The Many Modes of Melodic Minor (And Harmonic Too)
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- Опубліковано 14 тра 2024
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Harmonic and Melodic Minor Video: • All About Minor
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I took a sigh of relief . thank god, finally a video that explains it simply, without taking 42 minutes and explaining nothing.
I love Phrygian Dominant, it sounds kind of magical, it’s exotic but sounds kind of smooth and gentle at the same time.
I really admire how much info you pack into relatively short videos. Sometimes I have to watch them at 3/4 speed just to make sure I absorb it all
2:10 I usually have heard this called “Mixolydian flat-6.” Not “Aeolian Dominant.”
Aeolian dominant because
Lyd dom
Ion dom is mix
Dor dom is mix
Aeol dom 12345b6b7
Take aeolian raise the 3rd. Dom7 chord
Phrygian dom 1b2345b6b7
Locrian dom 1b234b5b6b7
Take locrian and raise the 3rd.
So you have only 5 dominant scales from the major modes:
Lyd dom
Mix
Aeol dom
Phry dom
Loc dom
It's just another way of looking at things. Usually when you alter a mode somehow you check the rest of the major modes.
Like harmonic minor...
Let's do that to Lydian
Harmonic Lydian
123#45b67
Harmonic major
Neapolitan could be called
Phrygian harmonic
1b2b345b67
Locrian natural7 could be called
Locrian harmonic
1b2b34b5b67
Altered harmonic? Aka Alt nat7
1b2b3b4b5b67
Just examples: I've also heard mixb6 called the minor/major scale.
@@CMM5300 I understand what you’re saying. Thank you for replying. I never thought about it that way before. I was just stating that in the past, I’ve heard most people refer to the scale as “Mixolydian flat 6.” But that doesn’t mean that calling it “Aeolian Dominant” is wrong.
@@indigo1324 u can call it "pepe the cookie " scale if you like . . But In fact , it d be practial to conceptualize it as a mixo b 6 , cuz to flatten that six is the minimal variation needed to get there from somewhere diatonic and keep the escence of a dominant function . U can also get there by just ♮3 in the aeolian . but seems messed up to me !. at the end , is pretty much about the conections you make,. aeolian implies not only a b6 , but more importantly, a minor triad , and sthg far from a dominant function in any sense ( if you want to keep thinking in function and relations, but the same thought applies in a non functional , abstract and estatic sense . )
And I thought I knew a thing or two about modes... This guy is brilliant!
The Beboppers used Harmonic minor a lot from the root of the key (of the moment) to imply a V with their two favorite colors -9 and -13. The Harmonic minor unlike other scales has three half-steps and which also for the Bopper the half step were approach notes to the -9, 11, and -13. Quite handy scale from the Bopper's point of view.
Your Altered Diminished also goes by the much cooler (but less utilitarian) name of Ultralocrian
Nice, I hadn't heard that before! Thanks for sharing!
If I ever get this scale book finished and/or published, y'all are definitely getting a free copy (no ad contract attached haha)
Also with the Lidian Augmented as Superlidian
*Super Locrian.
@@brendawoodard5007 You're right. But let's just say that Ultralocrian sounds like some kind of villain straight from the MCU.
Very very well briefed!!! 🤘
Most of the modes you mentioned are standard in Arabic, Iranian, Turkish and Greek music. Imo, it's much more fun to analyse these scales using the arabic tetrachords and trichords than it is to think of them in the context of functional harmony (and thus see them as degrees of a scale). Especially for the harmonic minor scale, what makes it so distinct is the _hijaz_ tetrachord, i.e. E, F, G#, A.
Btw, on 2:38 is that a mistake? Your tonic an octave higher is a C natural, while I assumed it would be a C#.
Very true! I tend not to do a lot of tetrachord analysis 'cause I find the scale-degree approach a little more natural, but that's also a good way to look at it.
Also, yeah, that was a mistake. I'm impressed that I managed to make it both in the audio and the written bits, though... But yeah, those should've been C#s. Whoops!
No worries, just pointing it out :)
cool video man! like it to the UK and Ireland and the other day.
Thanks!
One lovely use of dorian b9 comes up in "Meditation". The first chord is a C6, followed by Bsus: and it's here you can play A melodic minor/B dorian b9 resolving to B major. I don't know quite how you'd describe that theoretically, but I know it works.
Really enjoying the channel, btw.
Thanks! That's interesting, I wouldn't have thought to use that scale there, but I could see it working. You're sort of encircling the target D# with a scale that uses both D and E!
And you're adding the F#, which isn't crucial but a nice perfect fifth is another strong element. I get the feeling that this is kind of commonly used in jazz but I'm struggling with other examples.
Spirit's "Nature's Way" is a more modern example of the same change, though I doubt Randy California was thinking in those terms when he soloed on it.
A minor quibble :)
Hi. lovely videos - your knowledge of harmony is amazing and way above mine.
One thing though - right at the start when you say that harmonic minor raises the sixth, whereas melodic also raises the seventh. I guess this can only be in relation to the Aeolian (natural) minor? Confused me slightly, as you'd previously only mentioned the Ionian (major) scale.
I guess it's explained in the other video on harmonic/melodic minors that you mentioned, which I should have watched first guess.
Fab videos though.
Good point! Yes, I meant raised in relation to natural minor.
Btw fourth mode of Harmonic minor is often called Gutsulian mode
Are you going to do any videos on non-heptatonic scales? I'd definitely be interested to see some of that stuff.
We're planning a video about the octatonic diminished scale some time soon! I also want to talk about the other Modes of Limited Transposition at some point, although that's probably further in the future. Other than that... Well, we did talk about pentatonic and the blues scale a while back, but I don't know that those really count, since they're all basically derived from traditional major and minor.
He played the scales in octaves !!
Man, how did you learn all of this stuff?
I went to university for music and I considered myself pretty good at theory. I did two of the three undergrad counterpoint courses offered at my university but your knowledge blows mine out of the water! Howwwww??? Mind if I ask how old you are, too? Have you used r/musictheory as a resource in the past to learn some of this stuff?
Thanks! I studied theory for years in college, but honestly a lot of it's not even from that, it's from practicing composition and from hanging out with other passionate academic musicians. I also spend a lot of time reading about new concepts online, 'cause I'm kind of obsessed... There's just so many great resources out there these days, and many of them are even free.
As to your other questions, I'm 26. I've visited r/musictheory, but I'm not much of a redditor so I haven't really participated much there. From what I've seen, though, it looks pretty awesome. Lots of really smart, passionate people who know and love theory.
+12tone Awesome response! Do you mind if I ask what the online resources are that you use?
It varies. When I want to research a new topic, I'll often start by just googling it and reading whatever pages come up. I don't usually do videos, 'cause most music education videos that I've seen have a fairly low information density so they're really time-consuming relative to value, but sometimes I'll just watch them sped-up. And honestly, wikipedia's often a pretty good place to learn. It's not a valid academic source, and there's not always much information on more esoteric topics, but it's a good starting point and most of what's there is, in my experience, pretty reliably accurate.
I'm also fortunate enough to know plenty of other musicians through school and work, and if I'm stuck on something or just want other people's thoughts, I can always just post on facebook to gauge my friends' views.
*Aspergers intensifies*
I have seen from wiki that the 'altered dimished' scale is also known as the 'ultralocrian' scale
2:39 why did you play C# AND C natural?
That one's just a straight-up error. I was altering the C scale to be the C# scale, and I apparently forgot to alter both instances of the root. I have no excuse for that, I just goofed.
question : at 3:30 by chord scales he means using the scale for just soloing over a chord in a song ...and considering it too unstable to treat the scale as a key to play in... am I correct ??
Each mode of any scale has it's own chord scale: Dorian 1,b3,5,7,9,11,13. So Dorian b2 is 1,b3,5,7,b9,11,13. Basically he ment to jazz up chords with some of these modal chord scales. I refer to chord scales as all the chords and their extentions of the scale or mode.
3:44 rare typo... "extra flair" . fun video though!
these scales seem uncommon , and more classical genre. I might not use them but still cool to know. I might experiment with them because I get tired of Doing everything based on the Major Scale sometimes.
Yung 12 tone
But what if u Make melodic but augment the fourth? Or if you flatten the fourth and the second?whats the same of that scale?
Lydian b3, or lydian diminished. George Russell talks about that in his Lydian Chromatic Concept, but it comes from the Harmonic Major modes (4th mode)
@@njrous thank you
that is the first one right?
do you maybe know the name of the second scale i mentioned?
@Matija S Well if you flatten the fourth in any scenario, it becomes a major 3rd now! For example, in C major, F is the p4 so a b4 would be Fb or E natural.
So the scale you’re talking about is now: 1 b2 (b9) #2 (#9) Maj3 p5 Maj6 Maj7. Not sure I’ve ever heard of that so I couldn’t really tell you where it comes from but I could maybe call it Ionian b9 #9, or maybe Ionian semi-altered haha
@@njrous sorry i was not clear enough,i meant if the fourth and the second are flattened in a natural minor scale
In that case, the thing I said with the 4th still applies and you’d get:
1 b9 #9 Maj3 P5 b6 b7
That one comes from the third mode of harmonic major actually, it could probably be called Phrygian b4!
I don't know much jazz but I feel Melodic Minor looks kinda complicated. Can't we transfer it to church modes again since it's just 1 note change. Starting with
1.mode Dorian(maj7)
2.mode Phrygian(nat6)
3.mode Lydian (#5)
4.mode Mixolydian (#4)
5.mode Aeolian (nat3)
6.mode Lokrian(nat2)
7.mode Ionian (#1)
Looks more systematic like this in my opinion. What do you think?
That's how I usually think of it too! But I think there's also a bunch of ways of looking at it.
Here's an alternative list of names for the modes:
1. Ionian b3
2. Dorian b9
3. Lydian #5 (can't think of any alternate haha)
4. Lydian Dominant
5. Mixolydian b6
6. Aeolian b5
7. Superlocrian/altered
I think this kind of stuff hasn't really been around long enough to have it necessarily codified (also given the more informal nature of jazz, something I enjoy) so I think however you can best internalize it
2 "other ways of looking at the scale compared to major scale modes using 1 note alterations:
Ion b3 , dor nat7
Dor b2, phry nat6
Phry b1, lyd#5
Lyd b7, mix #4
Mix b6, aeol nat3
Aeol b5, loc nat2
Loc b4, ion #1
I like being able to see other ways of using the scales.
Phrygian b1 resolves beautifully into phrygian next key
Ionian #1 resolves down to Ionian next key
To me aeolian b5 is more useful than locnat2. Phrygian nat 6 is very useful also.
I know there's alot of more normal names.
Mel min
Dor b2
Lyd aug
Lyd dom
Hindu, aeol dom,maj/min,mixb13
Loc nat2
Super locrian /altered
Tfw you thought the harmonic and melodic minor were the same thing
I know the drawing thing is your schtick but it keeps me from coming back, just my opinion of course.
For better results play this at 0.75 ... ༼♥ل͜♥༽
Lol
I like the content mentioned. But, there is no point in going supper fast, the camera work is too shaky and gives me motion sickness. If you have people on your page already, there is no point in going fast. Give your videos a vision, be a little more imaginative, this comes off like a soulless drop in tutoring session.
I think that I don't need this kind of information. I'm gonna play my guitar, instead.
if you're content to play in only major modes then you don't really need this, however if you want all the possible colors available to you for composing and improvising, then you need these plus a bunch more.
What are you talking about? These scales sound amazing on guitar! I don't even know a whole lot about theory but I have mode charts pasted up on my wall for harmonic and melodic minor because they're so much fun to play in.