I totaly agree, thx a lot for your work QJamTracks ! If it don't bother anyone, @Pier Francesco Picc. can you share de 2 other ? I'm hungry of learning ! :D
The whole "ditch[ing] functional harmony" was what I needed. I never understood which chords to play and always ended up sound Major or Minor. This was a perfect, little video. Thank you. I'm sure I'm not alone when I say how helpful this video was.
This is literally everything I’ve ever wanted from a modal harmony tutorial. Thanks a million for this, this is the go-to lesson for learning to compose in modes.
@@QJamTracks hi, I watched another video and was left very confused. At 12:45 you state that the IV chord needs to be avoided but in the following video at 7:39 it states that the IV chord needs to be included in the progression to ensure that we get the DORIAN feel. I'm so confused Here's the video. ua-cam.com/video/BWqJ0NvxNEg/v-deo.html
Sir, I have played music for 40+ years ( or made noise, depending ) You have by far THE BEST instructional videos that I've ever seen. I'm recommending you to everyone I know ... Thank you so much for sharing all your hard work, your passion for music really shows ! Rock on Bro ~ Michael
Agree with just about everything EXCEPT avoiding voicings with tritone. The best model jazz comping that I've heard includes lots parallel chord motion thru all chords. in the mode
I think when you start with modal chord sequences it's maybe best to avoid tritones. When you have enough knowledge and experience you can let go a bit of the avoid thing.
I've never seen anyone point out before that the tritone wants to resolve either inward or outward. Good point. Also: "D Dorian becomes C major if we use the wrong chords from the Dorian scale." I just ran into this last night. I have been working on composing in Dorian, and yeah, I found myself in C major. It's an example of how important it is to sit down and play around with concepts, and find out for yourself.
Ive just noticed, after thoroughly examining a lot of videos of modes.... that Ive always used them, and never realized how I was using them. I still don't know how I am using them, but at least I know that I don't know how I use something I didn't know I knew! Keep practicing, studying more, which one should I focus on
Interesting video! Thanks a lot! I have some additional remarks: 1, "Modal scales and harmony has nothing to do with functional harmony" --> To some extent I agree. V7-> I, the very basic concept around functional harmony, is only possible in a normal major scale. Even when applying this framework to minor, certain chromatic modifications have to be made (the very reason harmonic/melodic minor exists) --> From a theoretical perspective, the concept behind dominant -> tonic has three main characteristics: The resolution of the tritone (resolving the most dissonant interval to a consonant interval provides tension and resolution), the presence of a leading tone that resolves to the tonic note (7->1) and that the root note of the progression moves by a descending fifth. If one or two of those characteristics is lacking, you end up with a weaker dominant -> tonic resolution. But I would argue that such a resolution still exists (e.g. v-i in natural minor, v-I in Mixolydian), even if it's weaker. --> Also the concept around functional harmony can be extended further. One example is "axis theory" (by musicologist Erno Lendvai). I find that approach useful, however the context seems to matter a lot (something the theory itself ignores). The bII chord (the second chord in Phrygian) is usually thought as an replacement for the dominant ("tritone substitution"). In classical harmony that chord was rather used as predominant chord (bII6-V7-i; a.k.a. Neapolitan cadence). --> Furthermore, one could always make chromatic modifications to a mode in order to get "stronger functions" (the idea of harmonic minor is to introduce a V7 chord in Aeolian, the same idea can literally be employed in any other mode). 2, "There is no tonal gravity, but equality between chords" --> That statement contradicts the idea behind modal music. If there is not any tonal gravity, a tonal center would not exist (and you would end up with pandiatonic music). The very idea of modes is that the tonal center is shifted to a different pitch than in a standard major scale. --> It seems more that the tonal center is not as strongly defined in modal music (as V7-I resolutions are not possible if the "pure" mode is used).
This is brilliant. I have been trying to understand modes for years. I’m totally self taught and started as an adult so everything is a lot of work. I will have to listen to this more than once, but in order to apply these illustrations to my own songs, and that’s the way to learn, to be able to experiment with the new information. Thank you so much.
Best use of 18 mins ever. Phenomenal. Just phenomenal. I will be going back to this video and making notes. Splendid job man on bringing so much clarity on such a pivotal concept in music.
Finally! A comprehensive video on UA-cam explaining how to write modal progressions. Please include melodic and harmonic minor modes in one of your next videos. Thank you.
Best video on modes ever! It was a moment of enlightenment for me, when you said that - when composing in modes - you can/must forget the concept of SubDominant and Dominant. Now I finally understand why Ionian and Aeolian are the standard Scales, because only they got that I-IV-V harmony structure built in. I always loved that floating quality of modal harmony sequences. Now I know why. Thanks a lot. I'll advertise your channel on my FB.
I revisited this video today, after watching so many videos about harmony, this is a real masterpiece, It is really worthy, invaluable. Thank you so much for your channel Rob and for sharing, for your time and effort and for teaching the way you do it, I really appreciate it.
Have to agree with many of the same recent comments. One of THE best tutorials on modes. Feels like what it may be like in a formal music school to me. And your diagrams and charts are truly v helpful. Ty so much !
Thank you so much. That C Major chart with all its modes helped drive home a point that never stuck in my head, "all modes are derived from the relevant major scale" 🤯 it's all become easier to memorise or work out if I get stuck
you simply cannot grasp modes without first understanding tonal harmony so the fact that you spent 1 quarter of the video on this is good! Very well done to you.
This is the best video on modal progressions I have ever seen. It finally showed me a huge piece of the puzzle that I had been missing. This is a gold mine of clarity.
Intriguing. In the example at 2:23, while you claim that the progression follows the cycle of fifths, in fact you are going counter-clockwise, in fourths Em - Am - Dm - G7 - C.
@@QJamTracks Everyone else, probably. I will play these scale and chord progressions and try to see why one must work clockwise on the cycle for some things and counter-clockwise for others. Thank you for answering, and so quickly.
This is my second favorite best video explaining modes,after long years trying to explain another students and musician the difference between chords progression ad cadences (modal sequeces), since must of long term musician just want to believe on they own set of rules and don't really know the difference between them, i got very lucky for find out soon in music theory journey that modal cadences don' t have a harmonic function like dominant tonic,and that is probably one of the most misunderstanding between musicians . Congratulations for this video 10/10 production, quality,information value. Awesome!!
Brilliant video the best on you tube. You have clarified the issues I had with my progressions gravitating back to the parent key tonal centre. You are a star
This is an excellent video! I have watched several videos on modes from other producers, and I have learned quite a bit by watching them. Just wanted you to know that your video covers the issues with tritones better than any of the others I've seen. Thank you so much for sharing your knowledge in such a clear way!
This is by far the best explanation on this subject that I have seen. I've been looking for years on and off. Greatly appreciated! You have a great channel I will be following in the future.
A VERY nice summary of modal harmony... even IF! I'm just starting out on using the modes (although I've studied them a lot in recent weeks). Like others have said, this video is literally a short masterclass that ties-in so very well with tonal harmony. Many thanks for posting it...
Crystal clear indeed and thank you so much for not blasting the background music while teaching. Makes paying attention (for us viewers) so much easier. Great content! Thank you once again Mr. Netherlands! :-)
Thank you for this lesson! The thing I am not clearly understand is how the trigger notes come out. For example at 6:10 you say D-Dorian has a raised sixth note. Compared to what this "raised 6th" is raised? The interval sequence here in the D-Dorian is: base note(D) +T+S+T+T+T+S+T--> base(D) The interval sequence in the G-Mix scale is: base note(G) +T+T+S+T+T+S+T--> base(G) The trigger note in D-Dor is B (the 6th, raised), but the trigger note in G-Mix is F (the 7th, flattened) The Ionian scale contains a whole step (two semitones) between the 6th and 7th notes, so a D-Ionian would contain B (6th) and a C# (7th). The D-Dorian contains B and C (instead of C#), so the interval sequence here is a semitone between B and C. So the answer is because it is semitone and not a whole step (we raised a semitone )? Am I right? But the G-Mixolydian ends with semitone interval too, and the trigger tone is F. Why F and not E? (F is flattened according to the F# what is in G-Ionian) Other modes seems OK, according to this logic: - in E-Phryg the F trigger tone is flattened compared to the F# in E-Ion. - in F-Lyd the B trigger tone is raised compered to the Bb in F-Ion. - in B-Loc the C and F is flattened compared to the C# and F# in F-Ion what also contains a G# (while the 6th note in B-Loc is G, and we dont call it a trigger note....). Maybe I missed sg somewhere in this whole music theory, but you are right, this modal stuff is a little bit of dim.... despite the fact that music theory is a clear and logical system in my opinion. Thx!
Very very nice lesson. It answers questions I have always had in mind despite some musical learning. Usually, music teacher say : one mode one chord. But it is not true, too static and many tracks use several chords. Thank You very much !!...
Wow, this really opened my mind... i was learning about modes two years ago but never until this day understood that the tonic - subdominant - dominant thing most be, more or less, forgotten when writing modal chord progressions... why did no one ever mention that?! Thank you so much!
AS GOOD as it gets.....you know you CRUSHED IT on this one. This one goes in my PERMENENT file, reserved for only the finest material. A Toast to you !
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
This is a little masterpiece. I've seen thousands of videos on modes, and this is in the top three. Very, very well done! Thanks!
Thank you so much for this nice comment!
What are the other two of the top three?
I totaly agree, thx a lot for your work QJamTracks ! If it don't bother anyone, @Pier Francesco Picc. can you share de 2 other ? I'm hungry of learning ! :D
Other 2?
@@Yann-wd7ol ua-cam.com/video/96cydVB4w-A/v-deo.html
ua-cam.com/video/ZMWwwJRIdHU/v-deo.html
The whole "ditch[ing] functional harmony" was what I needed. I never understood which chords to play and always ended up sound Major or Minor. This was a perfect, little video. Thank you. I'm sure I'm not alone when I say how helpful this video was.
This is literally everything I’ve ever wanted from a modal harmony tutorial. Thanks a million for this, this is the go-to lesson for learning to compose in modes.
Thanks Josua!
@@QJamTracks hi, I watched another video and was left very confused.
At 12:45 you state that the IV chord needs to be avoided but in the following video at 7:39 it states that the IV chord needs to be included in the progression to ensure that we get the DORIAN feel.
I'm so confused
Here's the video.
ua-cam.com/video/BWqJ0NvxNEg/v-deo.html
Sir,
I have played music for 40+ years ( or made noise, depending )
You have by far THE BEST instructional videos that I've ever seen. I'm recommending you to everyone I know ...
Thank you so much for sharing all your hard work, your passion for music really shows !
Rock on Bro
~ Michael
15:32
"The more ambiguous, the more expressive"
-Leonard Bernstein
Agree with just about everything EXCEPT avoiding voicings with tritone. The best model jazz comping that I've heard includes lots parallel chord motion thru all chords. in the mode
I think when you start with modal chord sequences it's maybe best to avoid tritones. When you have enough knowledge and experience you can let go a bit of the avoid thing.
Been playing almost 30 years and this video is one of the best modal videos I have seen.
Great lesson!
6:05 beautiful demo examples
Thanks!
I've never seen anyone point out before that the tritone wants to resolve either inward or outward. Good point. Also: "D Dorian becomes C major if we use the wrong chords from the Dorian scale." I just ran into this last night. I have been working on composing in Dorian, and yeah, I found myself in C major. It's an example of how important it is to sit down and play around with concepts, and find out for yourself.
I have been searching for modal progression! No one told me they kinda dont exist. Thank you so much.
You're welcome!
Ive just noticed, after thoroughly examining a lot of videos of modes.... that Ive always used them, and never realized how I was using them. I still don't know how I am using them, but at least I know that I don't know how I use something I didn't know I knew! Keep practicing, studying more, which one should I focus on
I cant' stop thanking you ! This lesson is supreme !!! Never understood this armony till now .Thanks a lot.
By far the best I have seen on that topic so far. Thanks a Lot!!!
Thanks man! Glad to see the video is of use!
@@QJamTracks Agree.
Interesting video! Thanks a lot! I have some additional remarks:
1, "Modal scales and harmony has nothing to do with functional harmony"
--> To some extent I agree. V7-> I, the very basic concept around functional harmony, is only possible in a normal major scale. Even when applying this framework to minor, certain chromatic modifications have to be made (the very reason harmonic/melodic minor exists)
--> From a theoretical perspective, the concept behind dominant -> tonic has three main characteristics: The resolution of the tritone (resolving the most dissonant interval to a consonant interval provides tension and resolution), the presence of a leading tone that resolves to the tonic note (7->1) and that the root note of the progression moves by a descending fifth.
If one or two of those characteristics is lacking, you end up with a weaker dominant -> tonic resolution. But I would argue that such a resolution still exists (e.g. v-i in natural minor, v-I in Mixolydian), even if it's weaker.
--> Also the concept around functional harmony can be extended further. One example is "axis theory" (by musicologist Erno Lendvai). I find that approach useful, however the context seems to matter a lot (something the theory itself ignores). The bII chord (the second chord in Phrygian) is usually thought as an replacement for the dominant ("tritone substitution"). In classical harmony that chord was rather used as predominant chord (bII6-V7-i; a.k.a. Neapolitan cadence).
--> Furthermore, one could always make chromatic modifications to a mode in order to get "stronger functions" (the idea of harmonic minor is to introduce a V7 chord in Aeolian, the same idea can literally be employed in any other mode).
2, "There is no tonal gravity, but equality between chords"
--> That statement contradicts the idea behind modal music. If there is not any tonal gravity, a tonal center would not exist (and you would end up with pandiatonic music). The very idea of modes is that the tonal center is shifted to a different pitch than in a standard major scale.
--> It seems more that the tonal center is not as strongly defined in modal music (as V7-I resolutions are not possible if the "pure" mode is used).
I gave up on understanding modes a long time ago until I found this video. Thanks lot, I finally understand how to write in a specific mode.
Very very very very good!
Thank you very much!
Your animations and graphics in this lecture are the best I've seen for this topic, thanks
Thank you Callum!
Probably one of the best videos I've come across when it comes to explaining how to write modal progressions. Love your content and backing tracks^^
Tahnks Jamie! Glad you like the videos :)
This is brilliant. I have been trying to understand modes for years. I’m totally self taught and started as an adult so everything is a lot of work. I will have to listen to this more than once, but in order to apply these illustrations to my own songs, and that’s the way to learn, to be able to experiment with the new information. Thank you so much.
The best lesson about Modal harmony so far,great job! Clear concise and to the point.
This is criminaly good. Clear and exact the best mode toturial right now on youtube. Wow
Dominant doesn't necessarily have to have a tritone in it, half-step away from root note also create a strong need to be resolved.
Definitely the best video I have ever seen regarding modal harmony. Rock on, dude. Awesome stuff
Thanks Michael! Glad to see my videos are helpful.
Best use of 18 mins ever. Phenomenal. Just phenomenal. I will be going back to this video and making notes. Splendid job man on bringing so much clarity on such a pivotal concept in music.
Finally! A comprehensive video on UA-cam explaining how to write modal progressions. Please include melodic and harmonic minor modes in one of your next videos. Thank you.
Good idea.
Best video on modes ever! It was a moment of enlightenment for me, when you said that - when composing in modes - you can/must forget the concept of SubDominant and Dominant. Now I finally understand why Ionian and Aeolian are the standard Scales, because only they got that I-IV-V harmony structure built in. I always loved that floating quality of modal harmony sequences. Now I know why. Thanks a lot. I'll advertise your channel on my FB.
I usually don't bookmark videos, but this one along with the previous one are jems. I can't thank you enough 🙏
I think this may be the clearest and most helpul explanation I've ever seen. Thank you.
I have seen and studied dozens of modal videos. This one is hands down the most comprehensive and useful one I've seen.
Finally, someone teaches clearly and objectively! This opens up a universe of possibilities! thank you so much!
Thanks Henrique
I revisited this video today, after watching so many videos about harmony, this is a real masterpiece, It is really worthy, invaluable. Thank you so much for your channel Rob and for sharing, for your time and effort and for teaching the way you do it, I really appreciate it.
Have to agree with many of the same recent comments. One of THE best tutorials on modes. Feels like what it may be like in a formal music school to me. And your diagrams and charts are truly v helpful. Ty so much !
Thanks for your nice comment!
Stumbled upon this and didn't know how much I needed it! Thanks
Thank you so much.
That C Major chart with all its modes helped drive home a point that never stuck in my head, "all modes are derived from the relevant major scale"
🤯 it's all become easier to memorise or work out if I get stuck
Jesus, you and troy grady are on another level! The best lesson about modal chord progressions on youtube!
Amazing! This really ties everything ive learned in a lifetime of music together ---Very very well done!!! Will watch over and over!!!! GREAT!!!!!
Finally someone explains the BIG difference between relative moding and changing keys.
My head was aching until u clarify the concept.
Good to hear this clarifies it for you. Thanks for using my video Juan!
One of the best videos on modes and my favorite one so far.
All the concepts, lead, harmony in 1 video.
Thank you so much!!!
I've also been hunting for a good Modes video all over the Tubes, but this is THE best one by far. Many thanks...I get it now.
you simply cannot grasp modes without first understanding tonal harmony so the fact that you spent 1 quarter of the video on this is good! Very well done to you.
This should be the go to video for anyone who wants to learn/understand modes ! Absolutely THE BEST!
This is the best video on modal progressions I have ever seen. It finally showed me a huge piece of the puzzle that I had been missing. This is a gold mine of clarity.
Thanks!
I just found this channel yesterday and it pushed concentration , nearly blowed me away , super lessions ! Great !
So far for me the best video on this topic I’ve ever seen
Best explanation of modes I have seen. On a whole new level.
You’re lessons have a way teaching a language that is too difficult for many to grasp.
Thank you! It’s always been a way I wanted to communicate..
Best video EVER on how to practically use modes to make music. Thank you so much.
This video is what I needed to understand modal harmony. In 17 min you condensed all the information I was lacking for 15 years of my guitar playing!
This is soooooo clarifying! Years of research comes to an end! Simply awesome!!!
Thanks! Very glad that is usefull for you Matheus!
Your comparison of music to visual art is extremely helpful for how I think, both in just making it logical and also in making it interesting
Intriguing. In the example at 2:23, while you claim that the progression follows the cycle of fifths, in fact you are going counter-clockwise, in fourths Em - Am - Dm - G7 - C.
True. I should have said "in V-I relationships". Although I think everone understands the point :)
@@QJamTracks Everyone else, probably. I will play these scale and chord progressions and try to see why one must work clockwise on the cycle for some things and counter-clockwise for others. Thank you for answering, and so quickly.
So glad I found your. Excellent tutorials.
Best video on UA-cam explaining modes and modal harmony.
So glad I found this. One of the best tutorials I've watched about modal chords.
Thank you Paras!
This is my second favorite best video explaining modes,after long years trying to explain another students and musician the difference between chords progression ad cadences (modal sequeces), since must of long term musician just want to believe on they own set of rules and don't really know the difference between them, i got very lucky for find out soon in music theory journey that modal cadences don' t have a harmonic function like dominant tonic,and that is probably one of the most misunderstanding between musicians . Congratulations for this video 10/10 production, quality,information value. Awesome!!
Thank you!!
And which is the 1st video about modes?.. I am very interested . Thanks.
I was laying down listening to your tutorial. Literally had to get out of bed to replay 17:08 A dorian is str8 fire
fax
This is the best explanation of writing music with modes I've ever seen. Definitely will watch again and again. Fantastic!!!
Brilliant video. Thanks so much as you have simply answered a long-standing question about modal composition for me. Many 🙏🏿 🙏🏿 🙏🏿!!!
Thanks Mike!
Very clear and well explained tutorial about modal harmony. One of the best I have seen. Thanks.
This covers essential material that most videos about modes don't even mention. Amazing video, thank you very much
Thank you!
Agreed. This was just all new to me but laid out so well. Thank you
Great video. Especially the last half. The last 2 tips were really good. Loved the examples as well.
This is GOLD. I don't know how and why, maybe the way it was presented, but it was the most appealing lesson on modal progression. Thank you sir!
Thanks!
Brilliant video the best on you tube. You have clarified the issues I had with my progressions gravitating back to the parent key tonal centre. You are a star
This is an excellent video! I have watched several videos on modes from other producers, and I have learned quite a bit by watching them. Just wanted you to know that your video covers the issues with tritones better than any of the others I've seen. Thank you so much for sharing your knowledge in such a clear way!
This is by far the best explanation on this subject that I have seen. I've been looking for years on and off. Greatly appreciated! You have a great channel I will be following in the future.
Thanks man!!
Definitely Top notch..One of the clearest..Great video work.
This channel is a goldmine, with pure gold seams!
I'm almost 100% certain this could have been WAY more simple to explain. This is almost like a refresher course for people who already know this.
A very clear path. I will watch this video 1000 more times to really solidify it. Thank you. Cheers
A VERY nice summary of modal harmony... even IF! I'm just starting out on using the modes (although I've studied them a lot in recent weeks). Like others have said, this video is literally a short masterclass that ties-in so very well with tonal harmony. Many thanks for posting it...
Crystal clear indeed and thank you so much for not blasting the background music while teaching. Makes paying attention (for us viewers) so much easier. Great content! Thank you once again Mr. Netherlands! :-)
:) Thanks!!
Thank you for this lesson!
The thing I am not clearly understand is how the trigger notes come out.
For example at 6:10 you say D-Dorian has a raised sixth note. Compared to what this "raised 6th" is raised?
The interval sequence here in the D-Dorian is: base note(D) +T+S+T+T+T+S+T--> base(D)
The interval sequence in the G-Mix scale is: base note(G) +T+T+S+T+T+S+T--> base(G)
The trigger note in D-Dor is B (the 6th, raised), but
the trigger note in G-Mix is F (the 7th, flattened)
The Ionian scale contains a whole step (two semitones) between the 6th and 7th notes, so a D-Ionian would contain B (6th) and a C# (7th).
The D-Dorian contains B and C (instead of C#), so the interval sequence here is a semitone between B and C. So the answer is because it is semitone and not a whole step (we raised a semitone )? Am I right?
But the G-Mixolydian ends with semitone interval too, and the trigger tone is F. Why F and not E? (F is flattened according to the F# what is in G-Ionian)
Other modes seems OK, according to this logic:
- in E-Phryg the F trigger tone is flattened compared to the F# in E-Ion.
- in F-Lyd the B trigger tone is raised compered to the Bb in F-Ion.
- in B-Loc the C and F is flattened compared to the C# and F# in F-Ion what also contains a G# (while the 6th note in B-Loc is G, and we dont call it a trigger note....).
Maybe I missed sg somewhere in this whole music theory, but you are right, this modal stuff is a little bit of dim.... despite the fact that music theory is a clear and logical system in my opinion.
Thx!
In my opinion, you have an excellent way of explaining difficult or misunderstood concepts. As others have said, this is a masterpiece. Thank you!
Thank you Raunch!
Just bookmarked this; great explanation.
Very very nice lesson. It answers questions I have always had in mind despite some musical learning. Usually, music teacher say : one mode one chord. But it is not true, too static and many tracks use several chords. Thank You very much !!...
This is an incredible video. 11/10. Very well done.
Very well explained something I've never been able to grasp before. Already on my second go through of the video. Excellent!
At last , a tutorial that gets to the point . Thanks
superb and informative video Maestro...thank you
How can people downvote something so helpful provided for free at the cost of someone else's time?! Ugh...thank you so much for the video!
Thanks Sunny!
This is the best tutorial I have ever seen!! Thank you.
Great video! Exactly what I was looking for
Wow. Wunderful piece of explanation! Keep doing such great videos.
Liked and bookmarked. I have a love-hate relationship with modal harmony. But, after this, I'm moving more in the direction of love.
Love is a good thing :)
This is a gem ❤️
This is the best video on modal chords I have ever seen. Many thanks!
Wow, this really opened my mind... i was learning about modes two years ago but never until this day understood that the tonic - subdominant - dominant thing most be, more or less, forgotten when writing modal chord progressions... why did no one ever mention that?! Thank you so much!
same here.. i did not know either..
mind blowing video! And the explanation is the best among all the video I've seen. Thank you so much for making this 😁
You guys dont need the other 2....
This says it ALL. PERFECTLY !
*Great* Qjamtracks !
AS GOOD as it gets.....you know you CRUSHED IT on this one. This one goes in my PERMENENT file, reserved for only the finest material. A Toast to you !
YOU HAVE THE BEST MUSIC TUTORIAL VIDEOS ON UA-cam !!!
And you're an awesome musician also ... Rock on Bro
absolutely fantastic tutorial. no stone left unturned but made it super easy to follow - thank you
Nicely explained I have not heard this analogy before and it is brilliantly described
Best lesson I’ve seen in many years!
This tutorial is perfect. Really clear and concise, but quite comprehensive.
Best explanation about modes EVER
Great advice about staying away from the tritones in other modes!
Vinnie Moore’s video on modes is also good but the graphics and presentation here are excellent as well as the practical advice for usage. Well done!
Brilliant! The most concise lesson on Modal Harmony I've seen on YT. Well done and thanks :).
I am impressed for the clear and useful tutorials of your channel, plus they are well supported by charts and examples, thank you so much Rob!
Thanks! :)