exact notes of Dm7
verry good exlained
COrrect me if I am wrong - I think the issue is - are all the chords in the progression (beyond a simple ii V I) are derived from the Primary keys (C in this case), than all the notes in that key are considered acceptable. It is when you progression deviates from the Diatonic harmony where using modes comes in because the notes played over the individual chords will likely have variations beyond the tonic Dorian scale,
Phenomenal is what you are!
Excellent, thank you.
soooo i've been improvising lately over Silly love songs' backing tracks (C-Em-F) and got confused whether i should or not really care about modes here. Basic Ionian and penta sounded the best of all, Mixolydian (C as tonic everywhere) and Lydian aswell as Dorian were also okie, even Phrygian works. But i really dont see any complexity being added to the melody whilst i use E Phrygian and F Lydian over corresponding chords ... idk really how it turned out such a way.
this is a great video, thank you so much!
Thank you very much for this wonderful lesson.
great explanation！
Grazie
thank you so much for this. Straight to the point and clearest I have ever seen this put.
wow thanks for the video! I finally get it why to use modes :) now I see the advantage of modes. awesome! btw: your voice sounds diferrent. new mic? I think it sounds better because there is less echo
One mode per chord is vertical thinking. The result is like composing a phrase with arbitrary words: often just meaningless as a story. It is more like poetry: the sound effect of juxtaposed words. Worse: a chord progression with fast changing changes will drive you crazy. So, imho, don't use modes as a scale per chord, or only very exceptionally. Don't waste your time exercising this way, it will never make you a satisfying improvisor. My answer to the described jam session situation is: if you have no time to familiarise yourself with the song, refuse to play. The result is rarely good. Luckily, there are jazz instructors that promote horizontal playing and explain how to do that. If you have some training, analysing a new song in that way should not take very long, say 5 to 15 minutes, even a very complex one. Modes come from the old music where they definitely make sense, but are used differently, and as such they offer possibilities in modern music.
What you just said matches exactly my intuitive feeling towards chord-scale theory. It's like people use that stuff because they're only concerned with playing something that "sounds good", but not with making actual music.
This makes so much sense. When modes were taught to me and then I tried to hear that type of playing in actual jazz recordings i was thinking what the masters play sound so much more musical then just running scales over chord changes
@@AZ19AZ199 Yes. Fareed Haque, a well known guitarist says: modes are entirely academic, real world playing is different and does not work that way. Aside: of course we are not talking about the so called modal jazz, which is another direction.
고마워요♥♥♥
Thanks!
Why Dorian over m7 chord and not aeolian and why Lydian over Maj7 and not Ionian? :O
I get the other two, but why Lydian (and not eg Ionian) over Maj7? 😬 eg, Isn't the tritone going to sound a bit poo against the 5 in the chord?
Then why use a major 7 chord in the first place? That has a maj 7 dissonance. Lydian is for color and the dissonance is the flavor.
I believe the church modes are incorrectly interpreted Greek (Pythagorean) music theory. None the less, the mode names are Greek, I believe.
Great work, but I don't get why Lydian over a Cmaj7? Should that not be C ionian?
Self answer after playing a bit on the piano: that is done to avoid the F (avoid note in the key of C) replacing it with F sharp? Right or wrong?
Thanks :)
@@biancoeblu Yeah, many Jazz guys that don’t think of Keys but “chords as individual separate islands, playing the Lydian mode over a Major7” and your right, it’s because they choose to avoid the 4th (avoid note) and replace it with the better sounding #4.
I personally dislike thinking in this Modal “chord of the moment” way of thinking. All the greatest jazz bebop players didn’t think this way, neither did all the great classical composers of the past.
The old time Bebop cats didn’t even think of modes at all!
Barry Harris has a great video on TH-cam explaining “how this modal thinking was created by to keep the students studying for longer.”
The modern modal way of teaching/thinking was so the students would keep coming back for more, spending more cash 💵 for lessons. I mean they needed something to keep teaching these students at music schools. (Keep them coming back for more)
Barry Harris could play over any Jazz progression no matter how complex (like Giant Steps) and he didn’t know anything about modes.
I choose to think in keys instead modes myself. e.g: I know a Dorian mode simply means “a two chord” (which is some minor chord) so I target the appropriate chord tones, using the Major/diatonic scale notes that surrounds it as passing notes, creating tension and release.
I don’t know why modes are so over complicated today. If you learn the diatonic scale and how to target all the chord tones (each of its seven diatonic arpeggios) that belong to that key, you already know the modes. You don’t have to learn anything else. Everything else concerning the modes is just extra details that tell us something about them. (Like intervals and so on)
Anyway I’ve gone into a bit of a rant lol. It just really gets to me how modern teaching methods like to really drag it out, for a long term steady income. Then the students pass the process down throughout each generation.
@@jazznotes3802 Barry Harris also outright stated that he dislikes most jazz that came after his time, including Coltrane, so...
Not to mention that, maybe Barry Harris didn't ever think of modes, but he does have his own theory of thinking about things with his own 6th Diminished Scale and whatnot, and nobody in the world could convince me that that stuff's easier to learn than modes when the channel Things I've Learned From Barry Harris is on episode number 115 with over three years of uploads, while most videos on modes explain what they are in 10 to 15 minutes and this one even manages to tell you how to use them in under 10 minutes.
@@Copperhell144 Did you even read all of my comment? 🤔. How I explained it is even easier.
If you think of the modes as being part of one big family (the diatonic scale lets say) it makes things very simple. You don’t need to learn different scale patterns for each mode, as it’s all the same scale.
e.g. To play in the Dorian mode your emphasising the two chord of a particular key and so on for the rest of the modes. To play in a mode you take the diatonic scale then place the emphasis on one of it’s seven diatonic arpeggios. Then you have the mode. That’s why it’s called a mode, because you take the same scale and click it into a mode.
After you’ve done this for a while you don’t need to think about what key the mode belongs to, because you develop an ability to just play it from whatever root note you choose.
It becomes instinctive and natural without years of memorisation.
Path of least resistance!
@@jazznotes3802 Did YOU even read all of my comment? That has nothing to do with what I wrote... I don't care what you explained, I'm talking about Barry Harris.
Also, you don't need to think about "what key the mode belongs to" in the method that this video explains either. The video is only about finding what scale/mode you can play over a certain chord.
Nice
CST (chord scale theory) has been dying out for years now. As Jazz master Jerry Bergonzi says... Knowing the right scale will get you in the ballpark, but your still not on base.
Hi.
Can you explain what you mean?
Why is aeolian a key but the others aren’t
Aeolian is the relative minor key to the major key.
I love you.
Love you too.
That's why I'm the Mediterranean countries folk music relies on modes rather than on keys
Modes of the Key of C? Major and Minor are just modes. Melodic and Harmonic are altered modes.
Um, I'm pretty sure the mode names are Greek.
Greek names.
You know, funnily enough I was actually debating whether to say 'Greek Names' or 'Latin Names' - but decided to go with Latin because the word 'Dorian' is the Latinised version derived from the the Greek word (roughly pronounced) 'Dories'.
en.wiktionary.org/wiki/Dorian
@@WalkThatBass maybe we could say "latinized Greek names"? 😉😘
Nice explanation. But modes and scales are overrated. ;-) To sound good you should know what the chord tones are and that they are consonant sounding and additionally you use the not chord tones which are to some extent dissonant and request solution to a chord tone. The not chord tones are only three! All three come in two "flavors" a half step apart which in essence determines the mode. You only need to know how the flavors in respect to the actual chord and the context of the progression sound and when which flavor is sounding good.