I remember showing the sheet music for “Pyramid Song” and “Everything in Its Right Place” to my piano teacher, who didn’t approve of anything. As she played them she said, “Wow, these are beautiful chord progressions!” and remarked on the same modes that are in this video. Thanks for bringing it all back!
I really like how clear and concise your format is! And your delivery is on point as well. I've been looking for a channel like this for a long time. Subscribed!
i wish i would have figured that out so long ago. it's like, ok you don't have to "know music theory", but with simple stuff like this, you can save yourself a lot of headache
I'm really a dummy when it comes to music theory but Everything In It's Right Place and Burn The Witch are my favourite Radiohead songs, partly because I've always found their chord progression sounds absolutely unique and beautiful. Turns out it's modal interchange that I love so much. Thanks for the knowledge, I'll research more songs using it now 👍
David Bennett’s music tutorial videos are really amazing. The subject matters are discussed in a very precise manner while also giving great audio & visual examples. I personally think he is choosing great music to demonstrate the theoretical concepts as well. Thank you David!
For me it’s the last pre chorus in exit music (for a film) first chord outlines a B minor key, second chord is a C# 7, kind of changing to a Dorian #4 sound, then F# (V) and G (bVI) for natural/harmonic minor, then b2/Neapolitan chord (C) before going back to V7 (F#). Such a fucking cool chord progression
When I did grade 4 or 5 trinity rock and pop drums, I remembered listening to Airbag by Radiohead which is why I searched for this. It’s so interesting because I also learnt about different modes from you in the last week. Thank you for these videos
that was a great video, clear and easy to understand (not that i understand the notes on a sheet yet). as a beginner guitarist and radiohead fan it was fascinating seeing how theyve 'tricked' our ears. awesome stuff my dude
I'm from Ukraine, end i cant find any videos about radiohead and his music in ru-tube. I'm dont understand everything what you say, but thank you for this, I'm realy need this
I don’t know how anyone is perceiving an F major chord - or a key of F major at all - at the beginning of “Everything in its Right place” An F major chord DOES arrive eventually, of course, but it’s a harmonic surprise when it does, because there’s been no hint of it up until then. We’ve either been in C Phrygian / C Phrygian dominant, or F Aeolian / F Harmonic Minor, depending on whether you conceive of the tonal centre as being C or F. The arrival of the F major chord later is effectively a Picardy third that brightens us into the relative major.
This was so fantastic. Honestly man, if it’s something you’d like to do, I would really keep going. I mean, this was stunningly meaningful to me, I think it’s helped tons of sparse ideas I’ve been struggling with all cinch together..
Airbag is probably my favorite Radiohead song. Simple yet amazing. One element of that tune you didn't mention was the motif that goes between C major and G# major... creating kind of a lifting feeling. It's almost like an C augmented sound--horizontally (arpeggiated).
Hi David, excellent job on these videos, really well broken down and informative. Would you have any interest in making any videos about Fela Kuti? I'd really like to see you explore all the different rhythms in his songs. Thanks again, keep it up.
I like dorian, in many ways it feels more unnerving than natural minor, sure it has that bright spot on the 6 but when it resolves it falls even further and because it is unsettled I think it can feel darker in some contexts than the natural minor, or at least more chaotic! Their use of the phrygian mode creates the most unsettling feelings ever though, it's not just the arabic feeling, they bring out everything about the mode that is dark and unsettled! Using these modes where someone else would use minor gives it something you couldn't get from natural minor!
Great video! If you're looking for suggestions of other artists who use modes extensively for other videos, I think St. Vincent will give you plenty of material.
Good stuff. One thing regarding Burn the Witch is that to my ear the F#6/9 sounds like a secondary dominant pulling back to the tonic of Emaj9, making it E Lydian. If it were going to a Bmaj9 I think it would sound less resolved, placing it in F# Mixolydian.
this is awesome, i was wondering if you could maybe now show us you writing your own song, in the style of radiohead, using what you showed us here today. It'd be awesome seeing how this is written from scratch
how the hell did you get this smart? i am a 57 year old writer with no idea what i am doing. i do it anyway but i wish i had these tools. this is like watching a martial arts video in that you can imagine it working out but unless you spend years studying it and even then you might remain an amateur but you are so bloody young! are you a witch?
Isn't Radiohead's "Lucky " also an example of word painting (reference to another video of yours), since it switches to that uplifting Aeolian 4th (major chord) when singing "pull me ooout of the aircrash" ?
Very good format. One of a kind in it's depth but nevertheless it is still easy to understand. Thank you very much! One question: isn't the Db maj13-chord in "Everything in it's right place" rather a Db maj7 add#11? There is no 6 or 13 in it as far as I understand it. Anyhow, perfect format!!! Just curious to learn😀
Hey David I really like these "How X uses Modes", and I was thinking if you could make one of them from an artist that I really like, his seudonym is ZUN, creator of the Touhou game series. His music is very different from what I generally find on radio or television or even youtube, so I was wondering if you could make this kind of review of how he uses modes. Also, great video as always, very interesting to see how famous artists use different notes from the mods to add their characteristic sound to their songs!
David, you do amazing work. My only suggestion for those of us with less-than-wonderful ear training, is don't speak quite so much over the 6/9 and 13 chords, even though it's not the main point of that section, 😂hehehe.
hey i was wondering what program do you use to write those music sheets and edit them so easily? btw, i'm binge watching the videos of your channel and became a huge fan, you're a genius
Hey, such a great and interesting video, thanks so much for it. I'm sometimes wondering about how much sense it actually makes to analyse modern songs in terms of modes. And I totally get your explanation in most of the examples, however, for example in Airbag, does the Lydian analysis even make that much sense? Shouldn't we simply see the chord as a passing chord in that descending line that just happens to have this one Lydia note in it? I don't really understand the use to pointing out the mode sometimes. What's your opinion on that?
Julie Krat thanks for your comment. The point of identifying when a mode is being used, even if it’s only for one bar like in Airbag, is because modes give their own unique and recognisable flavour to the song’s tonality... even if only for one bar. By looking at examples of modes in context we can learn how these modes sound and that can help us identify them in other music and use them in our own music. That Lydian chord in Airbag sets the melody against a new, odd sounding tonality which gives a lot of character to the song... then when the Lydian tension resolves down to the D natural in the sus4 chord we get a release as we return to a normal, major place whilst still yet being in a different type of tension with the sus4
How do you theorize the F# dom 7 in Karma Police ? I understand the song to be in Em, and the F is a borrowed from the second degree of the phrygian mode, but I don't get the F# at the end of the chorus, which is in C ("this is what you get") Thanks !
That F# down to E would actually make me feel like E was the key centre, E mixolydian, because of the 7. Interesting that you state without ambiguity that the first chord would sound like the key centre. This is a song I’m not already familiar with so it’s interesting getting your thoughts on it, but if the melody changes key along with the chords then, really, the idea of choosing one of the two as the key centre becomes a bit redundant.
The question is, are they always consciously making these decisions or are the creative layers they add and notes they sustain across multiple chords producing these interesting and complex results?
Jamie I think composers rarely think “Oh let’s add a mixolydian hit here” or “Lydian would work here”... composers and songwriters make decisions in the same way any creative does really... they keep something because it works... they try an idea and if it works they keep it... they may not know why it works but they know that it does. Us looking at modes here in Radiohead is us looking at one of the many reasons that Radiohead’s music works!
@@DavidBennettPiano I was asking the op can't they be using both musical instinct and vast technical knowledge to create? Some people seem to think displays of "artistic genius" are purely by accident. I mean, there is obviously some experimentation involved but you kinda have to know the rules to break them.
do you reckon radiohead thinks about all of this when creating music and testing out different options? or is the explanation afterwards sometimes more in-depth than the music creation?
Jacob Borg good question... the C7 is what some people would call an Augmented 6th chord which is a dominant seventh chord built on the 6th degree of the minor scale and resolving to the dominant chord (in this case B7). Really, the Bb in the C7 is so brief and buried that it doesn’t really constitute a shift in mode or tonality and is just a brief chromatic note for colour.
"I could probably do a whole series on Radiohead" Yes, please!
@Dominik Jonas no one asked
he did.
its called his channel.
please do the whole series on radiohead!
ok ok... I've got another Radiohead video planned ;)
whoooooooo000000000oooooooo!!!!!
really looking forward to it 👍
i don't think this would be sufficient, perhaps we should reshape the moon into the shape of thom yorke's head? let's do that.
Yaahhh i have been viewing same ones again and again now 😆.
I remember showing the sheet music for “Pyramid Song” and “Everything in Its Right Place” to my piano teacher, who didn’t approve of anything. As she played them she said, “Wow, these are beautiful chord progressions!” and remarked on the same modes that are in this video. Thanks for bringing it all back!
I really like how clear and concise your format is! And your delivery is on point as well. I've been looking for a channel like this for a long time. Subscribed!
Vladimir Tsoy thank you - that’s really appreciated. 🙂
I think of mixolydian as "rock major", dorian as "rock minor", and phrygian as "metal über-minor".
i wish i would have figured that out so long ago. it's like, ok you don't have to "know music theory", but with simple stuff like this, you can save yourself a lot of headache
I think of dorian more as a jazz/soul-funk minor, which rock music incorporated
Mixolydian b6 is metal über major, or you could argue it’s Lydian instead
this is great man, explaining modes through songs, simple and amazing
I don’t even understand all the music aspects/notes/etc., but I see “Radiohead” in a title and I click.
Amazing, I've just been looking for something like this all around, but couldn't find anything reliable. Thanks man, you are amazing!
Tamás Révész thank you so much
Dude keep making these vids it makes me appreciate good music even more thank you for that!!
Pete Jones thank you so much - that’s what I love about theory... it lets you appreciate music on a whole new level
This is a fantastic vid! Was shocked to see you don't have tons more views. Please make the RadioHead techniques a whole series!
I'm really a dummy when it comes to music theory but Everything In It's Right Place and Burn The Witch are my favourite Radiohead songs, partly because I've always found their chord progression sounds absolutely unique and beautiful. Turns out it's modal interchange that I love so much. Thanks for the knowledge, I'll research more songs using it now 👍
amazing! lol Ive been studying radioheads use of dorian none stop the past two weeks. As if you put this out video out now! love it!
I dont know the first thing about music or music theory but I still enjoy your videos!!! Please make more radiohead!
This is literally so awesome man. I just subscribed. Please keep making videos!
Daaaamn, I don't know music theory and that example you gave to say if it was minor how it would sound really helped
David Bennett’s music tutorial videos are really amazing. The subject matters are discussed in a very precise manner while also giving great audio & visual examples. I personally think he is choosing great music to demonstrate the theoretical concepts as well. Thank you David!
Brilliant video! I've been waiting for this one :)
Thank you for explaining my favourite Radiohead songs, and why they are my favourites!
For me it’s the last pre chorus in exit music (for a film) first chord outlines a B minor key, second chord is a C# 7, kind of changing to a Dorian #4 sound, then F# (V) and G (bVI) for natural/harmonic minor, then b2/Neapolitan chord (C) before going back to V7 (F#). Such a fucking cool chord progression
Brilliant! Thank you for your insight and intricacies.
Thanks Kevin!
Lucky is my favorite song of all time, that lift into E dorian never fails to pull me up by the chest and lighten me, it's magic.
Excellent video, and I support the calls to make this the Radiohead channel.
When I did grade 4 or 5 trinity rock and pop drums, I remembered listening to Airbag by Radiohead which is why I searched for this. It’s so interesting because I also learnt about different modes from you in the last week. Thank you for these videos
that was a great video, clear and easy to understand (not that i understand the notes on a sheet yet). as a beginner guitarist and radiohead fan it was fascinating seeing how theyve 'tricked' our ears. awesome stuff my dude
Every video in your channel is always well produced, always bringing interesting topics 👏
"I could probably do a whole series on Radiohead" - yes please. thanks
Thank you for showing what the song would sound like without the mode color! It was super helpful!
This is wonderful. I'm only just beginning to learn about modes. Really enjoyed this video and the way that you present the information
I'm from Ukraine, end i cant find any videos about radiohead and his music in ru-tube. I'm dont understand everything what you say, but thank you for this, I'm realy need this
Там непогані субтитри автоматичні мають бути, спробуй
I don’t know how anyone is perceiving an F major chord - or a key of F major at all - at the beginning of “Everything in its Right place”
An F major chord DOES arrive eventually, of course, but it’s a harmonic surprise when it does, because there’s been no hint of it up until then. We’ve either been in C Phrygian / C Phrygian dominant, or F Aeolian / F Harmonic Minor, depending on whether you conceive of the tonal centre as being C or F. The arrival of the F major chord later is effectively a Picardy third that brightens us into the relative major.
Great video, I must finally learn those modes...
Nice work from a channel with this few subs. keep it up!
maybe some elliot smith?
Yes with 2 t's at the end ;)
This was so fantastic. Honestly man, if it’s something you’d like to do, I would really keep going. I mean, this was stunningly meaningful to me, I think it’s helped tons of sparse ideas I’ve been struggling with all cinch together..
Airbag is probably my favorite Radiohead song. Simple yet amazing.
One element of that tune you didn't mention was the motif that goes between C major and G# major... creating kind of a lifting feeling. It's almost like an C augmented sound--horizontally (arpeggiated).
Hi David, excellent job on these videos, really well broken down and informative. Would you have any interest in making any videos about Fela Kuti? I'd really like to see you explore all the different rhythms in his songs. Thanks again, keep it up.
Wow! Brilliant analysis.
I like dorian, in many ways it feels more unnerving than natural minor, sure it has that bright spot on the 6 but when it resolves it falls even further and because it is unsettled I think it can feel darker in some contexts than the natural minor, or at least more chaotic! Their use of the phrygian mode creates the most unsettling feelings ever though, it's not just the arabic feeling, they bring out everything about the mode that is dark and unsettled! Using these modes where someone else would use minor gives it something you couldn't get from natural minor!
Very informative and thorough!
you are SO GOOD at this...if you're not one already, you'd be an amazing music teacher. thanks for the videos david!!
Great video
Great video! If you're looking for suggestions of other artists who use modes extensively for other videos, I think St. Vincent will give you plenty of material.
I don't understand a word this guy is saying; but it totally sounds spot on.
Another great video man!
Great job!
Super interesting! Thx
Good stuff. One thing regarding Burn the Witch is that to my ear the F#6/9 sounds like a secondary dominant pulling back to the tonic of Emaj9, making it E Lydian. If it were going to a Bmaj9 I think it would sound less resolved, placing it in F# Mixolydian.
this is awesome, i was wondering if you could maybe now show us you writing your own song, in the style of radiohead, using what you showed us here today. It'd be awesome seeing how this is written from scratch
Please do a how Queen use modes and time signatures video.
That was beautiful, thanks! Got so many open tabs now I'm gonna drown
Wish i could write songs like Thom. Maybe in the next life
i'll see you in the next life
how the hell did you get this smart? i am a 57 year old writer with no idea what i am doing. i do it anyway but i wish i had these tools. this is like watching a martial arts video in that you can imagine it working out but unless you spend years studying it and even then you might remain an amateur but you are so bloody young! are you a witch?
Would you be interested in doing a video on Primus or Les Claypool? I'd be really interested to see that.
Isn't Radiohead's "Lucky " also an example of word painting (reference to another video of yours), since it switches to that uplifting Aeolian 4th (major chord) when singing "pull me ooout of the aircrash" ?
Very good format. One of a kind in it's depth but nevertheless it is still easy to understand. Thank you very much! One question: isn't the Db maj13-chord in "Everything in it's right place" rather a Db maj7 add#11? There is no 6 or 13 in it as far as I understand it. Anyhow, perfect format!!! Just curious to learn😀
Hey David I really like these "How X uses Modes", and I was thinking if you could make one of them from an artist that I really like, his seudonym is ZUN, creator of the Touhou game series. His music is very different from what I generally find on radio or television or even youtube, so I was wondering if you could make this kind of review of how he uses modes. Also, great video as always, very interesting to see how famous artists use different notes from the mods to add their characteristic sound to their songs!
David, you do amazing work. My only suggestion for those of us with less-than-wonderful ear training, is don't speak quite so much over the 6/9 and 13 chords, even though it's not the main point of that section, 😂hehehe.
hey i was wondering what program do you use to write those music sheets and edit them so easily? btw, i'm binge watching the videos of your channel and became a huge fan, you're a genius
I actually hear Everything In Its Right Place in C, making the Db phrygian.
House of Cards from In Rainbows is written in F Mixolydian. Just something I realized. It has the Eb in it, which a normal F scale doesn't have.
I'd love to see an in-depth analysis of Idiotheque.
This maybe explains why I keep having around the three chords of the dorian and myxolodyan scale
LICC at the ending... Nice
What software are you using when you change the notes? Looks pretty cool. Great video! Keep it up.
Sibelius, three years later, but still an answer
Superb. Thank you
hits home
Hey, such a great and interesting video, thanks so much for it.
I'm sometimes wondering about how much sense it actually makes to analyse modern songs in terms of modes. And I totally get your explanation in most of the examples, however, for example in Airbag, does the Lydian analysis even make that much sense? Shouldn't we simply see the chord as a passing chord in that descending line that just happens to have this one Lydia note in it? I don't really understand the use to pointing out the mode sometimes. What's your opinion on that?
Julie Krat thanks for your comment. The point of identifying when a mode is being used, even if it’s only for one bar like in Airbag, is because modes give their own unique and recognisable flavour to the song’s tonality... even if only for one bar. By looking at examples of modes in context we can learn how these modes sound and that can help us identify them in other music and use them in our own music. That Lydian chord in Airbag sets the melody against a new, odd sounding tonality which gives a lot of character to the song... then when the Lydian tension resolves down to the D natural in the sus4 chord we get a release as we return to a normal, major place whilst still yet being in a different type of tension with the sus4
How do you theorize the F# dom 7 in Karma Police ?
I understand the song to be in Em, and the F is a borrowed from the second degree of the phrygian mode,
but I don't get the F# at the end of the chorus, which is in C ("this is what you get")
Thanks !
I pretty much always use Dorian.
Could you find some uses of modes relatively for your next video? E.g. using the bVI's lydian vibe to brighten a song in minor?
Great Video !
Reminds my of Breath by Pink Floyd ! it has the Same concept , it goes from E Minor to A Major !
That F# down to E would actually make me feel like E was the key centre, E mixolydian, because of the 7. Interesting that you state without ambiguity that the first chord would sound like the key centre.
This is a song I’m not already familiar with so it’s interesting getting your thoughts on it, but if the melody changes key along with the chords then, really, the idea of choosing one of the two as the key centre becomes a bit redundant.
Would love to have that piano chart for Burn The Witch.
3:09 I’m seeing Dm and Gm but I’m hearing Eb and Ab minor? What’s up with that?
I understand 1% of this but I still find it fascinating
That more depressing version of Lucky sounded like the intro to a Muse song
Can someone explain the progression on Faust ARP?
easy mode or hard mode
whatz hardest mode
The question is, are they always consciously making these decisions or are the creative layers they add and notes they sustain across multiple chords producing these interesting and complex results?
Jamie I think composers rarely think “Oh let’s add a mixolydian hit here” or “Lydian would work here”... composers and songwriters make decisions in the same way any creative does really... they keep something because it works... they try an idea and if it works they keep it... they may not know why it works but they know that it does. Us looking at modes here in Radiohead is us looking at one of the many reasons that Radiohead’s music works!
why can't it be both?
chantoya17 what do you mean ?
@@DavidBennettPiano I was asking the op can't they be using both musical instinct and vast technical knowledge to create? Some people seem to think displays of "artistic genius" are purely by accident. I mean, there is obviously some experimentation involved but you kinda have to know the rules to break them.
7:32 - 8:38 Everything in its Right Place
Do something with Frank Zappa
Does VAST use similar modal change? Their music often feels similar to Radiohead, emotionally, for me.
David, I gather you'd be looking at Pyramid Song then? That would be a Spanish Phrygian mode, if my ears aren't deceiving me...?
When talking about the chorus of Lucky, did you mean lydian instead of dorian? If its in the key of G (or Emin), only lydian has a major 2?
It’s in the key of E minor 😊
I think 'No Surprises' is in C Mixolydian, as the scale is C-D-E-F-G-A-Bb-C, but if this is wrong, could you elaborate on what it is?
dont forget reckoner is in Clydian more than it is in Eminor
radiohead is like you get the exact sandwich you asked for but sadder.
just to make sure - on lucky its not a C7 but a maj7 right? cause the B in Em is not a Bb..
great video man
Also the B7 is not in Em natural..
i know this is old, but what software is that
that you use to change chords and notes?
small question, why did you notated everything in it's right place as an alternating 6/4 to 4/4 instead of 10/4?
so excellent! seems like you were born to do this :) very clear and illuminating!
do you reckon radiohead thinks about all of this when creating music and testing out different options? or is the explanation afterwards sometimes more in-depth than the music creation?
What is the mode(s)/key for Like Spinning Plates (live piano version)? Also the same chords as I Will but backwards
More Radiohead
Just wondering, would you consider the C7 in Lucky to be part of the Locrian mode as uses a flat B?
Jacob Borg good question... the C7 is what some people would call an Augmented 6th chord which is a dominant seventh chord built on the 6th degree of the minor scale and resolving to the dominant chord (in this case B7). Really, the Bb in the C7 is so brief and buried that it doesn’t really constitute a shift in mode or tonality and is just a brief chromatic note for colour.
Cool
What about the blue notes in the pentatonic scale, are those dorian or natural?
I understand. 00001% of this but have watched a dozen of his vids
4:43 sounds like subway surfers music
Have you listened to “Reminiscing” by Little River Band?