If I weren't so old, you would be a grandfather figure to me: a gentle hand to lead me through the world of marvelous sound. This is the second time revisiting this video, and many others of yours. Stay blessed dear friend.
Thanks Kent, your videos are entertaining, educational, and sartorially inspiring , and motivate guys like me with an interest in music but possessing 'modest' skills to keep banging away.
I never before heard of that quote by Mozart. So applicable to what is happening today. Always amazed me the beautiful stuff composed in the jazz age amidst violent and oppressive society.
That's a true and interesting observation. A good way to understand how jazz played a part in the historical times ...is the Ken Burns series, which I'm sure you've seen.
Yes that was a good series. I guess the part that got me about your quote was that music should not be disgusting even if there are horrific and passionate forces at work. This is a topic I've got into with my friends especially regarding some rap stuff.
Kent, your comments are always very inspiring that you quote from all the masters! I find them interesting and absorb each one of them. These modes are serious stuff to learn and I especially like the way you incorporate them within the songs..Very educational video with an easy understandable break down of the modes... By the way Kent -- Herbie is an adorable kitty - he adds polish to the lesson....
Great comment, Phyllis, as always. I need a day just to catch up on all the comments. But I'm glad I did this video, it's much more complex w/ 2 cameras. Do I do a new video or respond to comments?! I'll pass your compliments on to Herbie.
Thanks, Doc Hewitt, for your erudite and lucid lessons that just open doors! Where your teaching comes alive is in the song examples that make you "think about it". Those "a ha!" moments. I confess that I focused on harmonizing my major and minor diatonic scales and the modal aspect of harmonizing the scale to the octave and just used my ears for color notes and extensions. But you illuminate Miles Davis' So What. Quite cool!
Hi Dr. Jay, so good to meet you recently in Newport. Yes, all you say here is accurate. As I stated above, these concepts are academic, and useful for knowledge of scales and theory. Our ears and musicality are the final judges of what sounds good to us or not.
Thanks for packing so much useful information into this video Kent. I have a chart of modes which needed enlightenment, and I shall come back to this with the hope of adding some new sounds to my playing. Insomnia can be useful with something worth thinking about!
Love that, Jenny. I try to get up and do some work when I have insomnia...but most of the time it doesn't work. Maybe I just need more practice.....,lol.
Thanks, Dr. S. I've gotten away from that lately because unfortunately it takes about 3 times as long to do a video. I need some help w/ setting up a syncing device.
thanks Kent. It's important to be able to recognize the sounds of each of the modes in your ears, then to get them in your hands and next be able to apply and utilize them. You must be patient and have fun. I'm gonna be 60, ...take the bits of knowledge and info and put them in your data bag for the future recall. It takes time and you have to sleep on a lot of it. Keep trudging forward and you will begin to see how magically easy this stored info starts to get utilized subconsciously.
Thanks a good comment, Mike, and exactly correct. When I improvise I don't think modes, but they are happening. (subconsciously). Also. a pianist can see them on the keyboard, as well as hear them as having a specific sound. Your remarks are a good answer for nOname3given above.
Exactly what I need to learn. I am an advanced pianist but never learned theory so I can only play piano by sight reading. This will definately help me. I am striving to be able to play without music to read. I love jazz. Even so I have written over 62 classical spiritual songs by ear.
Thanks for telling me Julie. I have 11 videos on Jazz Theory. Check out my playlists. Click on the category title below the video to see the list (on right panel). th-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists
Thanks Ken for another amazing video lesson. Your the greatest. If ever in the northeast region, please let me know. Stay well and "Keep it swinging" GD
Hi Kent, I found this very useful thanks. It helps to get a feel for the modes when a melody is provided as an anchor. I use to go by the name Free Arcing Angel power. My interest is now into the Placebo Effect. Believing is seeing. I sometimes dream I am playing music. It might be a jazz number. I go to the key board when I awake and sure enough I am in the right key. I hear complete arrangements in my dreams and the twilight zone of going to sleep. The more I tune into this part of my brain/mind the better I improvise. My 95 year old mother plays Bach Fugues and Preludes, Debussy, Mozart, and many more complete works all by ear still. She learnt Fats Waller numbers by ear. Even though she is classically trained, she can play a song with accompaniment that she barely knows. Her father bought her a grand piano when she was very young and she had brothers and sisters who played piano, so it is in her soul. Her injunction to me as a child was "You come to music by love or not at all." She never pressured me to practice but she provided instruments and played to me. Now I am a jack of all master of none. I've had a ball and still made a good living from music. My remaining single and childless has helped.
I hear you, brother, and I understand totally.(almost). It's a great blessing to have a grandmother like that, and I'm sure she was your best supporter, (as my mother was). If you're learning music when you dream then you have a cosmic....spiritual connection, and that is better than most anything else.
@@KentHewittpiano88 I am investigating lucid dreaming as a means learning music. I will send you a link. Feel free to remove it as soon as you have appreciated it. I don't wish to divert people from your site.
@@KentHewittpiano88 The audio picks up in after the intro. Robert is in his early 60s I gather. He is living what he talks about. A happy explorer of other dimensions. th-cam.com/video/lRNjQfGvU18/w-d-xo.html
Kent the coolest cat on the net! What wonderful lessons and I just purchased your book, thanks the best. Now I have to send you $20 For the pdf files. Thanks 🌈❄️💫☃️
Egypt, wow! Check out my videos in the category of Jazz Improvisation. Start w/ 101. or basic. I talk about passing (tension) tones and target tones> Here: th-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists
thank you dr. hewitt, your lessons never fail to educate and inspire...my apologies if this is the wrong place to do it, but could i request a lesson for the wayne shorter ballad, infant eyes, somewhere down the line?
Dude, you’re a great player and teacher. I bought your book. I wish I knew enough to use sensible fingerings...if I’m playing melodies, I’m never sure what the most economical fingering is.
I have talked about fingerings in my videos, but probably not enough. Someone said I could sell a book of bebop tunes with the fingerings written in. Go to my video on Donna Lee and check out the score on my website with the fingerings. Every case is different of course, and fingerings are personal to each player.
I feel like I'm late in learning this but this was very helpful. I remember being in Jazz Band in High School (99 - 2001) and we did "So What". We were told to use D Dorian... I to this day am still kinda confused if that means to always start the riff with the root of that mode?
It's not that, but it tells you what the particular notes are that you should focus your solo on. It doesn't mean you can't use notes outside of the scale, but the notes in the dorian mode are the important and fundamental ones for that chord progression.
I'm shy in front of a camera, and I think I look better w/ dark glasses...but also they symbolize "cool"...ie; the jazz persona and the beat generation. I did a video recently where I took them off and the reaction was 50-50 mixed from my following.
Kent Hewitt- well, to me it's what you do that makes you cool, i.e., giving back your knowledge, but whatever makes you feel comfortable sir. Thanks again for what you do. 🙏🏽
I don't want to be that guy who says people can or can't do anything, but personally I consider it incorrect to refer to a b5 in the Lydian mode. There's a #4 and a perfect 5 in that mode. So it makes more sense to refer to it as a #4, since the 5th degree is already accounted for. Anyway, nice playing and an interesting video.
Technically you are correct. I tend to use both terms, and label the note #4/b5. The notation will clarify which one it is, but it can be thought of either way. There's a tendency to use the term b5 more often because of it being indigenous to the jazz sound. (They always wrote that Monk liked the sound of the b5).
@@KentHewittpiano88 Thanks for elaborating. I'm not formally trained but interested in how the different modes function in popular music, in particular. I've noticed a number of educators talking about how the Locrian mode is considered to be almost useless as a compositional tool (including in a lecture given by Leonard Bernstein, which I'm sure you've probably seen). So I was interested to see how Beautiful Love uses it...but I still don't follow how it qualifies as Locrian since the E half diminished chord only gets used in passing? It seems to resolve to D minor more naturally to my ears?
So to get this straight once in for all in my brain: When you play a "D dorian song" that means it uses all the C major keys, but it gives off the feeling of D beeing the tonic? Or otherwise: it doesnt't resolve into C which would leave you with the ionian sound. You have to have a different reference frame for it to sound dorian because otherwise you are just playing a D minor chord (the II) with keys of the C major scale on top in a "C major (or ionian) song". Brain freeze! Please thaw me up!
No, you're right. It's just a way of defining a specific minor scale. So the dorian scale is a minor scale which has altered the major scale of it's root by lowering the 3rd to a b3 and lowering the maj.7 to a b7. The modes are important to learn in order to have a scholarly knowledge of theory and scales. (of course, Erroll Garner never knew this and didn't read music, but his phenomenal ears, chops, and musical gifts created one of the greatest jazz pianists of all times.) Are you thawed yet?
Two golden gems here: First, the second quote from Mozart, second, the second example of Lydian song :-) Kent, dear sir, if I could have one wish, I would love to hear your take on that Dvořák's New World Symphony, that Largo motive you showed, here is the original th-cam.com/video/uCydQm83cJQ/w-d-xo.html To be honest, this symphony was the very first piece of "serious" music that truly shook with me when I was kind. I remember I was listening to some of my parent's jazz LPs (L. Armstrong, Billy Cobham, ...) and suddenly I ran into this one... it was one of the greatest eye opening moments in my music experience at that time ... until today I have never imagined one could try to interpret this music via jazzy optics... Dear sir, I challenge you :-)
It really doesn't matter. I love your lessons, wish I could take more classes. I started studying 37 years ago and am still learning or processing new aspects of music all the time. Much gratitude.
Most complicated stuff, ever! In all these cases, it's "just the C-major scale," yet we boggle our minds with this half-step, whole-step stuff, mental gymnastics... and the fancy name stuff. That's always puzzled me. In your first two examples, the ionian and dorian, it was "just the C-major scale" each time, but with dramatically different results. Clearly, "So What" has that dorian sound. But, it's "just the C-major scale." Your ionian example was remarkably "ionian in sound," for sure... but again, it's "just the C-major scale." It makes me think that given that it's "just the C-major scale" that is at play here... then, just remember that. Forget loading your brain up with all this other stuff. My brain ain't that big to begin with! Finally, if we are getting HUGELY different results out of "just the C-major scale," then the real focus must be elsewhere. Something else must be causing "just the C-major scale" sound dorian... and something else must be causing "just the C-major scale" to sound ionian.
You're right that's all it is...is the major scale so basically when you see Part 3, I'll be showing the underlying foundation of one scale for playing a complete song: Autumn Leaves. So it's really not complicated, (although it may sound it).
I note Kent has answered but I think his answer does a bit of a disservice to his own teaching! At 17:30 In his BEGINNER course on modes Kent provides an alternative approach to understanding the modes which is really quite brilliant - and not one I've come across anywhere else. It certainly helps me to understand, practice and apply them. Essentially by focussing on each note one can construct the modes by the following formula: IONIAN - the MAJOR scale DORIAN - the natural MINOR scale but with an augmented 6th PHRYGIAN - the natural MINOR scale but with a flat 2nd LYDIAN - the natural MAJOR but with an augmented 4th MIXOLYDIAN - the MAJOR scale but with a flat 7th AEOLIAN - the naturla MINOR scale LOCRIAN - natural MINOR with with a flat 2nd and flat 5th. (I hope I've got all of those right!) Once you get this you can play them in all 12 keys. Personally, the only real difficulty I have is that in my training as a classical music pianist, my training was always focussed on the Harmonic minor and Melodic minor scales and NOT the natural minor. So the only routine playing of the natural minor scales is when playing the descending part of the melodic minor scales! But with practice it shouldn't be too hard to get familiar with them in all 12 keys and adjust them accordingly! Thanks Kent!
its what chords are being being played underneath, what your ear hears as the I chord or root if he plays a D-7 as the root you will hear Dorian with the C major scale. If he establishes Cmaj7 as the one chord you will hear it as Ionian
If I weren't so old, you would be a grandfather figure to me: a gentle hand to lead me through the world of marvelous sound. This is the second time revisiting this video, and many others of yours. Stay blessed dear friend.
Sending my blessings to you...Ken, you are my brother. Swing loose!
Very informative. I'm understanding more and more. Thank-you.
Glad it was helpful!
Wonderful lesson ! 🏅
A million thanks!
Thanks Kent, your videos are entertaining, educational, and sartorially inspiring , and motivate guys like me with an interest in music but possessing 'modest' skills to keep banging away.
That's a nice comment, John. I try to make my videos accessible to different levels, so I appreciate your telling me that. Thanks!
LOL, I like the commentary as much as the lessons...! Thank You for the smiles. 😎
Thanks for telling me, it's more fun for me that way!
I never before heard of that quote by Mozart. So applicable to what is happening today. Always amazed me the beautiful stuff composed in the jazz age amidst violent and oppressive society.
That's a true and interesting observation. A good way to understand how jazz played a part in the historical times ...is the Ken Burns series, which I'm sure you've seen.
Yes that was a good series. I guess the part that got me about your quote was that music should not be disgusting even if there are horrific and passionate forces at work. This is a topic I've got into with my friends especially regarding some rap stuff.
Great l3sson. Thank you.
You're very welcome!
Kent, your comments are always very inspiring that you quote from all the masters! I find them interesting and absorb each one of them.
These modes are serious stuff to learn and I especially like the way you incorporate them within the songs..Very educational video with an easy understandable break down of the modes... By the way Kent -- Herbie is an adorable kitty - he adds polish to the lesson....
Great comment, Phyllis, as always. I need a day just to catch up on all the comments. But I'm glad I did this video, it's much more complex w/ 2 cameras. Do I do a new video or respond to comments?! I'll pass your compliments on to Herbie.
Thanks, Doc Hewitt, for your erudite and lucid lessons that just open doors! Where your teaching comes alive is in the song examples that make you "think about it". Those "a ha!" moments. I confess that I focused on harmonizing my major and minor diatonic scales and the modal aspect of harmonizing the scale to the octave and just used my ears for color notes and extensions. But you illuminate Miles Davis' So What. Quite cool!
Hi Dr. Jay, so good to meet you recently in Newport. Yes, all you say here is accurate. As I stated above, these concepts are academic, and useful for knowledge of scales and theory. Our ears and musicality are the final judges of what sounds good to us or not.
Thanks for packing so much useful information into this video Kent. I have a chart of modes which needed enlightenment, and I shall come back to this with the hope of adding some new sounds to my playing. Insomnia can be useful with something worth thinking about!
Love that, Jenny. I try to get up and do some work when I have insomnia...but most of the time it doesn't work. Maybe I just need more practice.....,lol.
Your upload = Best moment of the week
And yours is the best comment of the week!
Kent. These lessons are really great. Can’t thank you enough. I love the new camera setup
Thanks, Dr. S. I've gotten away from that lately because unfortunately it takes about 3 times as long to do a video. I need some help w/ setting up a syncing device.
thanks Kent. It's important to be able to recognize the sounds of each of the modes in your ears, then to get them in your hands and next be able to apply and utilize them. You must be patient and have fun. I'm gonna be 60, ...take the bits of knowledge and info and put them in your data bag for the future recall. It takes time and you have to sleep on a lot of it. Keep trudging forward and you will begin to see how magically easy this stored info starts to get utilized subconsciously.
Thanks a good comment, Mike, and exactly correct. When I improvise I don't think modes, but they are happening. (subconsciously). Also. a pianist can see them on the keyboard, as well as hear them as having a specific sound. Your remarks are a good answer for nOname3given above.
Mo ne wadwuma pa
Kent, you are the best. Thank you so much for this lesson.
I'm glad you liked it, D'bra, and thanks for your comment and for being a loyal fan.
Exactly what I need to learn. I am an advanced pianist but never learned theory so I can only play piano by sight reading. This will definately help me. I am striving to be able to play without music to read. I love jazz. Even so I have written over 62 classical spiritual songs by ear.
Thanks for telling me Julie. I have 11 videos on Jazz Theory. Check out my playlists. Click on the category title below the video to see the list (on right panel). th-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists
Very very nice 👍
Thank you! Cheers!
Thanks Ken for another amazing video lesson. Your the greatest. If ever in the northeast region, please let me know. Stay well and "Keep it swinging" GD
Thanks for a great comment, GD. Swing loose!
So helpful! Thank you for uploading.
Glad it was helpful!
Bravo Kent !!! Thank you !!!!!
Thanks for the comment!
Thank you Kent! I'm loving this!
Thanks for telling me, Rachel!
Hi Kent, I found this very useful thanks. It helps to get a feel for the modes when a melody is provided as an anchor. I use to go by the name Free Arcing Angel power. My interest is now into the Placebo Effect. Believing is seeing. I sometimes dream I am playing music. It might be a jazz number. I go to the key board when I awake and sure enough I am in the right key. I hear complete arrangements in my dreams and the twilight zone of going to sleep. The more I tune into this part of my brain/mind the better I improvise.
My 95 year old mother plays Bach Fugues and Preludes, Debussy, Mozart, and many more complete works all by ear still. She learnt Fats Waller numbers by ear. Even though she is classically trained, she can play a song with accompaniment that she barely knows. Her father bought her a grand piano when she was very young and she had brothers and sisters who played piano, so it is in her soul. Her injunction to me as a child was "You come to music by love or not at all." She never pressured me to practice but she provided instruments and played to me. Now I am a jack of all master of none. I've had a ball and still made a good living from music. My remaining single and childless has helped.
I hear you, brother, and I understand totally.(almost). It's a great blessing to have a grandmother like that, and I'm sure she was your best supporter, (as my mother was). If you're learning music when you dream then you have a cosmic....spiritual connection, and that is better than most anything else.
@@KentHewittpiano88 I am investigating lucid dreaming as a means learning music. I will send you a link. Feel free to remove it as soon as you have appreciated it. I don't wish to divert people from your site.
@@KentHewittpiano88 The audio picks up in after the intro. Robert is in his early 60s I gather. He is living what he talks about. A happy explorer of other dimensions. th-cam.com/video/lRNjQfGvU18/w-d-xo.html
Kent the coolest cat on the net!
What wonderful lessons and I just purchased your book, thanks the best.
Now I have to send you $20 For the pdf files. Thanks 🌈❄️💫☃️
Thanks so much. Should I have a patreon account?
You are amazing. So clear. Thanks
I'm glad you found my videos,...thanks!
Hi from Egypt any vedios talking about avoid and tention notes in the modes? thanks
Egypt, wow! Check out my videos in the category of Jazz Improvisation. Start w/ 101. or basic. I talk about passing (tension) tones and target tones> Here: th-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists
Kent Hewitt, may you just keep prospering. Thank you for your selflessness!With love and appreciation all the way from South Africa!
That's a wonderful and encouraging statement. You are my brother, Songbreeders, & wishing you many blessings.
Thank you, I like the way you explain it :) !
Bless you brother
Blessings to you!
so many good things in one video
That's a very affirming comment...so many thanks!
Like the music top & tailing this nice video: think it’s Ahmed Jamal’s trio rendition of Music Music Music.
That, of course is my trio, playing Ahmad's version. You are correct.
Very good. I wish I knew what all of this meant.
It is difficult but memorizing what Kent has presented here and in other videos pays big dividends. One step at a time.
thank you dr. hewitt, your lessons never fail to educate and inspire...my apologies if this is the wrong place to do it, but could i request a lesson for the wayne shorter ballad, infant eyes, somewhere down the line?
Thanks for the request...that's a good one, was Herbie Hancock on that track?
Thanks, this is great!
Dude, you’re a great player and teacher. I bought your book.
I wish I knew enough to use sensible fingerings...if I’m playing melodies, I’m never sure what the most economical fingering is.
I have talked about fingerings in my videos, but probably not enough. Someone said I could sell a book of bebop tunes with the fingerings written in. Go to my video on Donna Lee and check out the score on my website with the fingerings. Every case is different of course, and fingerings are personal to each player.
I suggest another for Lydian : Human Nature (Michael Jackson) that Miles Davis recorded
Love that...thanks!
Maiden Voyage (Mixolydian) 9:16
Exactly right!
I feel like I'm late in learning this but this was very helpful. I remember being in Jazz Band in High School (99 - 2001) and we did "So What". We were told to use D Dorian... I to this day am still kinda confused if that means to always start the riff with the root of that mode?
It's not that, but it tells you what the particular notes are that you should focus your solo on. It doesn't mean you can't use notes outside of the scale, but the notes in the dorian mode are the important and fundamental ones for that chord progression.
Kent- thanks for the videos as always; indispensable! But, may I ask why you always wear sunglasses?
I'm shy in front of a camera, and I think I look better w/ dark glasses...but also they symbolize "cool"...ie; the jazz persona and the beat generation. I did a video recently where I took them off and the reaction was 50-50 mixed from my following.
Kent Hewitt- well, to me it's what you do that makes you cool, i.e., giving back your knowledge, but whatever makes you feel comfortable sir. Thanks again for what you do. 🙏🏽
I don't want to be that guy who says people can or can't do anything, but personally I consider it incorrect to refer to a b5 in the Lydian mode. There's a #4 and a perfect 5 in that mode. So it makes more sense to refer to it as a #4, since the 5th degree is already accounted for. Anyway, nice playing and an interesting video.
Technically you are correct. I tend to use both terms, and label the note #4/b5. The notation will clarify which one it is, but it can be thought of either way. There's a tendency to use the term b5 more often because of it being indigenous to the jazz sound. (They always wrote that Monk liked the sound of the b5).
@@KentHewittpiano88 Thanks for elaborating. I'm not formally trained but interested in how the different modes function in popular music, in particular. I've noticed a number of educators talking about how the Locrian mode is considered to be almost useless as a compositional tool (including in a lecture given by Leonard Bernstein, which I'm sure you've probably seen). So I was interested to see how Beautiful Love uses it...but I still don't follow how it qualifies as Locrian since the E half diminished chord only gets used in passing? It seems to resolve to D minor more naturally to my ears?
So to get this straight once in for all in my brain:
When you play a "D dorian song" that means it uses all the C major keys, but it gives off the feeling of D beeing the tonic? Or otherwise: it doesnt't resolve into C which would leave you with the ionian sound.
You have to have a different reference frame for it to sound dorian because otherwise you are just playing a D minor chord (the II) with keys of the C major scale on top in a "C major (or ionian) song".
Brain freeze! Please thaw me up!
No, you're right. It's just a way of defining a specific minor scale. So the dorian scale is a minor scale which has altered the major scale of it's root by lowering the 3rd to a b3 and lowering the maj.7 to a b7. The modes are important to learn in order to have a scholarly knowledge of theory and scales. (of course, Erroll Garner never knew this and didn't read music, but his phenomenal ears, chops, and musical gifts created one of the greatest jazz pianists of all times.) Are you thawed yet?
thanks for the vid, what was the name of that miles davis song you mentioned? couldn't quite make it out...
Nardis
Real Book I
❤
Thank you!
AMEN!
sus chords unite!
Two golden gems here: First, the second quote from Mozart, second, the second example of Lydian song :-)
Kent, dear sir, if I could have one wish, I would love to hear your take on that Dvořák's New World Symphony, that Largo motive you showed, here is the original th-cam.com/video/uCydQm83cJQ/w-d-xo.html
To be honest, this symphony was the very first piece of "serious" music that truly shook with me when I was kind. I remember I was listening to some of my parent's jazz LPs (L. Armstrong, Billy Cobham, ...) and suddenly I ran into this one... it was one of the greatest eye opening moments in my music experience at that time ... until today I have never imagined one could try to interpret this music via jazzy optics... Dear sir, I challenge you :-)
✌ 🎹
I appreciate the comment.... as well
Hello Kent...you are Very good! Come eat a feijoada us in Brazil!
Many thanks!
Patron Account?
Sounds like a great idea'
I appreciate your support, Rick.
Thanks. I can see how important modes are now. Lol.
Some people don't think that...but I would always say it's a "means to an end".
Not that it matters but 'flattened' is the standard term.
What did I say?...I don't remember ....I have over 300 videos now.
It really doesn't matter. I love your lessons, wish I could take more classes. I started studying 37 years ago and am still learning or processing new aspects of music all the time. Much gratitude.
Most complicated stuff, ever! In all these cases, it's "just the C-major scale," yet we boggle our minds with this half-step, whole-step stuff, mental gymnastics... and the fancy name stuff. That's always puzzled me. In your first two examples, the ionian and dorian, it was "just the C-major scale" each time, but with dramatically different results. Clearly, "So What" has that dorian sound. But, it's "just the C-major scale." Your ionian example was remarkably "ionian in sound," for sure... but again, it's "just the C-major scale." It makes me think that given that it's "just the C-major scale" that is at play here... then, just remember that. Forget loading your brain up with all this other stuff. My brain ain't that big to begin with! Finally, if we are getting HUGELY different results out of "just the C-major scale," then the real focus must be elsewhere. Something else must be causing "just the C-major scale" sound dorian... and something else must be causing "just the C-major scale" to sound ionian.
You're right that's all it is...is the major scale so basically when you see Part 3, I'll be showing the underlying foundation of one scale for playing a complete song: Autumn Leaves. So it's really not complicated, (although it may sound it).
I note Kent has answered but I think his answer does a bit of a disservice to his own teaching! At 17:30 In his BEGINNER course on modes Kent provides an alternative approach to understanding the modes which is really quite brilliant - and not one I've come across anywhere else. It certainly helps me to understand, practice and apply them. Essentially by focussing on each note one can construct the modes by the following formula:
IONIAN - the MAJOR scale
DORIAN - the natural MINOR scale but with an augmented 6th
PHRYGIAN - the natural MINOR scale but with a flat 2nd
LYDIAN - the natural MAJOR but with an augmented 4th
MIXOLYDIAN - the MAJOR scale but with a flat 7th
AEOLIAN - the naturla MINOR scale
LOCRIAN - natural MINOR with with a flat 2nd and flat 5th.
(I hope I've got all of those right!)
Once you get this you can play them in all 12 keys. Personally, the only real difficulty I have is that in my training as a classical music pianist, my training was always focussed on the Harmonic minor and Melodic minor scales and NOT the natural minor. So the only routine playing of the natural minor scales is when playing the descending part of the melodic minor scales! But with practice it shouldn't be too hard to get familiar with them in all 12 keys and adjust them accordingly! Thanks Kent!
its what chords are being being played underneath, what your ear hears as the I chord or root if he plays a D-7 as the root you will hear Dorian with the C major scale. If he establishes Cmaj7 as the one chord you will hear it as Ionian
@@georgemcnaughton8238 Right - I see what you are getting at now...
Right.. it is just a cmajor scale shifting your notes up each time... piece of cake... errrr... ummmm.. nope!