A eureka moment for me was understanding rhythmic stresses, like strong and weak beats, syncopation and dynamics etc and how it relates to the use of tense/color tones of the modes and scales. Combining awareness of rhythm and pitch (essentially the same thing) allows you to deepen emotional expressiveness in your playing. Being able to manipulate the gravity of these tones with rhythm. Each chord/mode within a key has its own little world and its relationship to the tonic can be quite heavily altered largely with rhythmic factors. And seeing music as this 3D space, where these sounds are appearing and disappearing in front of you, compared to years of using a daw and seeing music move left to right. Like this amoeba of energy changing shape over time.
That D Phrygian sound against the dmin7 vamp at the end sounded amazing. It sounded kind of fusion style. I think the tension was perfect that was so nice sounding
Yo Rotem! This could not have come at a better time. I have recently started studying the different modes and how the intervals create different colors and sounds. Thank you so so much man, hopefully i can see you live one of these days!
the first time I heard Deacon Blues, it was 1977. We had only top 40 radio stations. I had never heard such a sound before. Ten minutes later I walked to the store and bought the Aja album. Within 2 weeks I had every Dan album in my collection.
I really love your approach to using colors as a way of describing the tonal aspects of music. Makes more sense in illustrating what works with what. Never heard the Locrian mode played like that before. Not as dark and harsh as I was led to believe. Thank you for this lesson!
I'm in no way an expert on modes but for me every major scale has 7 notes so there are 7 tonal centres, the reason each mode sounds different is because the intervals change depending on which note of the scale you start on. There are 3 major, modes, and 3 minor modes and a dimished mode, although I sort of think of the mixolydian as being a dominant mode due to the flat 7. I understand that chord progressions can be centred around each mode of the major scale and certain chords create certain modal sounds due to the particular intervals within them and that's about all I know haha. Great video!
Rotem, you're the best!!! Question: what are your favorite guitar-focused albums? Sometimes I find myself spending a lot of time watching lessons and gear videos on TH-cam but forget listening to albums. I'd love to learn which guitar-focused artists that inspire you!
1 my Eureka is When I discovered matteo mancuso 😂 2 How you do the pads to practice the scales? Do you use a looper pedal? I always had that doubt in my mind 😅
My greatest Eureka moment? When I understood relative scales: Am is "the same" (you get it) as C Major? And and... It works for pentatonic too!? God damn I was knowing how to play aaaaall those scales for months and no one told me! (Late 80's, pre-youtube ages...)
Great explanation! Thanks for the breakdown. One thing I’ve been struggling with for a while: how does the “new tonal center” typically manifest in a give piece? Like how will I know it’s, say, D Dorian as opposed to just C major? Is it contextual? Does it require other instruments to reinforce that tonal center? How do you do it unaccompanied?
I think they can have the same effect as chord changes. But picking notes individually instead of strumming. I want to try that and see if it holds up.
3 eureka moments 1 Jimi Hendrix did NOT use a nylon string acoustic guitar 2 open tuning is possible, allowed and used by many artists 3 Joe Pass: 'You must look at chord changes in the simplest way you can look at them"
Hey Rotem! Love your videos but this video seemed a bit too much for me with lots of interjections through out that seemed to distract from the video (guy shredding on guitar, black and white video clips, show dates). I honestly like just hearing your talk through the lesson without all the cuts and stuff. Just one guy's opinion. Anyway, my big eureka moment recently was learning major and minor pentatonic scales up and down the same string. It really helped me connect different scales across the fretboard and see how different chords are built of of them.
A eureka moment for me was understanding rhythmic stresses, like strong and weak beats, syncopation and dynamics etc and how it relates to the use of tense/color tones of the modes and scales. Combining awareness of rhythm and pitch (essentially the same thing) allows you to deepen emotional expressiveness in your playing. Being able to manipulate the gravity of these tones with rhythm.
Each chord/mode within a key has its own little world and its relationship to the tonic can be quite heavily altered largely with rhythmic factors.
And seeing music as this 3D space, where these sounds are appearing and disappearing in front of you, compared to years of using a daw and seeing music move left to right. Like this amoeba of energy changing shape over time.
That D Phrygian sound against the dmin7 vamp at the end sounded amazing. It sounded kind of fusion style. I think the tension was perfect that was so nice sounding
It's a cool color!!
Super clear Rotem - and maybe the best short intro to modes I know. Very practical. Thanks!
Thanks Martin!!
Great explanation, Rotem, on a very tricky subject! Altered scales (modes) are also cool... e.g. Phrygian dominant
Yo Rotem! This could not have come at a better time. I have recently started studying the different modes and how the intervals create different colors and sounds. Thank you so so much man, hopefully i can see you live one of these days!
Happy to help man!!
the first time I heard Deacon Blues, it was 1977. We had only top 40 radio stations. I had never heard such a sound before. Ten minutes later I walked to the store and bought the Aja album. Within 2 weeks I had every Dan album in my collection.
I really love your approach to using colors as a way of describing the tonal aspects of music. Makes more sense in illustrating what works with what. Never heard the Locrian mode played like that before. Not as dark and harsh as I was led to believe. Thank you for this lesson!
I'm in no way an expert on modes but for me every major scale has 7 notes so there are 7 tonal centres, the reason each mode sounds different is because the intervals change depending on which note of the scale you start on. There are 3 major, modes, and 3 minor modes and a dimished mode, although I sort of think of the mixolydian as being a dominant mode due to the flat 7. I understand that chord progressions can be centred around each mode of the major scale and certain chords create certain modal sounds due to the particular intervals within them and that's about all I know haha. Great video!
Recent eureka moment.
- The difference between a min7 chord and a half diminished chord is literally 1 semitone.
Rotem, you're the best!!! Question: what are your favorite guitar-focused albums? Sometimes I find myself spending a lot of time watching lessons and gear videos on TH-cam but forget listening to albums. I'd love to learn which guitar-focused artists that inspire you!
Love the pat Metheny album Live! (2000)
1 my Eureka is When I discovered matteo mancuso 😂
2 How you do the pads to practice the scales? Do you use a looper pedal? I always had that doubt in my mind 😅
What's between the guitar pickups? Is it cork/rubber? What is its function?
My greatest Eureka moment? When I understood relative scales: Am is "the same" (you get it) as C Major? And and... It works for pentatonic too!? God damn I was knowing how to play aaaaall those scales for months and no one told me! (Late 80's, pre-youtube ages...)
Eureka: that CAGED is not just an acronym for five positions but they also appear in that sequence on the fretboard
Very well explain . Thankyou.
Steve Vai and I think also Joe Satriani both said pick two modes and try to master them
Great explanation! Thanks for the breakdown. One thing I’ve been struggling with for a while: how does the “new tonal center” typically manifest in a give piece? Like how will I know it’s, say, D Dorian as opposed to just C major? Is it contextual? Does it require other instruments to reinforce that tonal center? How do you do it unaccompanied?
It’s always been strange to me how different modes can sound strange over the same key even though you are using all the notes in that key.
I hear you! We need to explore
I think they can have the same effect as chord changes. But picking notes individually instead of strumming. I want to try that and see if it holds up.
That's because art of music is really the interval between notes, not the note itself.
is that a pedal you are using that sustains a chord/note that you then play over?
Good video. Big ears dude.
Beautiful 😊
GRACIAS GRACIAS GRACIAS KAPO
Derivative and parallel methods give you the same notes of each mode.
Moses?
The dirty truth about moses got me dying
🙃
3 eureka moments
1 Jimi Hendrix did NOT use a nylon string acoustic guitar
2 open tuning is possible, allowed and used by many artists
3 Joe Pass: 'You must look at chord changes in the simplest way you can look at them"
Amazing. Love it!!
Dorian reminds me of viking stuff idk why😂
Cool video tho !!
Thanks !!
Hey Rotem! Love your videos but this video seemed a bit too much for me with lots of interjections through out that seemed to distract from the video (guy shredding on guitar, black and white video clips, show dates). I honestly like just hearing your talk through the lesson without all the cuts and stuff. Just one guy's opinion.
Anyway, my big eureka moment recently was learning major and minor pentatonic scales up and down the same string. It really helped me connect different scales across the fretboard and see how different chords are built of of them.
Just keep it honestly 😂
Lol. Trying
My bro, this video is hectic af
Lol, sorry
"Moses"? Seriously?
Spell check ✔️??? Ffs!
Lolz