MODES: Loads More Mystery | ANDY'S SUNDAY SCHOOL
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- Опубліковано 15 гру 2024
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For the Greeks who invented the modes, Dorian was the primary mode. They were also based on the configuration of the lyre with two sets of four strings.
This is an essential lesson. Thanks Andy
Hey Andy, if you end up reading this comment, thanks for the Sunday School lessons and all the work you put into them. Thanks for your teachings and for sharing your experience. As long as you want to keep making them, I'll keep watching them. Count me as an automatic yes whenever you come up with an idea for another vid in the series. In closing, wouldn't miss those guitar faces for quids. Cheers.
You didn't chicken out when you got to Locrian. Hats off for that. Almost everybody on YT glosses over it, and that's a shame. Locrian is how I found m7b5.
It's one of my favorite chords. It's also how I figured out to leave the root off of dominant 9's, leaving the 1/2 diminished. This was a really fun lesson, and I learned a lot. I have a whole lot of respect for you, and you just ramped it up another notch.
Hats off
CHEERS!
Absolutely brilliant Andy !!:Seriously, it's yr best video !! Fascinating explanation of modes& their application .
Well done my boy !! 😀😀
I never realised that you were so good at improvising on the guitar,Andy. Well done 👏
Great stuff but will have to listen again.
Super! Thanks
Salvation a la Mode...and a cup of tea 🎼 🍵
Each mode will have a unique chord voicing. For example - I’m using C maj as my reference point - 4th mode Lydian F would have F maj 7 +11 (or +4) as a unique voice, because comparing Lydian to the natural maj the 4th note in the sequence is a semi tone higher in Lydian. This applies to other modes too.
However, for the last 30 something years my main instrument has been the bass and if I have a brain-fart and forget about this I’d just pass it off as a ‘chromatic approach’.
You're right about not focusing too much on whole scales. Each mode has a “tell” - a particular note which is altered from the major. So Phrygian has an altered second, Aeolian has an altered third, and so on. This altered note gives you the character of the mode.
Nice simple explanation. People with at least rudimentary musical knowledge may be able to better visualize this on a keyboard.
So well explained, you made the locrian mode sound fusion.
An interesting way of teaching the modes. I have always shown my students how you can arrange the modes in order of dark to light from Locrian to Lydian. The Dorian is right in the middle, which explains why it has been so many hits!
My favorite mode is locrian... I grew up in orchestras so that pedagogy rarely went there but electric guitar in the 80's was all about using modes and that instrument was my rebellion against classical music and I got into Zappa and Crimson. When I used to teach guitar I would always tell my students the modes were just flavors and spice in cooking and I'd also tell them about what early music ensembles do. It's just a grammar for moods and musicians are basically mood makers. My mood is usually questioning, curious and in tension of paying attention... Locrian let's me pivot. Zappa really loved lydian.
Thanks for a most entertaining presentation. I'm not a musician but I've been fascinated by the modes since I first saw Leonard Bernstein discuss them in one of his Young People's Concerts broadcasts where he pointed out the Along Comes Mary, performed by The Association, got its unique sound by being modal. I think your approach is a brilliant, necessary complement to the traditional Music Theory approach and one that any musician who wants to truly master the modes must adopt, whether they know it or not.
richard
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Yes, this is to compliment the traditional approach.
@@AndyEdwardsDrummerComplement!
7 modes, it's about cyclic permutations. You really should start with C-major and simply emphasize starting with any of the 7 notes and emphasizing that note when playing. The point is the Roman numeral formulas for chord formation will work with any of the modes. By work, I mean the intervals gaps will sound pleasing.
Thank you Andy for the best Sunday school class ever. What a great way to explain the modes and how they relate to the major scale and how everything connects. Modes are a way of expressing moods and emotions in such a magical way. It's like using colors for art or spices for cooking. Speaking of cooking Andy you were using lots of seasonings and sauces at the end of your music video. So very tasty brother!!!
"Cheers" grey Wolf
Glad you enjoyed it
great expo Andy. I like to look at modes not as a thing but a way of using a scale, like a mode of transportation is a way of getting there, or pie ala mode is way of serving pie. On keyboard white keys are a thing- and C ionian, D dorian E phrygian F lydian G mixolydian A aeolian and B locrian are tplaces I can go within the white keys by using them a certain way (resolving phrases to the particular C, D, E whatever) then just listen and you'll discover the roles and relationships of the other notes and use what you like... OR you can learn the interval series for each mode and start from any note and find all 12 x 7 (modes for all 12 keys) as 84 things. My brain prefers 12 scales, 7 ways to slice them, then just add your ears... thanks as always!
I enjoyed the video ,thanks
Terrific job. I like that you keep bringing it back around to the art. We need enough technical info to work things out and communicate to others but getting bogged down in that takes away from the purpose, something I can be guilty of as a relative newb.
Ah, the theorist as musician. “You see there is but one correct way to learn a musical concept.” I didn’t teach music. I taught surgery. When I taught a skill or concept i was often confronted by a student who informed me that he/she was previously taught by another surgeon that the only correct way to solve the same surgical problem was his/her way. In that situation I would explain to the student that either method was valid. I would then explain why I approached the problem as I did. Then I told the student it was his/her responsibility to ask the other teacher to explain why they felt his/her approach was better. Then the student must assess whose explanation made the most sense to them and master that solution. Different students learn differently.
Many years ago I worked with some cognitive scientists and they reported to me in no uncertain terms that 'Learning Styles' ie. the idea that students learn differently was a myth.
I was teaching in college at the time and this idea was so ideologically set in the teaching structure that we had to identify how we would accommodate for these different approaches in our schemes.
But this idea now is absolutely debunked:
fee.org/articles/learning-styles-don-t-actually-exist-studies-show/
From a cognitive point of view there is only one way to learn something. Now in terms of this video I am trying to 'shock' the viewer who does not understand modes by turning their framework for how they think of modes based upon a misunderstanding I have observed over 34 years teaching.
It is that these ideas are taught from the intellectual first rather than teaching the sound first. And that is why I use the language I do at the start.
I like the Steve Hillage type jam at the end
Nice piece at the end. Music and video
This video put me in a good mode. 😃
Enjoyable, even if you don't/can't play guitar.
If I had seen this video back when I was starting out my life would have been different.
I’ve been practicing accessing any mode from within any Aeolian and Ionian position. I’ve had some success but I like your approach here too it seems more musical to me, I’m gonna try it out. Ignore that show off asking you to take it down. It is a good video.
In your initial major scale exposition, your off-the cuff exercises sound better than a lot of contemporary popular music. On further listening, all your improvised playing sounds better than a lot of contemporary popular music. Which begs the question: we know so much about music theory and composition; we understand that music can profoundly both stimulate the mind and appeal to our emotions. So why is so much popular music simplistic crap?
richard
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I practice minor and major scales on harmonica about 2 times a week
With respect Andy, Clears throat…I don't think this is the way to teach modes: At its core it's all about the root note-the foundation. Whether or not we consciously recognise it, the root is always present in our listening. The modes are simply different interval patterns built upon the root, and always relate back to the root, of which we are always aware. Becomes less of a "mystery" when you realise this. These diatonic interval patterns are so old, and have existed within very many forms of music for thousands of years. I've got a vague theory that some people are so ironed into Ionian and Aeolian, and harmonic major and minor scales, (Western classical music) that they find it difficult to grasp the other modes theoretically.
For example, while the C major scale contains the same notes as the A minor scale, they are not the same scale. Why? Because all the notes within the scale are always heard in relation to the root. When playing these notes over a chord progression, the relationships between the intervals shift, that's the wider context for the "modes".One of the most common pitfalls in teaching modes is the statement, 'The C major scale is the same as the A minor scale; so if you learn one, you know the other.' While they share the same notes, their application and tonal focus are entirely different, the student hasn't.
At one point in the video you say something like "Dorian is available within the E major (Ionian) scale" As Dorian mode has a different interval pattern, In E Dorian, the seventh scale degree (D) is flattened (D), this is not the case
There y'go. Discuss
The C major scale is the same as the A minor scale. They are the same scale. But they are different modes. When I had the modes explained to me I already knew them. The way you have explained them is cognitive which is not conducive to learning this sort of thing. I was the head of music in a college and I learnt over forty years the reasons why students don't get this stuff. This series of videos is designed to promote those ideas, they act as an alternative the the bog standard methodology you have explained here.
And also it does not have to be about the root note, it is about tonal centre which I think is different. Look at how I creating the mode here, there is a mystery there that the student needs to unfold themselves. Everyone is on a journey with their learning and the teacher needs to provide 'shocks' within that intuitive process.
Maybe it is the case there is a reason I have done it this way and maybe you don't understand it.
You aren’t always aware of the root you say, start an A minor scale and then suddenly a C major scale is played. Now it’s a C major scale starting on the 6th. Or A minor/aeolian. It’s no longer heard as A minor, regardless of where your scale/mode starts. But the key is still C major, but that’s only evident when the root of the progression is present.
That’s entirely Andy’s point when he shifts the chord root or tonal center while still playing the first 3 notes of the C major scale. If you watch the lesson all the way, it’s almost entirely about the relationship back the to root and he makes that relatively clear by example.
@@fmaraldo2829 Of course is it, but my emphasis is to say that mode is a sound contained in a scale. Iy has nothing to do with scale shapes. The student needs to learn the sound of each mode.
@@AndyEdwardsDrummer yes Andy, and you made that quite sonically apparent. I was replying to @yinoveryang4246 in your defense of your approach, if that wasn’t apparent. It’s important to train the ear and then knowing the names/intervals/etc. can follow.
@@AndyEdwardsDrummer Andy, you are 100% correct in your approach. I first learned the modes the traditional way in college way back in 1976. It was definitely not "conducive to learning this sort of thing" for me. I have only recently figured out that your approach is the correct one not only for modes but also for interval training, which you kind of allude to in this video. You are correct and you know why! Thanks
Iam learning scales and chords on guitar. Find it difficult to remember everything 😢 so much to learn😮
At the opening, the guitar is smooth, but the drumming is better still. After listening to that, my impression is that you have been playing a lot lately.
Excellent lesson/demonstration, Andy. Using the looper is so effective, but how come every modal song you improvised sounds like Turn of the Century by Yes? Is every mode a different “season” and “story?” 😅 (Except for Locrian, which was very Mahavishnu Orchestra.)
Yes, every mode is a different season...or more accurately, seasoning
@@AndyEdwardsDrummerA tray of sauces!
Try Jazz FM 91 Toronto.
They should be called 'moods.'
yes Winston
A clue for you, Andy - People who don't know the Major scale, inevitably have very poor ( or nonexistent ) note recognition, both conceptually, and on the fingerboard. For this reason, it is COMPLETELY counterproductive to teach the scale in the key of E ( with 4 sharps ). NO theoretical concepts will make ANY sense at all ( to a student musician ) until the student understands how the natural notes ( from the key of C ) are arranged. Your "lesson" was obviously well intended, but essentially useless, to anyone who doesn't already understand the tonal major scale. You obviously didn't think it through. I have enjoyed some of your other videos, but this one, is only going to confuse the audience you were hoping to inform. I suggest you do the musical community a favor, and take this video down immediately.
Yes, I agree seems to have a misunderstanding. But I wouldn't recommend that he takes it down
I have already done a video that looks at C major scale then moves out from that other keys. If someone watches that they should understand the tonal major scale
@@AndyEdwardsDrummer That's good ! Of course, there can be no functional command of modes, without a working knowledge of notes, intervals, scales, keys, and harmonic theory . . . . . .
Nonsense....i have come across many musicians who know no theory but can play modes. I think you are misinformed as to where actual music resides. This is why so many musicians never make any music of note. There is a deeper lesson to be learnt here
@@AndyEdwardsDrummer That's true, in the sense that anyone who can hum a tune, IS naturally experiencing modality. There are indeed millions of untrained but very talented musicians, who demonstrate that modalities are an integral part of listening to, and playing music. But these musicians (talented as they may be) will not be extrapolating the melodic and harmonic dimensions of Coltrane, Holdsworth, or Debussy. Don't get me wrong, I'm NOT saying complex music is "better", only that it is different. The primitive arts can be just as enjoyable as the sophisticated arts. If everyone made music the same way, that would be a drag . . . . . .