Discover the Nice Quality of the DORIAN MODE
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- เผยแพร่เมื่อ 21 ต.ค. 2024
- We explore the qualities of the Dorian mode and the Dorian minor 13 chord. When improvising we can achieve a very consonant, stable and pleasant sound using the Dorian scale. We seek the theoretic reason why.
A Jazz tutorial about Dorian improvisation.
Advanced music theory - explained in a simple way!
This video is a Short Tip Tutorial that presents a short extract from a more comprehensive Theory Lesson from NewJazz. Watch the more comprehensive lesson about “messing up” the Dorian mode: • Atonal Improvisation u...
You may also want to see these videos about the Dorian Mode:
"How to play Dorian using pentatonic scale": • How to play Dorian Mod...
"Modal Theory - the 7 church modes explained": • Modal Theory - The 7 C...
Translations of the English subtitles to Spanish, Portuguese, Italian and French by Edgardo Solano from Colombia. Thank you so much Edgardo!!! You can turn on the subtitles and choose a language in the video settings.
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Warm regards
Oliver Prehn
After 15 years of self taught in piano... I finally understand what Dorian mode is... Thank you Sir Oliver Prehn
play G major scale on A minor , thats the dorian
Whether you know about music or not, this is so relaxing to just listen to
Well, I do have a Master's degree in Music Science, but that's not the same as I should know anything about music ;)
NewJazz No no no no. I'm so sorry. i didn't mean to imply anything like that. I meant this for the people who'd find this comment. I should have said "whether one knows". I think you're awesome and are one of my go to people to just learn more stuff
LOL. No need for excuses! It was just me that couldn't read properly - LOL. But if it was me you were talking about, that would also be totally alright :) And thanks a lot for the nice words!!! Warm regards Oliver
This is incredible.
Last hour I watched three of your videos about modes and.. finally figured out what is going on! This lesson has just finish the composition.
Dorian - is a Home. The mode where I want to stay forever. It is consonant. Balanced. Perfectly.
I was very close to this answer.. Once I noticed, that the Dorian is in the middle of the modes Row. Balance. Home.
When you go up you gradually lost your connection to your Home, you gain the power and the will to go higher to the new one. You already have told about it when took an approach to add the next pentatonic pattern after the lydian mode; you said that c# become more proper, more pleasant to hear than the C. The reason is that new home was reached. The walls were ruined. New balance was established.
The same thing is about the opposite movement - to the dark, lower. The locrian tension tells us "Please, make something!! Get high if you have enough power, or give up and accept your new home - home one semitone lower!!"
Thanks a lot for your lessons. You help me to complete my picture of music. And also you inspired me to search for new sounds, new landscapes.
There is still lots of thing waiting for us to discover it!
(sorry for all the mistakes - I'm not native English speaker).
I have no words!!! Every lesson i discover an incredible amount of new thinghs explained in an unbelievable clear way| Thank you Oliver!!!
I feel the same way. Not only are his ways of teaching the clearest I've encountered, but also extremely useful in a musical context. Will be spending a lot of time on this channel (alongside the keyboard) : )
To any one who wants to lissen to the true dorian, this beautiful recitation is with the dorian th-cam.com/video/VyU0ndq453s/w-d-xo.html
WOW! I just started understanding how modes really work as far as why they sound different from the perspective of their particular harmonic individualities in respect to the intervals that identify each, but i didn’t know this! I feel like this just unlocked a whole new level of understanding for me and i’m already seeing all the creative possibilities and how fun music can really be now. If you showed me this video a year ago i would have been totally lost. So glad i finally GET IT! It’s such a great feeling to finally feel like it’s all coming together. I really think this is what i needed all this time to fully commit to a practice regimen. I play guitar, so little different than keyboard, but now i really WANT TO practice the different triads shapes and arpeggios and perfect my technique. I never had this motivation before because i didn’t feel like i could see the big picture. Anyways, TYSM for this video! It opened my eyes.
Thank you! I like your calm and chill talking 😊
Though I'm a biginner i find your lessons not only good but easy to grasp. Thank you sir 😊
I will never say you Thank you enough!!! Your You tube channel it's so full of inspiring content... Thank You Oliver for have been creating it and keep sharing hungriness of music with your precious channel and community!!!
Excellent use of hi-tech graphics -- superior video thank you so much!
This was very helpful. I like your slow pace and the repeated playing of the notes. Thank you very much.
You earned yourself a subscriber, Ive known partial music theory and have played instruments all my life, and you make it so easy and calming. Your teaching is like the flow of water
That was incredible, you are a great teacher and musician
always a pleasure to learn from you sir!
such sound of eternal and serene, thanks for the clear explanation!
Never before never again i think i will see better tutorial than yours on Dorian mode thanks a lot for this wonderful lesson
Mindblowing, thank you and best regards from Argentina!
Nice lesson by the way, your previous one on hand grips shifted my focus alot, i adapted it to my own method swapping it to index, middle, and ring fingers using the thumb and pinky in a more auxillary fashion and my playing speed greatly increased in a few days time.
That's great to hear! The purpose of my lessons is, for sure, to give inspiration, so 'music people' like you can alter the ideas and incorporate them into their own styles and techniques. Thanks a lot for this update!
My respect for you Sr.
Beautifully explained sir. Much love from India❤️
What a great and pleasant video to watch, thank you!
You are a good teacher, Oliver.
Your voice is more pleasant than the dorian mode itself!
Once again, you're the greatest.
it was magical
Love dorian mode and the secrets you encover! Thank you.
Thank you Oliver I understand it perfectly. The best way to know that you understand something it to teach and explain so I will explain all I learn to anyone who is interested and tell them that I learned it from you. I will share your channel also.
I love the Dorian scale!!!
Thank you, Oliver.
Great tutorial, thanks for putting this together.
You can also build a Major 13 #11 chord with each third having a perfect fifth interval. For example in C, the Major 13 #11 chord would be: C E G B F# A. These notes build the Lydian scale. This is one reason why Lydian has a very sweet and consonant sound to it as well. If you take a C Major 13 #11 chord and build fifths on each third you would have: C to G, E to B, G to D, B to F#, and then D to A. Of course, you will have a tritone when going from the #11 which is F# and back up 2 octaves to the tonic C, but if you avoid that 2nd octave and just end on the 13th (A), then you will have all perfect 5ths in each 3rd interval. Also, Dorian is my favorite mode, though I put Lydian and Mixolydian just behind Dorian because I love their sound too.
Correct! Lydian also has a very consonant sound. Thanks for great input :) :) :) Best regards from Oliver
NewJazz I enjoy your videos! Your finger techniques for piano have helped me get better. You give good explanation for music theory too, and I enjoy gaining new insight on old concepts and learning new concepts as well. Keep up the good work. 👍🏼
You are a great teacher and i am very greatfull for your videos. I noticed that the dorian mod is also "mirrored" , up it goes T-H-T-T-T-H-T and same down (T=1 tone , H = hafl tone). I cant see any concrete link but it add something to its beauty !
Thanks again and best regards from France
Thanks :) And CORRECT... that's also a very unique property of Dorian!!! Thanks for your input :)
Super useful lessons 👏🏻👏🏻👏🏻
I'm impressed by what you have said before that music is for everybody. I'm 40 now and eager to learn piano. 😎
Sooo good explanation! Thank you so much
I love this mode. and your lessons)
Thanks, Oliver.
Thank you so much!!! Laerning in Brazil
Great explanation, thank you!
Werner Herzog does music theory lessons. Really helpful video!
Really nice!!
Well explained, thanks!
Pet Shop Boys 'Only the Wind'
Thank you for for this, I find this incredibly interesting.
Thanks a lot for your great content explained so clearly !
Tritone on dorian chord will only appear if we continue the same pattern: between 13th and the next 3rd up. Using the same principal, we can build hierarchy of consonance: the higher up the tritone appears, the more consonant the chord (mode) is. If we take notes C D E F G A B:
B=13 => Dm13 (dorian)
B=11 => Fmaj13#11 (lydian)
B=9 => Am11b13 (aeolian)
B=7 => Cmaj13 (ionian)
B=5 => Em11b9b13 (phrygian)
B=3 => G13 (mixolydian)
B=1 => Bm11b5b9b13 (locrian)
Simply awesome !
Thanks so much!!!
I think of modes as "scale inversions", C Dorian is basically the Bb major scale and you can also look at it as Cm and Dm chords combined, nice video, thank you
I had just discovered this myself. I love how he gets the mind going.
Very nice Sir.
very helpful. thank you🤗
Me gusta tu voz, es relajante.
Amazing way of teaching... thanks a ton .. ❤🙏
Greatest therapy in music lesson ever watched!
It would be nice to expand this theory with other chords of C dorian scale, the ones that in your opinion are not pointing to Bb tonal center as F7 of course, let’s remain modal and dorian... and very Keith Jarret Koln concert mood :)
Thanks a lot Francesco. And as always thanks for your enlightening comments. When analyzing for example the F7 chord, I like to change the mode to for example F Mixolydian. F Mixo and C Dorian share the same keys. Later on we are going walk through all scales and then we are ready also to analyze chord progressions as promised - these subject are in the line, but it still take some time ;) I hope you still have patience :) Warm regards Oliver
Thank you Master ! Happy Christmas !
Thanks and merry Christmas to you :) :) :)
Stunning!
Dorian's notes can be played by its root chord (i) and its VII(maj7)
i.e D dorian's notes are in Dm and C(maj7)
symmetry. the Dorian minor 13 chord is entirely symmetrical. to the octave key. for this consonance to occur for a full 13 chord it has to be obtained from a minor mode followed with a minor mode which we only have in the second and third degrees. therefore Dorian is the only possibility. a minor seventh chord is symmetrical. the dorian minor 13 chord is a minor 7 chord followed by a minor 7 chord.
13 chords of minor modes are
dorian* min7 + min7
phrygian min7 + maj7
aeolian min7 + min7b5... almost :)
locrian min7b5 + maj7
so the only mode from which we can build a min13 chord or only min 13 chord that every member fits in the modal scale is Dorian.
Another way of understanding the mode is to observe you are taking the 'missing' notes of the C minor scale - the notes that don't make up the Cm chord itself, that is, the notes D F A - and simply playing them an octave higher. Playing all the notes of a scale in sequence sounds 'crunched' and a little muddy - also pleasing in certain circumstances - but to stretch the minor 7 chord out and give the notes some 'space and air' produces the effects he describes. Plus, as he says, each note is 'shadowed' by its own 5th note, producing a very full and complete sound.
Yes, good point!!! Thanks!!! Cheers from Oliver
Great explenation, थँक्स
Interesting! Using the 5th interval we can create other scales like that, e.g.
C; Db; Eb; F; G; Ab; H; C; -> C phrygianThe easy way to understand how to create one is to notice that the scale consists of 2 equal parts of the same intervalic stracture. So the 1st part "C; Db; Eb; F" has the same intervals as the 2nd part "G; Ab; H; C". This simply comes from just pressing a 5th around ;)
From 2:15 you start explaining there are no tritones. But I guess there is one tritone after the last F-C fifth: the A-Eb dim fifth! Nevertheless this explanation gave me brand new information I could never figure out by myself. Great video! 👍🏽
Correct - but by then we have done all the fifths from the keynote C, throughout every note inside the Dorian scale, until we once more hit the keynote C. If we continue further we hit a tritone interval, you are so right about that ;) And great that you can use the lesson :) Best regards from Oliver
🎉 Thank You
So the Dorian chord is a minor chord with a major 13th. I've noticed that fully extended minor chords with a diatonic minor 13th (ex: A-flat on top of a Cm7/9/11 chord) sound really bad. Now I understand why. It doesn't have that fifth relationship. There's a tritone between the 9th and the 13th.
I'm surprised about your theory : "no tritones only in expanded dorian chords". I'm trying a little bit another modes' expanded chords, especially while talking the ionian-based modes.
C ionian (major) : Cmaj13 : C-E-G-B-D-F-A (B is the tritone of F and vice versa)
C lydian : Cmaj13#11 : C-E-G-B-D-F#-A (the F# is the tritone of C when we are about to have the second octave of that chord and vice versa, but the F# and C of the next octave are near, so yeah)
C mix. : C13 : C-E-G-Bb-D-F-A (E is the tritone of Bb and vice versa)
C aeolian (nat. minor) : Cm7(b13) : C-Eb-G-Bb-D-F-Ab (D is the tritone of Ab and vice versa)
C phrygian : Cm7(b9, b13) : C-Eb-G-Bb-Db-F-Ab (G is the tritone of Db and vice versa)
C locrian : Cm7b5 (b9, b13) : C-Eb-Gb-Bb-Db-F-Ab (C is the tritone of Gb (or F#) and vice versa)'
but actually, C dorian chord, Cm13, has a tritone tho. It's the Eb and A. So actually no expanded chord (the 13 or b13) that doesn't have tritones, but yeah, by counting like that, you won't found a tritone in C dor. chord (Cm13) since Eb are not related with A (Eb rings in the first octave and A rings in the second octave)
While taking another known modern scales derivated NOT FROM IONIAN (for ex.the melodic minor)
C asc. melodic minor : Cm(maj13) : C-Eb-G-B-D-A-F (Eb is the tritone of A and vice versa)
(the desc. melodic minor is the same with aeolian mode)
C dor. b2 : Cm13(b9) : C-Eb-G-Bb-Db-F-A (G is the tritone of Db)
C lyd. augmented : Caug13(#11) : C-E-G#-B-D-F#-A (G# or Ab is the tritone of D)
C lyd. dom : C13(#11) : C-E-G-Bb-D-F#-A (this is the same behaviour with C dorian chord, Cm13, when the tritone relationship between F# and C (C is in the first octave while F# is in the second octave)
C aeo.dominant : C7(b13) : C-E-G-Bb-D-F-Ab (D is the tritone of Ab, E is the tritone of Bb)
C half diminished : Cm7(b5, 9, b13) : C-Eb-Gb-Bb-D-F-Ab (C-Gb and D-Ab are tritones)
C alt (super locrian ) : C-Eb-Gb-Bb-Db-Fb (or E)-Ab (that's quite confusing because you can write it as in the dominant 7 flat 5-based ; C-Gb, Bb-E (or Fb) are tritones)
The Dorian scale is just a natural minor scale with the major 6, and sounds amazing
Thank you so much, for all your videos ! God bless you
Oliver love your lessons..for this one the A to Eb would not qualify as perfect 5th right? just want to clearly understand this..
Hi, and thanks :) And yes, "a" to "eb" is a diminished fifth. But we can build up the Dorian chord in thirds from the root and reach the very last 13 extension without hitting this diminished interval - that's the point ;) All the fifths are perfect inside the extended chord.
You're right, I've understood this starting from the question "¿why can't you use the pentatonic scale of the 13th degree?", having in mind that you can improvise with the pentatonic scales whose roots are FIFTHS starting from the first degree. So, there is another chord like that: the chord formed from the lydian scale, it has the same problem you are pointing out, but the diminished fifth is in other place.
I've obtained the answer of the previous comment with the diagram of 5:00 moving the superior set of fifths half-step up. If you move the inferior set of fifths half-step up, you also obtain another chord: major with 9th and diminished 7th, but this is weird and doesn't correspond to a complete scale. By the way, thank you! I find your videos very useful.
Hi. You are so right about the Lydian scale - nice spotted. With the Lydian scale we can merge fifths all the way to the 13th step. That's probably also why this scale/chord has a very Tonic sound and is often used as such. But with the Dorian scale we can actually merge fifths pass the 13th step and we hit the keynote once more and we have completed the circle so to speak. So with the Lydian scale we can not go all the way to the keynote - only to the 13th step. Best regards Oliver
Now i want to learn that!!!
Major 13 #11 has the same thing. An augmented 11th exists between the root and eleventh in that chord. Similarly, an augmented 11th exists between the third and 13th of the minor 13 chord. No "tritone" exactly, if it must be restricted to an augmented fourth or diminished fifth without octave displacement.
Correct, we can do the same thing with the Lydian scale - almost. With Dorian we can go so far that we hit the keynote once more!!! Lydian miss that last step to the keynote. Instead we can stable a lot of fifths right on top of each other, for example C Lydian: c-g-d-a-e-b-f#
Cheers from Oliver
these lessons are absolutely incredible! do you have a way of accepting credit cards for your courses?
If you wanna make a small donation to support my work you can do it here: www.newjazz.dk/donations.html
But you certainly don't have to - I nice message like yours is all the support I need :) Warm regards Oliver
Interesting theory here. The expanded chord and improvisation sounds a little like The Doors - "Yes the River Knows".
Gràcies !!
Ha, i play dorian in C all the time, but never knew why 🤙 thanx so much.
This only woꝛks when tuning to Pythagoꝛean iuſt intonation. If you tune with a 6/5 minoꝛ third between C and E then not all the fifths will be perfect. It would be intereſting to hear the 5 limit tuning of that choꝛd compared with the 3 limit.
My work assignment for this week was to write a song using the dorian mode for the key of A. It seems I can only make depressing music out of this scale/mode...!
Awesome lesson thank you. I do have a question though. Isnt there a tritone between Eb and A? I think im missing something here
Correct!!! An observant student :) :)
But we can merge fifths from the keynote and all the way throughout the expansions until we end up at the keynote once more. But if we then try to merge the next fifth, then we'll get in trouble, that’s correct ;) Best regards from Oliver
Hi Thanks for the video.
Just a question, is a-e flat a tritone ? In that case you have tritone in dorian modes ?
Yes correct. Nice spotted :) That's where we got the Dorian tritone. But this tritone interval we do not hit when building up the Dorian Chord from the root - a very unique property of the Dorian scale. Kind regards Oliver
NewJazz Oh I see the chord not the scale.
So that's work only if you stay in the root position then.
Thank you that's a really nice video.
Thanks :) And yes correct. It only works in the main root position: So we have the keynote lowest. And then we build up the chord making thirds starting with the triad and then we make the expansions 7, 9, 11, 13. Only then we have all the perfect fifths merged into each other.
What microphone are you using for your voice? It is splendid!
Two really old Sennheiser md421 ;) Cheers from Oliver
Dude you should read audio books, I'd listen to all of them! Nice tutorial also :)
DORIAN BEST MODE!!!
Just woooow!
The Cm13 chord actually works in any mode. Yes, it's a Dorian chord, but you can play in any mode. In my perspective, it can be played nicely in Bb Ionian mode, since I love that chord in that mode and the ii-V-I progression.
Correct. All the church modes has the same interval structure. It's just a matter of defining the keynote and you got the different modes. So you can find the mi13 chord in any of the church modes. But the big difference is when playing Dorian then the keynote will be the root of the chord! So from the Dorian keynote we build up the chord structure in thirds with perfect fifths merge into each other all the way up until we hit the Dorian keynote again in top of structure - then we have the consonant Dorian chord and this trick we can only do with Dorian. If we play other modes using the mi13 chord we have to alter the keynote, and we will not have this clear consonant Dorian sound anymore - the row of perfect fifths are destroyed. It doesn't mean we can't use the mi13 structure in other modes - we just do not have the consonant sound anymore that characterizes Dorian.
By the way I do also love to play the Cmi13 structure when improvising over 2-5-1 in different modes ;) Regards Oliver
just watched this at 0.75x speed while baked as hell. music is mystical
I shall improvise on Greensleeves with this method!
I feel like I’m watching an episode of planet earth
I thought I heard Mr Burns there for a while. “Smithers, play me a Dorian scale!”
Yes...there is another: The Lydian mode. The Lydian 13 chord is a stack of perfect 5th's. That's the only other mode that is the same. Wow.....I think that's also the explanation behind the consonance/brightness of the Lydian mode. So, Dorian is the most consonant MINOR mode and Lydian is the most consonant MAJOR mode. ?? Wow! That is SO telling and makes SO much sense. Really wild: That the main thing that makes one particular minor mode the most consonant is the VERY SAME THING that makes one of the major modes the brightest, most consonant. That's CRAZY man!!! 🙂
Hi and great that you can use this lesson :) :) :) And correct - consonant Lydian has the same properties - almost - because we can not stack the 5ths all the way to the keynote - we can 'only' reach the 13th step. But Dorian finishes the circle, takes one step more, and takes us back to the keynote once more. But you are so right, they are both very consonant because of the long row of intertwined 5ths ;) Cheers from Oliver
@@NewJazz Well damn! lol Still though.......in just a 13 chord, Dorian and Lydian are the only two modes that are 5th's up through the 13. Pretty cool stuff.
Cmi13 has a tritone between its minor third and 13 (Eb and A). Since the dorian is enharmonic to its all its derivative church modes, basically any extended diatonic chord will share these perfect fifths.
The consonant sound of this specific inversion is likely attributed to the great distance between the tritone notes without having one of them as the root, drawing attention away from them.
Hi, and thanks for you enlightening input :) And correct. Other inversions of the chord will not be ordered so nicely. In this lesson we talk about the Dorian "Tonic" chord build up from the root nicely ordered upstairs with thirds. We spread out the stepwise Dorian scale from the root making the 1. inversion chord.
And correct, the other modes contain the mi13 chord as well, but then you have to alter the keynote and the chord will not appear so clearly without its first step in the bass. And if I'm altering the keynote, I would probably also alter the mode itself and we are back home to the Dorian Mode. I hope you can follow my drift...
Maybe this video I made about the modes could interest you: th-cam.com/video/v5cw-WYNBgI/w-d-xo.html
The lesson starts up easy, and later on it get's pretty advanced and geeky - probably something for an experienced theory musician like you. Best regards Oliver
NewJazz Aw shucks, sorry if I came across as a smart alec. And thanks for the recommendation!
I love to have some input from my music colleagues out there. It makes us think more about Music. And that's just the purpose of this channel and project. So thanks again :) :) :)
Hi, I have a technical question. When showing the perfect 5th intervals from each scale step, why was the interval from the 13th(A to C#) left out? That's a tritone. I enjoy your vids, very thought-provoking!
Hi and thanks a lot : A to C# is a major third - I do not totally follow, can you elaborate? Best regards from Oliver
I'm sorry, I meant A to the D# (From the 13th to the 3rd).
Ahh I see. But the minor third Eb is already covered deeper down the stack of fifths - so in your case we exceed the 13 step and go further up - and you are right! Then we will discover all the augmented and diminished intervals.
The idea in the video though, is that we build up a stack of intertwined fifths from the keynote of the Dorian scale and we keep on going to all the notes of the scale is covered and we reach the keynote once more - we can do that using only perfect fifths. If we go further up the latter, repeating the notes, the system will break, you are right about that :)
'what happened here.' I like this word ^^
Hi my favourit online-teacher. i found a tritone. in c dorian there is e-flat to a.
Hi and yes, correct. But the idea is that we build up the Dorian mi13 chord from the root in thirds and we got the merged perfect fifths all the way through the chord to the very last extension until we hit the key note again. And we do not hit a single tritone! That's why the Dorian mi13 chord sound so consonant. Now all the keys in the Dorian scale are nicely ordered. But if we continue our journey further up repeating already used keys we will hit the tritone at some point - that's correct :)
very kind, thx's a lot. i'm waiting for new videos to practise. u explain theory so easy and orderly. thank you for your job
Thank you for the awesome video!!
Please tell me: is the song “High Hopes “ by Pink Floyd in Dorian, and particularly built on the Expanded Dorian Chord?
Hi and thanks a lot :) I hear the C Aeolian scale (Natural minor)... Aeolian has a low 6th step compared to the Dorian scale 😉
Thank you very much for the answer!)
@@NewJazz pleasedo phygian
I once decided to build a very consonant scale using the circle of fifths. I took a root, took the 6 notes that are closest to the root on the circle of fifths. I got dorian. Another reason why dorian is very pleasant.
Great. Good point, thanks!!!
I also forgot to mention that Dorian is symmetric around the keynote...
Im kind of hearing the soundtrack to American Beauty when you play this
Splendid Oliver, thank you. I follow you as anyone pupils, admired of your revolutionary piano didáctic, in spite of muy lenght studies of music theory and interpretation. In the matter, I should like to expose you several questións about chords extension. All we know, that chords extension is based on the superposition of 3th. So then, isn't the same kind of 3th, that superposición. So, in C major chord, the first intervale, from c tu e, it's a 3th major, but the second intervale, from e to g, it's a 3th minor... and so for... 3th major, 3th minor, 3th major, 3th minor. *But* on the minor chords this succession it's back to front, 3th minor, 3th major, 3th minor, 3th major...
Then, if the first interval it's a 3th major, c-e, the last interval of 13th, f#-a, it's a minor one. And if the first interval it's a 3th minor , d-f on the 13th chord of second grade or D minor 13th, the last interval, g-b, it,s a 3th major.
There is another important question about this theme. We are speaking only of seven notes chord, or 13ths without repetición ones, i. e. the 13th chord hasn't doble notes.... each one it's different. But the whole history of this theory of modern chords, could also cover the chord of 15th , because the serie of 13th superposition whithout double notes it's no ended until the 15th that for his property interval it's treat of a augmented interval the 15th#, c-c# for not repeat any note.
In short: the 15# chord represent the whole extensión whith chord of eight notes without doubles notes, playing four notes for each hand, having also a different chord for each one, the reason why we are playing not only tonality but we enter in the politonality.... as made great teachers of músic like Stravinski, Messiaen and Milhaud from the Neoclassic School of Music the last century.beginning.
It's necessary to add that all this music technique are very knowing by great modern jazzmen like Herbie Hancock or Larry Williams, to whom you can to see and hear in the 75 Birthday Celebration of Quincy Jones at Montreaux 2008. Greetings and All the Best for Everybody.
Thanks a lot for this enlightenment on chords!!! Best regards Oliver
@@NewJazz
Sorry. I must to correct a mistake: I said that the chord C major 7major 9 11#: 13 15# it contain in each hand, two other chords, a major and a minor one. But the right it's that have a major C major 7 major on the left hand and. another major D major 7major on the right hand. I.e. we are at the Politonic forms of modern armonies.
I beg your excuse me.
Well, I discover now, I not said that on this link, but it said in some other. Therefore I beg your pardon, equaly.
and you have a new SUB
Interesting
If you harmonize the Lydian mode, don’t you get a chord also resulting from 3 pairs of perfect 5ths?
Hi :) Yes, Lydian is also a very consonant mode. Dorian has 6 merged perfect 5ths. Lydian "only" has 5 (we miss just one more 5th to reach the keynote once more). But Lydian can do something else; instead of merging the 5ths we can stack 6 of them until we must do a diminished version. So I believe Lydian also has a strong consonant sound. Cheers from Oliver
@@NewJazz Hey, ok now I understand exactly what you meant in the video, and I wanted to also add thank you for responding to my comment. I'm sure you hear this all the time, but your lessons are really good. Each one is so easy to watch, for example while having a snack, but then when you sit down at the piano and actually explore the ramifications it's quite stunning. Thanks again for all that you do!
How do you find the Dorian mode in other keys? What is the pattern?
Hi :) Dorian is just like the natural minor scale but with a raised 6 th step ;)
But C Dorian is just Bb (major) scale? How do you explain this??
The keynote makes the difference ;)
❤️❤️❤️thnku
how about playing something in the dorian mode