The POWER of MODES | Secrets of the Pros
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- เผยแพร่เมื่อ 20 ก.ย. 2024
- In today’s livestream I discuss how to use modes for composing and improvisation.
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Ok my blind 17 year old with perfect pitch is obsessed with your channel! Just today for history class Anton was working on an explanation of modes in Islam music and we saw this. Your work is so fascinating and is a true inspiration to my son. Thank you for all you do. It IS affecting the next generation!
one of my fellow Canadians by the name of jeff healey was blind also , and one of the great guitar players.
@@jeffdubuque5622 now im gonna have to watch roadhouse again, thanx!
Good thing someone appreciates Rick's channel... Just kiddin'. I've been subscribed for longer than my natural attention span. Come to think of it, MUCH longer! What were we just talking about? Gonna have to watch this one again.
the best!
A note about the Beato book. I purchased it a few months ago and had little trouble with it as it is written somewhat likely text book. I sent a message to Rick and he responded the next day suggesting that I go to his TH-cam channel searching for the topics that I'm studying. I did so and it was very helpful but the biggest thing I did to help me was to have the book actually printed into a physical book. I took it to a local printer and maybe it's because my age (69), it's simpler and easier for me to read text from paper than a tablet or phone. Thank you Rick for this great book and I hope this will inspire others to purchase it.
BRAVO 👏 👏 👏
the way i got to understand modes was actually on guitar. i was "droning" an open string like "E" and was playing E Aolian scale.. then i would change the droning to the "A" string and the voicing would change to a "brighter" color.. took me a while to understand what exactly was happening (E aolian to A dorian) there but thats how i got into modes. just keep the scale the same and switch the base chord/note you are refferencing to. been watching videos and learning about it ever since.
To get to know the feel of the modes, you can build "1-4-5" chord progressions using triads, and solo on top of them using the notes of the mode.
The 1, 5, and 4 traids contain the main tonalities that give each mode it's unique character. But they shift in relation to home tone of the mode.
In G Mixolydian, a G major triad, F major and C major will give you the feel (ex. "Magic Carpet Ride")
The same triads (G, F and C) will give you an F Lydian feel when played against an F bass.
G, F and C will also give you a Dorian feel, when a D note is anchoring the bass (ex. Billie Jean, Riders On The Storm) or a Phrygian feel if E is the bass center.
As pointed out by another commenter, the 1, 5, 4 aren't the only chords you can jam over, or compose with. You can use the 2 and 3, which are the relative minors of the 4 and 5, respectively, or the 7 for an ambiguous, "diminished" sound.
Does this work with the melodic minor modes ?
cool tip thanks
@@moudja since the melodic minor changes, depending whether it's played ascending or descending, it doesn't work well.
What Rick is teaching is absolutely correct. Strong Modal tonalities don't just come from the 1-4-5 of the Major Key over your Modes. They totally can, but using only those may limit your expression when dealing with certain Modes.
Lydian is a great example for this. With F Lydian - Playing G Major, to F, Major, to C Major sounds great! don't get me wrong. But you could also play a B diminished triad/B half diminished arpeggio - built off of the #4 which is the Lydian Character tone. You could also use an E minor triad to highlight the 7th, 9th & #4 (EGB) - That's two color tones & the character tone. Basically there can be a lot more emotion found further within the key.
I tend to think of any Modes as a place to settle within a Major Key, from there I can navigate to the triads within the key that highlight the character tones of the Mode I'm in & the chord & color tones of what I'm playing over. The whole Key is up for grabs triad/arpeggio wise basically.
If Rick is showing you how to get a Lydian sound & he's playing A Root, 3rd, & #4, then you can't really call his method Incorrect.
@@chrisjohnston4702 100% agree.
I was actually referring to my previous post as being wrong, before I edited it, not saying Rick was incorrect.
I think I understand why modes are your favorite topic now :), they creates such interesting colors, moods and tensions unlike ordinary clean chords
You're, in my opinion, a musical genious.
Your son is amazing!
He really is fortunate to have a dad like you.
I got a lot of catching up to do.
Hey Rick, jus a quick note ta say your knowledge and wisdom that you pass is very appreciated mang!
I love what you do because you love what you do.
Thankyou so much for the accessibility. Keep up the great work....please.
Thanks Rick. First I just watched your videos and was frantically taking handwritten notes, then bought your book. Looking at the modes section of the book started scratching my head, ah now listening and watching to your video, it clicks, I now understand the significance of the various entries in the book’s table on modes. So both your videos and the book are needed for the complete picture. :)
This is a great instruction on how to actually use modes, beyond choosing a mode to compose in. Modes provide a framework to transition/mix moods without the headaches of thinking about chords in different keys/scales and how to transition between them by memory or guesswork! Really helped me.
I teach modes in order of feeling. Modes in order of highest intervals to lowest. Godly Lydian to evil Locrian. Order is Lydian, Ionian, Mixolydian, Dorian, Aeolian, Phrygian, Locrian. IV, I, V, II, VI, III, VII. 4,1,5 the majors, 2,6,3 the minors, 7 the half-diminished.
Something that I think Rick glossed over in this video (he mentions it a couple times in passing, but unless you already know what a mode is, you'd miss it) is what a mode actually IS. Modes are constructed by simply starting a scale on a different note. For example, the D Dorian mode is simply taking the C Major scale, but starting it on D instead of C (since Dorian is a ii degree mode, and D is the 2nd note of C Major), but playing the same exact notes that are in the C Major scale. By doing that, you're shifting the 3rd and the 7th down a half-step compared to D Major. Likewise, B Phrygian is G Major started on B (since Phrygian is a iii degree mode, and B is the 3rd note of G Major). This gives you a flat 2nd, 3rd, 6th AND 7th compared to B Major. However, knowing this won't really help you memorize them or know when to use them. Like Rick says, you just have to memorize which notes are sharp/flat compared to the major scale for every mode. There's no shortcut or formula to it, just memorization, and getting your ear accustomed to hearing how each mode sounds.
Agree. If someone doesn’t know scales, it sounds like he’s just picking scale names randomly and not saying that they are all based on the major scale.
Learn the major scale first (meaning the intervals between notes in the major scale) and that gives all 7 modes in all keys. Start on the second note for Dorian, third note for Phrygian etc.
This is the seven modes based on the major scale in order:
Ionian (major)
Dorian
Phrygian
Lydian
Mixolydian
Aeolian (natural minor)
Locrian
@@RiffMusic1970 Yeah, though to be fair, at no point did he say this was an introduction to modes, just demonstrating how to use them for composition in chord progressions and melodies. He did also talk about some of the melodic and harmonic minor modes too, but he was mostly focusing on the major modes.
I would say it's efficient to learn both the major and eolian first. I think of phryigian as eolian b2 and so on.
He didn’t state it that way but around 3:40 he explains that the Lydian mode goes with the IV chord and the Mixolydian with the V chord which describes what you are saying in terms of chords vs. scale tones relative to the major (Ionian) root. He also mentions around 6:25 that C Lydian is from G major.
When I was learning to improvise solos on guitar, I used modes as a way of playing diatonic major in different positions on guitar neck
When you start playing Db Lydian, saying it is like a film score, I would say it is very much like "In the Court of the Crimson King" by King Crimson which was used in the score for "Children of Men". It is a very cool sound.
I like the modes of the whole-tone scale. You have
C whole tone
D whole tone
E whole tone
F# whole tone
G# whole tone
A# whole tone
It's such a rich and varied scale.
Finally. Been waiting for a video from you like this for years!
Beato Book now in hand......Thank you, Rick.
I feel inclined to mention that I purchased Beato book 3.0 so at least i contributed something for all this wealth of knowledge. Your work is the crown of my education and I really appreciate it.
I love the Lydian Mode more than I love myself
That very first chord you played is so very similar to King Crimson. In The Court Of The Crimson King is the album.
🤣 just posted the same
just thought exactly the same..hahaha
Damn good song
havent heard that forever, what a great album
Fuc...tonight I’m going to get stoned and play halls of the crimson king on my kids keyboard 🎹 it’s going to be lit tonight
Find someone who talks about you the way Rick talks about his Lydian sound
I remember which notes belong to a mode by thinking which notes belong in the relevant chord of the major scale that mode comes from.
eg: Dorian Mode: use the notes of the ii chord
Lydian Mode: use the notes of the IV chord etc.
Hi. Sometimes the musicians use the modes to create a different harmonic and melodic sound in their songs. "English Man in New York" is a perfect example how Sting used, in the first part, the "Classical" progression I - IV - V but in E Dorian Mode with the melody in the same Scale, , and create a particular sound supported with a "Reggae" beat.
As a "student" watching these videos, I want to know more about *why* you choose to go from one chord to the next rather than naming the modes you're jumping between. The nomenclature is great and so is learning about the characteristic sounds of the modes, but despite watching so many of these videos I struggle to see how you choose to go between modes. I find myself being stuck in a mode and not knowing where to borrow chords from.
Hearing those lush chords, I couldn't help but to remember the late great Lyle Mays, and imagining Pat jumping and frolicking around on top of 'em.
Thank you Rick! This gas helped a lot!
For those of you wondering about how modes have been used in famous pieces of work, the best examples I can give you are John Coltrane, David Sanborn and Charlie Parker on sax. George Benson and Stevie Ray Vaughn on guitar. Roy Hargrove on flugelhorn, Thelonious Monk and Michel Camilo on piano, and Arturo Sandoval on trumpet. Listen to them playing and you will REALLY understand what the great Rick Beato is talking about.
🤣 Roy Hargrove was a trumpet player, not a trombonist... and it's spelled 'Thelonious'. But otherwise, OK.
Thank you Rick for putting the Beato Book and video together!! You're the best!
Rick Beato is the greatest thing to ever happen to youtube. This is a great lesson!!
Here’s how I learned about modes. If you play the C major scale on the piano, it’s all the white keys. CDEFGABC.
If you start on the A, it becomes the Aolian (A minor scale). ABCDEFGA, is still all the white keys.
Rick: "That's obviously an Aeoloian sound, right?"
me: Now I know how my physics students feel when I say things like "this is obviously a problem with high symmetry that will be easier to solve using a 3-dimensional cylindrical coordinate system and Gauss' Law, right?"
This stuff's harder than electrostatics hahahah
@@rekindled3624 True, but not electrodynamics.
Great lesson. Keyboard sound is very Angelo Badelamenti
Thanks for the great price, I finally broke down and purchased the book. I’m hoping it will be good for my students.
20:00 💡...I can memorize that..THANKYOU FINALLY getting it...YES!
That Dorian sequence is precisely King Crimson "In The Hall Of The Mountain King"
Like others mentioned, I often think of modes in terms of the primary chords used relative to the key signature. Rick is taking it up a level by examining the specific interval voicings that define a mode. Learn it and you'll know what to do when looking for a certain feel or movement in your composition instead of hunting and pecking for it. To me it's the difference between actual composition and just writing a ditty.
I would love a book on just modes from you. I have been playing music for over 40 years but have zero music theory. Between this video and several teaching sites, in one day I know more than I have in a lifetime. I still can’t read music and wouldn’t know a suspended 4th from minor third. But the lightbulb moment is, I now understand it’s all about the intervals. I was able to go to one of my compositions and figure out what mode or modes it is using.
Rick, you are a genius! I wish you were my music theory teacher back in college!! Just not at 8am 😃
I just bought my first midi keyboard, and just started using my first DAW about a month ago. This ought to be completely over my head and emotionally debilitating. 😂😂
Thanks as always, Rick!
Hi RICK ! super Video - very instructive for film music composition - thank you !
"Braiten smith My new baby’s girls middle name is Lydian and I gave her that name because of your videos!! Keep up the work Rick!" "Lydian, Oh, Lydian Have you seen Lydian? Lydian the taaaattooed" baby. G. Marx.
Around 10:30 HUGE Allan Holdsworth vibe !!! As in « distance vs desire » or « above and below » and so on. Thank you so much Rick, waiting for your Holdsworth part 2 video... 😊
You just blew my mind with that semitone thing! So obvious too now that I think about it. Thanks
Rick, Love the Hat! Love the MODES! Love the Website Dude!!
Excellent, thanks Rick.
I hope you do more film scoring stuff! They are very very interesting!!! I love them! I watch them like on a weekly basis!
Aaaaaand... I missed it. Just like that.
Thanks for your videos, I'll get to see a livestream of yours, before or later!
Thank you for teaching this stuff 🙏
first thing I heard was Laura Palmer's theme from Twin Peaks
me too :)
Yep
Thank you Rick! I’m loving the ear training so far!!
This is brilliant! Using this on guitar and always looking for better, intriguing voices.
Thank you.
24:55 that's true Rick. That sounded really beautiful.
But it's because of the magic hidden in your hands.
If you really want to do a deep dive into modes, check out how many mode changes there are in Rhapsody in Blue. Hundreds.
A great song to sample when Rick is discussing the C Lydian mode around the 7 minute mark is Joe Satriani’s “Flying In A Blue Dream”
Please do a video about the topic: "Most complex music concepts don't sound happy." I have been thinking and and overthinking this all my life.
@Punch Down King
I don't entirely agree. Enjoying and composing complex harmonies etc. or simple music isn't that much connected to feelings, but it's rather just a thing of being raised up with this kind of music. My observation after listening to lots of complex and not so complex music is that most of the complex pieces are rather sad, melancholy or they express anger. And honest happiness is usually connected to diatonic chords. I want to see if this is always the case.
@@domenlemut9173 i think it’s easy to say this because of the way the person uses the notes most often times, but to say most or all diatonic chords are happy is kinda not right to me but that’s my opinion
@@bon3xprod I agree, it is hard to explain it the way I think of it. We all know in the aolian scale the I, IV and V chords sound really honestly happy on their own, very home like. With adding ii,iii or vi chords you can still achive that "happy" sound. But using Lydian sound for example which is supposed to be happier is more of an uplift than the comfort I, IV and V chords give you. However the context plays a big role here too not just the chords.
I always thought that the Phrygian scale was on the thermometer in my fridge🥴
Each mode has it's magick interval. They always end up being one half of a tritone.
Ionian = major 7th (a tritone away from 4)
Dorian = major 6th (tritone away from m3)
Phrygian = b2 (tritone away from 5)
Lydian = #4 (tritone away from 1)
Mixolydian = m7 (tritone away from 3)
Aeolian = b6 (tritone away from 2)
Locrian = b5 (tritone away from 1)
This should not be confused with SHELL of the mode.
hell yeah. I've realized that whenever I improvise over any mode or chord progression I always play lines that involve the tritone interval because it's so hauntingly good
Rick Beato- the internet's greatest music teacher!!
Could you please do a video on master guitarists Frank Marino and Pat Travers? Younger generations need to know these guys.
Really enjoyed this video - I'm already playing around with the concepts from this... truly awesome.
Thank you so much for this. I've been needing something like this to help me with my compositions!
Rick, beautiful way of teaching... I was bit confused about names of modes apart from Major ones.. For example "Melodic Major" but it's really Mixb6 and stuffs like that. Really useful to whole music world your lessons u are god Man! ❤️🎶
Great examples of this are on the Beck Morning Phase Album
That lydian sequence at the top sounds like the entire soundtrack to the movie Platoon. Awesome colors Rick.
Also sounds like The Court of the Crimson King.
Great video Rick. I'd love more videos on specifics of guitar composition, linking up modal chords into diatonic progressions as well as combining it with secondary dominants, parallel minor etc. That would be sweeeet!!
I hope that was worded right, I'm just getting into experimenting with this with songwriting :)
Some of those progeessions remind me of Steve Roach.I never thought Steve was using such advanced theory, but he is an anbient genius.
Off-topic suggestion: How about a video on "What made Charlie Byrd great?" The one guitar player of his generation, who was open to and embraced and mastered all styles of guitar playing and fused them into his own way of playing, which was at the same time vituoso and oh so relaxed and laid back.
Some of those chords reminded me of AH on his synthaxe. Beautiful.
dangg I wish I saw this live. I love when Rick does modes. always eye opening
THANKS MY NEW MENTOR
I have to blame Satriani... "Flying in a blue dream" totally destroyed my ability to think of anything else Lydian :(
Ditto, Lydian +1
Made me look. Awesome!
Morning Rick
Thanks for sharing your musical wisdom with all of us. Even if most of us have struggle following, even with the keyboard on... :-) !
I love this mode. Sounds like Angelo Badalamenti twin peaks. Fantastic video
Rick understands music theory like Stephen Hawking understood black holes.
Kevin O'ROurke
Damn..... that first chord progression was the chorus of "In the Court of the Crimson King".
Indeed! Recognised it instantly :)
Rick I never hear anyone ever talk about the ventures they were an instrumental band when I was growing up.I thought they were grate.
another great video, Thank you. your knowledge on instruments, and Music is incredible.
Wondering if you would do a why this song is great video on ten years after. maybe Ide love to change the world or any of their songs from the album a space in time. Thanks !!!!! You Rock.
I wish I was fluent enough with it to navigate through the modes and tonalities as quickly as Rick to actually be able to use them!
My favorite mode is Depeche.
EP #100 soon coming to a theatre near you - maybe the 1910 Fruit Gum Company? Yummy yummy got love in my tummy..
This is something that was lost in the hyper-rationalisation of the Classical Period, imo. The modes add flavour to music
Can you discuss about stereo music back in 70 and today ?
This (and the other stuff you do) would be great even if all they served to do was to keep reminding us what's *Possible* as we explore the guitar and the sounds one can get out of it. (Sometimes trial and error will generate something like these sounds, but it lasts better if you know what the name of the sound was). Thanks, it's saved me from bogging down in what's getting settled in the fingers, several times. Run up and down a string to keep the visual aspect more "piano" (something I don't play, but that view helps), and then when the well runs dry, reach up or down a bit, add in an interval here and there, then maybe a triad, and so on. And if you've heard an improvisation, and you know it's built around some base, it's more possible to find something like it, yourself.
Hay rick..... I've just started watching your channel, love it keep up the great work..... There is a serf band out of Chicago called the breakers I think you will dig it.... They're a mixture of punk, surf, and a psychedelic twist 🤘🤘🤘🤘
Another video on the modes of scales not in the major scale would be great
I so wish you would do these lessons with the guitar instead of keyboard it sticks in my head better please do thanks great channel
Hey Rick, you keep asking the question, "How do you know what notes..." all the while I'm asking WHY? Why did you choose those chords? F Aeolian --> D flat maj7 --> B flat Aeolian. How and why did you arrive at B flat Aeolian? Especially when it doesn't belong in the key? Is it a borrowed chord from the key of D flat? How does one "Mix Modes"? Thanks Rick
Those chords you mentioned all belong to the key of f minor (or f aeolian). That progression from Fm to Dbmaj7 to Bbm would be a 1-6-4. Ricks got a bunch of videos on modulations and borrowed chords, they might help you.
@@joshhamill01 Indeed, it is a i - VI - ii progression in the key of f minor (A flat major) but Id love to hear his thoughts on why he made those choices in the moment. As for his plethora of other vids, I’ve seen them, including the one last Friday where he indeed discussed borrowed chords(although now that video has been unlisted). Just wanted him to expand on his thoughts of using modes and how you can use borrowed chords to further your modes. Kinda tying last weeks lecture into this weeks lecture, not separate. 👍🏼
Hey Rick can you do a "What Makes This Song Great" about "Right Now"? Eddie was an amazing pianist. Follow up question, what about a "Top Ten Piano and Drum Intros"? too specific? : D
Thanks Rick. Love these videos on modes
Love your videos. Just found about your channel about a month ago watching an adam neely video. I've learned so much thank you Rick!
Rick rocks!
I keep hearing the first "UK" album released in 1978.
Great video. Love these lessons about music theory!
I believe it might be helpful if you related every modal chord you played with the major scale in that key? Play the modal chord, play it's major scale, play the modal chord again, then touch the particular notes that make that modal chord stand out? Just an idea . . . Thank you for the lesson Rick!
I hope you do more lessons with acoustic guitar. Your style of playing sounds great on that gibson.
I like the Phrygian stylings. You should take it on the road with "Spanish Thunder."
Those first chords sound like a cool song idea haha
I hear the old 'Court of the Crimson King' starting with that Lydian example.
Spinoza says that the universe is one substance with an infinite number of attributes, and through those attributes the one substance is able to take on all modes of being. I have to assume that's what you're talking about, Rick.
This stuff goes back way earlier than Spinoza
Nice modes, nice hat.