It's mostly a matter of culturally ingrained taste. The Ancient Greeks felt a melody moving downward brought feelings of joy, while an ascending group of notes installed dark feelings.
Enjoyed the piano piece and production. Seeing the keyboard at the bottom of the screen was very helpful, particularly in the slow parts, as it helped me better understand the complex chord voicings. Thanks
I am not a musician enough to play this stuff. But as a producer/engineer working with really good musicians this video really helps me to help them to get the best out of their music.
Rick...your depth of musical knowledge, and your ability to relate it verbally so succinctly absolutely blows my mind. All I can say is wow. It would be an amazing and mind shifting experience to work with a writer, producer, engineer on your level. And you like Radiohead too!!! Thank you for sharing your knowledge.
Rick, you have taught me so much! When I came across your channel about a fortnight ago I was doubtful about some of your terminology. You've sold me. Lydian is a chord as well as a scale - it makes sense! If the chord is Lydian, the scale is Lydian as well. So much more sensible than #11.
I don't know if you'll see this Rick, but I've been a massive fan for just under 6 months now and I have gone from knowing nothing about music theory to acing my theory classes at university at 17. When I say nothing, I mean nothing! Your videos have not only improved my theory but have inspired me to use it and now I have the dream of becoming a film composer. You made me listen instead of hear and for that I will be forever in your debt. Until I pay it back by buying the Beato book ;)
Mad props! The images fit perfectly with the modal shifts, especially the first one for locrian. I hope that's not your yard because that's terrifying.
Thanks, Ric1 I knew just enough to understand what you were talking about, but once you'd played, I could hear what you were talking about! Very helpful.
I went from wonder to questioning to majesty and finished with surety in your piece. Those were my impressions. Also delicate and precise balanced with bravado and confidence.
Rich Mullins" song, The Color Green, mostly utilizes a hopeful attitude. Yet occasionally there are some minors that creates a tension that longs for completion. I encourage you to listen to it. The composition, beat and lyrics are deep, but relatable.
Fabulous description. The visuals work particularly well. Since 90% of the information the brain retains is visual, having a visual note of what a mode sounds like is really helpful. I work in visual art too and while I'm not synaesthetic, I do (as a lot of people) relate music to visuals and vice versa. This is particularly useful when writing soundtracks for video (which I do as a job). Thanks for this Rick. Another fantastic and extremely helpful video.
My goodness I had missed out on this wonderful piece. Of course the lecture id fantastic but the piece itself ... I really enjoyed it. Such a treasure trove of all things music
That song was my introduction to modes. When I was a kid I asked my guitar teacher why that solo sounds like it’s celebrating life. He told me it was the lydian. Blew my mind!
I wish more of the qualities of the piano texture were discussed!I found the virtuosic moments fitting, and sometimes a little unexpected. Very cool how the part changes suddenly from more of a "wash" to imitative, and then with a quicker pace, and then pointillistic...
Great video. That piece you made was incredible. I was astonished at your speed and ability to keep the time and pitches you chose sounding perfectly. I hope to be even 1/100th like you some day rick. Thanks for your lessons!
How do you feel about the late great George Russell's ideas on Tonal Gravity (horizontal and vertical) Rick?. By recognising an order of gradation from consonance to dissonance of all intervals and scales in relation to a given tonic, he enabled the student to reconcile the use of extreme atonal dissonance within otherwise tonal environments. He also distinguished between horizontal (melodic) and vertical (chordal) gravity which greatly expands the applicability of his theory. It certainly takes in a modal impressionistic approach like the one you're employing here Rick but also the kind of intervallic dissonance you're discussing elsewhere in your scoring videos. I think Russell's theories enables composers to move freely between both.
gotta say, this video is awesome. From now on i will have a post-it on my wall with all the modes alterations so every time you say or quotte one, i will know what notes do you want us to enfatize on. Regards from Chile!
Rick, do you know the middle movement of Bartók's 3rd piano concerto? He has ascending Lydian and descending Phrygian scales - an amazing textural sound
Hey Rick, thanks for another vid! I was wondering if you had ever looked into or heard of Echometry? Pat Martino delves into it quite a lot in a few tutorials I've watched, it boils down to representing musical intervals geometrically rather than in traditional linear fashion. It makes a lot of sense to me. For example, mathematically speaking, a chord is a line drawn between two (or more) points on the circumference of a circle. So draw a circle with 12 points on it like a clock face and then swap the numbers for the chromatic note letters. Then connect the dots for a C major triad and an then its relative A minor triad, what do you see? They're symmetrical opposites despite being asymmetrical triangles. In fact, any chords that produce symmetrical shapes although pleasing to the visual mind tend to produce dissonant or unresolved sounds. An augmented triad produces a perfect equilateral triangle, sus 4 and sus 2 triads are isosceles in nature, a diminished dominant produces a perfect square, half-diminished produces a rectangle, the whole-tone scales produce two symmetrical hexagons etc. Pentatonic and Diatonic scales are also built on 5 and 7, the only two non-divisors of 12 and inherently asymmetrical yet are used the world over, weird huh? I find the whole thing fascinating and more immediate to grasp than traditional notation anyway, well worth investigating!
Awesome vid this time Rick. Nice and quick but great examples of music colors. You are great teacher and you love it, judging by the amount of videos you make. I have a question: what are chord families? I don't think I've seen a video from you going into depth on chord families.
Rick this is awesome! Thank you...I took all this in music theory, college, i have not used it enough to entrench the math in my brain. I think I do some of this by gut feeling but it's hard to reproduce sometimes! I'd like to revisit the modes. Is this example you played us based on a Middle C? That's where I get off kilter. I can go from scale to scale, but don't know what note you base the naming upon. I suppose I need to get your materials?! Jerialice
There are many exceptions regarding these laws because context and culture play a big role. An example is the blues and its b5. The b5 is actually a #4, so one would think of it as happy music according to the example presented in this video. But the blues is generally sad music even though in Dom 7 chords there is no b3 -- a falling 3rd or minor -- to make it sad. The only thing falling is the b7 but it is not falling toward the tonic because it is beside the tonic. Anyway, you see the complexity. To make matters even worse there are cultures that perceive minor chords as "happy" and other culture's absolutely insane sounding music that boggle the western ear (for example, Chinese Opera). We have to be aware that we write for culture first because our ears have been tuned in a certain way.
Hi Rick. New subscriber here from the Apple rant. Dang you know your music! Thanks for the rant video because I wouldn’t have found your channel otherwise.
Don't know if I'll get a response but it's worth a try. I've recently been studying functional harmony and when you (Rick) talk about a natural gravity, it relates to classical tonal gravity of I / IV / VII/ III / VI / II / V / I, would I be correct on that front? So in essence, the scale degree theories described by Dimitry Tymockzo in "A Geometry of Music" (2011) and the scale degree theory from Walter Piston's "Harmony" (1941) would be directly relatable to why you find that "natural gravity" occurring in the modes where as the notes in the mode describes the "colour" of the mode, the harmonic movement describes a sequential journey towards or away from a resolution? Would I also be on the right path if I described the relationship between tonic and dominant as sharing at least two notes in a simple triad and because of the sharing of two thirds of the same notes, it is a strong movement thus why an authentic cadence is so strong in it's resolution? On the same note (pun badly intended), a plagal cadence is the authentic cadence's weaker brother because it would only share one note between itself and the tonic? Any insight on this subject would be greatly appreciated especially if you subscribe to a particular harmonic theory and why? I am a self taught producer/composer/performer and have had no formal music education so everything I understand is based on what I have watched or read (including your most excellent Beato Book). It would be most awesome if perhaps one of the theory videos of the future could touch upon tonal and post tonal harmony especially since Walter Everett describes post tonal harmony in rock as having six tonal systems that can be defined. Just to finish this comment up, I've come to a personal conclusion that Western Music Theory is seriously incomplete especially when we take in to consideration microtonal music or even different tuning systems such as the Pythagorean system and that Western Music Theory is trying to describe a full and thorough understanding of "pitch space" by only classifying approximately 15% of the overall picture which is akin to describing a work by Monet just by 15% of the painting. Really would enjoy hearing your take on the minefield of functional harmony but even if you don't respond to this comment, your videos and insights are very much appreciated no matter what subject of music theory you choose to talk about. Thank you for sharing your awesome content!
it's very interesting. I noticed that Phrygian to me at some point didn't sound Phrygian at all, it was somehow "lighter" than usual, did you intend to create this sensation?
Kudos for using Meshuggah as an example. I never would have thought someone with your particular musical tendencies would appreciate them. Strangely, the last example (the combination one) seems to tread the same territory as Meshuggah, note-wise. I love the octave-displacement you used in that example.
Wow. Rick, I mean this with all love and respect but why does this remind me of Pat Metheny? I am NOT a guitarist or keyboard player but it just kind of takes me there...
Just curious do you compose the music and then pick out the pictures for the video or do you start with the pictures and then compose the music, sort of like scoring a film? Might make for an interesting video, since you do a lot on film composers to start with some pics and walk us thru a short composition.
If I do a movie chord progression like (C Eb G) into (B Eb G#) and want to add more chords into the progression while keeping that sinister kind of sound, where can I go next?
Thanks Rick . Was the mode with the road scene Mixolydian b6? Unless I'm mistaken it wasn't identified. Also the 'combinations' section sounded a bit like Cecil Taylor. It seems Bela Bartok had a big influence on him and I remember he came up with 12 tone scale with Phrygian and Lydian on the same tonic. It would be great if you could maybe do a video on how you can work with that. Another idea for a video (unless you cover it in the book) would be the sort of considerations at work when composing a piece with a sequences of modes like root movement, voicing, contrasts, harmonic rhythm and cadence etc. Is it true as Ron Miller's book suggests that any mode however dark has a tendency to resolve to a major triad on the same root and you that you can use this as an alternative to a diatonic V to I movement.?
+Alan Smith The piece with the driving footage was actually in C Lydian augmented. I missed the title for some reason and forgot to put in the description. In answer to your question about Ron's book, I'm not familiar with it but will check it out. Thanks! Rick
Would you say that your book would help someone who want to make music for games? (might be dynamic, similar to movies but more subtile most of the time and with a great variety of contexts)
i make music on DAWS. But i have a lot of trouble capturing the emotions i want. The closest i ever got to what i wanted was my song treading through hell. I've gotten better at making music, but i have utterly failed at capturing that same emotion of the final battle. I wanna know how to make music that stirs people...and makes them cry while pumping them full of adrenaline. Music is more powerful than any other art form in my opinion and i want to use it the best i know i can. I know this is just a youube channel but if you have any advice i'd love to hear it.
Would have been interesting to change modes while staying on the same video clip. Changing clip in sync with modes is changing two things at the same time which doesn't allow for clear understanding of what drives what.
Yes sure I can do that. What were the exact scales ? It' seems that in order it was C Lydian, E Phrygian, C something (you lost me on that road :-) ) , C locrian and then the combination where it's hard for me to tell who is who. Thanks
Thanks Heinrich. It seems then that it can be called C Lydian #5 or C Lydian Augmented. Looking at that scale we see also that it's a Wholetone then Diminished structure, the reverse of the Altered Scale !
Stephane Bernard indeed that's true, it's reverse! an interesting way to look at it! whereas the altered scale is also a melodic minor scale built on C#
I do not get it. Everytime I try to improvise in locrian mode on my guitar, it sounds crappy. What does Rick do differently? I guess it's the chord voicings.. maybe I shall transcribe it :D
unless it's already been covered, could we please have five minutes of Rick on the 'hitchcock' chord. I usually make clear eye contact with a stranger before just hitting it, always funny.
This is one of the best channels on UA-cam. People spend years of their lives trying to get this kind of insight - thank you for sharing it with us.
The reason I'm a subscriber
He's such a good teacher... No question.
You just seem so genuine. Even when you're plugging your own book. It's a great change of pace from other channels I've seen. Good stuff.
That piano piece is awesome! Thank you for the videos Rick! Greetings from Paraguay!
most people don't do this kind of video for free.
+Ahmad Vawaid Sulthon I have a 350 free ones. People buy my book for themselves and it helps support me. Thanks!
It's mostly a matter of culturally ingrained taste. The Ancient Greeks felt a melody moving downward brought feelings of joy, while an ascending group of notes installed dark feelings.
Enjoyed the piano piece and production. Seeing the keyboard at the bottom of the screen was very helpful, particularly in the slow parts, as it helped me better understand the complex chord voicings. Thanks
I am not a musician enough to play this stuff. But as a producer/engineer working with really good musicians this video really helps me to help them to get the best out of their music.
Rick...your depth of musical knowledge, and your ability to relate it verbally so succinctly absolutely blows my mind. All I can say is wow. It would be an amazing and mind shifting experience to work with a writer, producer, engineer on your level. And you like Radiohead too!!! Thank you for sharing your knowledge.
Rick, you have taught me so much! When I came across your channel about a fortnight ago I was doubtful about some of your terminology. You've sold me. Lydian is a chord as well as a scale - it makes sense! If the chord is Lydian, the scale is Lydian as well. So much more sensible than #11.
How fun it is to learn new things with Rick. The gifts he gives for free in these videos will come back to him a hundredfold: It's the way life works.
thank you rick, these videos are all packed full of so much insight and experience. its amazing to see people following their bliss
I don't know if you'll see this Rick, but I've been a massive fan for just under 6 months now and I have gone from knowing nothing about music theory to acing my theory classes at university at 17. When I say nothing, I mean nothing! Your videos have not only improved my theory but have inspired me to use it and now I have the dream of becoming a film composer. You made me listen instead of hear and for that I will be forever in your debt. Until I pay it back by buying the Beato book ;)
+Ritchie Kordecki Thanks Ritchie!! Keep going! Rick
Mad props! The images fit perfectly with the modal shifts, especially the first one for locrian. I hope that's not your yard because that's terrifying.
Thanks, Ric1 I knew just enough to understand what you were talking about, but once you'd played, I could hear what you were talking about! Very helpful.
I went from wonder to questioning to majesty and finished with surety in your piece. Those were my impressions. Also delicate and precise balanced with bravado and confidence.
You wrote that? Theory aside, that's a lovely piece of music.
Rich Mullins" song, The Color Green, mostly utilizes a hopeful attitude. Yet occasionally there are some minors that creates a tension that longs for completion.
I encourage you to listen to it. The composition, beat and lyrics are deep, but relatable.
Fabulous description. The visuals work particularly well. Since 90% of the information the brain retains is visual, having a visual note of what a mode sounds like is really helpful. I work in visual art too and while I'm not synaesthetic, I do (as a lot of people) relate music to visuals and vice versa. This is particularly useful when writing soundtracks for video (which I do as a job). Thanks for this Rick. Another fantastic and extremely helpful video.
Great again Rick👍
My goodness I had missed out on this wonderful piece. Of course the lecture id fantastic but the piece itself ... I really enjoyed it. Such a treasure trove of all things music
Rick that is an amazing piece of music. Reminds me of Ravel, though it’s original and doesn’t sound like him
Thomas Newman "Sounding Off" still in the works, Rick?
Incredible video today..
Cheers!
-Z
Man, i like your videos. You have made me interested too much in learning more about music. Greetings from México.
Great as always. Beato can demystify music in a way no one else can, not that I have seen at least.
wow out of all of the youtube music instructional videos on youtube i can say this:
you sir. really get music.
props. :)
The first thing that comes to mind when I think about the Lydian mode is Zappa's solo in Inca Roads on the One Size Fits All album
That song was my introduction to modes. When I was a kid I asked my guitar teacher why that solo sounds like it’s celebrating life. He told me it was the lydian. Blew my mind!
Zappa deserves to be included in the list of great American composers of the twentieth century... This is one of my favorites from him too!
Everything Zappa does on the guitar is celebrating life.
"it's a great day to be alive,boys and girls "
I wish more of the qualities of the piano texture were discussed!I found the virtuosic moments fitting, and sometimes a little unexpected. Very cool how the part changes suddenly from more of a "wash" to imitative, and then with a quicker pace, and then pointillistic...
Thank you for sharing your knowledge and music. Studying this just makes everything fit together so perfectly
Wow!!!! Amazing composing! I want to see that whole movie! You're a total ace, Rick!
Great video. That piece you made was incredible. I was astonished at your speed and ability to keep the time and pitches you chose sounding perfectly. I hope to be even 1/100th like you some day rick. Thanks for your lessons!
How do you feel about the late great George Russell's ideas on Tonal Gravity (horizontal and vertical) Rick?. By recognising an order of gradation from consonance to dissonance of all intervals and scales in relation to a given tonic, he enabled the student to reconcile the use of extreme atonal dissonance within otherwise tonal environments. He also distinguished between horizontal (melodic) and vertical (chordal) gravity which greatly expands the applicability of his theory.
It certainly takes in a modal impressionistic approach like the one you're employing here Rick but also the kind of intervallic dissonance you're discussing elsewhere in your scoring videos. I think Russell's theories enables composers to move freely between both.
This piece is harrowingly beautiful! Thank you!
These are my favorite type of vid that you do. Thanks!
gotta say, this video is awesome. From now on i will have a post-it on my wall with all the modes alterations so every time you say or quotte one, i will know what notes do you want us to enfatize on. Regards from Chile!
My fav Thomas Newman and Rick in the same video
Rick, do you know the middle movement of Bartók's 3rd piano concerto? He has ascending Lydian and descending Phrygian scales - an amazing textural sound
That composition was beautiful!
I love that Thomas Newman video - I also love this video, Rick
Hey Rick, thanks for another vid! I was wondering if you had ever looked into or heard of Echometry? Pat Martino delves into it quite a lot in a few tutorials I've watched, it boils down to representing musical intervals geometrically rather than in traditional linear fashion. It makes a lot of sense to me. For example, mathematically speaking, a chord is a line drawn between two (or more) points on the circumference of a circle. So draw a circle with 12 points on it like a clock face and then swap the numbers for the chromatic note letters. Then connect the dots for a C major triad and an then its relative A minor triad, what do you see? They're symmetrical opposites despite being asymmetrical triangles. In fact, any chords that produce symmetrical shapes although pleasing to the visual mind tend to produce dissonant or unresolved sounds. An augmented triad produces a perfect equilateral triangle, sus 4 and sus 2 triads are isosceles in nature, a diminished dominant produces a perfect square, half-diminished produces a rectangle, the whole-tone scales produce two symmetrical hexagons etc. Pentatonic and Diatonic scales are also built on 5 and 7, the only two non-divisors of 12 and inherently asymmetrical yet are used the world over, weird huh? I find the whole thing fascinating and more immediate to grasp than traditional notation anyway, well worth investigating!
The Altered Scale has a #4 and a b2, so it's gravity defying!
Thanks from Catalonia Rick, thank you very much!
Awesome vid this time Rick. Nice and quick but great examples of music colors. You are great teacher and you love it, judging by the amount of videos you make. I have a question: what are chord families? I don't think I've seen a video from you going into depth on chord families.
That piano song was like Buckethead took a turn at the piano on his "Electric Sea" album. Sweetness.
Rick this is awesome! Thank you...I took all this in music theory, college, i have not used it enough to entrench the math in my brain.
I think I do some of this by gut feeling but it's hard to reproduce sometimes! I'd like to revisit the modes. Is this example you played us based on a Middle C? That's where I get off kilter. I can go from scale to scale, but don't know what note you base the naming upon.
I suppose I need to get your materials?!
Jerialice
Loved this episode!
Wow, that phrygian triad sounds a lot like some of the first chords of Bartok's string quartets. The 4th quarter, the V movement, if I'm not wrong
Do more videos like that! Those cool new-fashioned music theories!
There are many exceptions regarding these laws because context and culture play a big role. An example is the blues and its b5. The b5 is actually a #4, so one would think of it as happy music according to the example presented in this video. But the blues is generally sad music even though in Dom 7 chords there is no b3 -- a falling 3rd or minor -- to make it sad. The only thing falling is the b7 but it is not falling toward the tonic because it is beside the tonic. Anyway, you see the complexity. To make matters even worse there are cultures that perceive minor chords as "happy" and other culture's absolutely insane sounding music that boggle the western ear (for example, Chinese Opera). We have to be aware that we write for culture first because our ears have been tuned in a certain way.
I'm sorry, I am having a hard time deciphering what you are trying to say.
As always. Love it!
Heres the link to the full interview: ua-cam.com/video/oeHNUJ-hNmE/v-deo.html
That was Dylan on the piano, wasn't it?!
Seriously, the video with music illustrated your point. Well done.
fantastic video beato!
This music is incredible
Rick, how do you create such beautiful music?
Great video, Rick!
Nice Lesson - thank you Beato👍
I love this new Rick Beato religion... it suits me.
Hi Rick. New subscriber here from the Apple rant. Dang you know your music! Thanks for the rant video because I wouldn’t have found your channel otherwise.
Anyone else get a tigran hamasyan vibe from the Phrygian piece?
I searched for this comment using Ctrl+F
Also, there's some beautiful shots of sky. Even mesmerizing ones
Interesting way to look at it.
Great video.
Any advice on how I can emphasize the sound of a mode without diverting back to the parent scale?
Don't know if I'll get a response but it's worth a try.
I've recently been studying functional harmony and when you (Rick) talk about a natural gravity, it relates to classical tonal gravity of I / IV / VII/ III / VI / II / V / I, would I be correct on that front?
So in essence, the scale degree theories described by Dimitry Tymockzo in "A Geometry of Music" (2011) and the scale degree theory from Walter Piston's "Harmony" (1941) would be directly relatable to why you find that "natural gravity" occurring in the modes where as the notes in the mode describes the "colour" of the mode, the harmonic movement describes a sequential journey towards or away from a resolution?
Would I also be on the right path if I described the relationship between tonic and dominant as sharing at least two notes in a simple triad and because of the sharing of two thirds of the same notes, it is a strong movement thus why an authentic cadence is so strong in it's resolution? On the same note (pun badly intended), a plagal cadence is the authentic cadence's weaker brother because it would only share one note between itself and the tonic?
Any insight on this subject would be greatly appreciated especially if you subscribe to a particular harmonic theory and why?
I am a self taught producer/composer/performer and have had no formal music education so everything I understand is based on what I have watched or read (including your most excellent Beato Book).
It would be most awesome if perhaps one of the theory videos of the future could touch upon tonal and post tonal harmony especially since Walter Everett describes post tonal harmony in rock as having six tonal systems that can be defined.
Just to finish this comment up, I've come to a personal conclusion that Western Music Theory is seriously incomplete especially when we take in to consideration microtonal music or even different tuning systems such as the Pythagorean system and that Western Music Theory is trying to describe a full and thorough understanding of "pitch space" by only classifying approximately 15% of the overall picture which is akin to describing a work by Monet just by 15% of the painting.
Really would enjoy hearing your take on the minefield of functional harmony but even if you don't respond to this comment, your videos and insights are very much appreciated no matter what subject of music theory you choose to talk about.
Thank you for sharing your awesome content!
Thank you Mr B!
The driving section reminded me a lot of Brad Mehldau's Places record.
it's very interesting. I noticed that Phrygian to me at some point didn't sound Phrygian at all, it was somehow "lighter" than usual, did you intend to create this sensation?
So damn interesting... really informative.
The part with the piano, wow! I wanna see more of this, but maybe with slower tracks? ;)
Kudos for using Meshuggah as an example. I never would have thought someone with your particular musical tendencies would appreciate them. Strangely, the last example (the combination one) seems to tread the same territory as Meshuggah, note-wise. I love the octave-displacement you used in that example.
this is incredible
Great stuff.
Rick, please share the sheet music for your compositions on your website, before June Lee starts transcribing it. :D
Nice footage with the music :)
wow! love what you do on the piano there : o
And the films to go with it. : D
Don't forget the porcupine scale, the magic scale, the hanson scale, the father scale, or the miracle scale! ;)
Doesn't the bass note play a big part in the feel as much as what mode is being played? BTW those final moments sounded very Aydın Esen.
for me Phrygian and Locrian feels like fragility, something that is too delicate and sad.
Mad skillz bruh!
Hmmmmm.........I sense some new guitar piece in there......at least a few phrases to put down in the " to study & do notebook " :)
Wow. Rick, I mean this with all love and respect but why does this remind me of Pat Metheny? I am NOT a guitarist or keyboard player but it just kind of takes me there...
Wow...
Just curious do you compose the music and then pick out the pictures for the video or do you start with the pictures and then compose the music, sort of like scoring a film?
Might make for an interesting video, since you do a lot on film composers to start with some pics and walk us thru a short composition.
If I do a movie chord progression like (C Eb G) into (B Eb G#) and want to add more chords into the progression while keeping that sinister kind of sound, where can I go next?
Thanks Rick . Was the mode with the road scene Mixolydian b6? Unless I'm mistaken it wasn't identified.
Also the 'combinations' section sounded a bit like Cecil Taylor. It seems Bela Bartok had a big influence on him and I remember he came up with 12 tone scale with Phrygian and Lydian on the same tonic. It would be great if you could maybe do a video on how you can work with that.
Another idea for a video (unless you cover it in the book) would be the sort of considerations at work when composing a piece with a sequences of modes like root movement, voicing, contrasts, harmonic rhythm and cadence etc.
Is it true as Ron Miller's book suggests that any mode however dark has a tendency to resolve to a major triad on the same root and you that you can use this as an alternative to a diatonic V to I movement.?
+Alan Smith The piece with the driving footage was actually in C Lydian augmented. I missed the title for some reason and forgot to put in the description. In answer to your question about Ron's book, I'm not familiar with it but will check it out. Thanks! Rick
Of course it was how dumb of me! Thanks Rick... I had been playing along to it off the E third of that mode instead of the root.
Would you say that your book would help someone who want to make music for games? (might be dynamic, similar to movies but more subtile most of the time and with a great variety of contexts)
When the phrygian demo started for a moment i seriously thought maybe i was hearing a midi bit from Tool
This musical gavity, is it the same concept as gary garett's concept of polarity and tonal gravity?
is that a program playing/reading the piano music that you wrote? may i ask what program(s)?
love it
great lesson and beautiful music but those flies on the screen are driving me nuts
i make music on DAWS. But i have a lot of trouble capturing the emotions i want. The closest i ever got to what i wanted was my song treading through hell. I've gotten better at making music, but i have utterly failed at capturing that same emotion of the final battle. I wanna know how to make music that stirs people...and makes them cry while pumping them full of adrenaline. Music is more powerful than any other art form in my opinion and i want to use it the best i know i can. I know this is just a youube channel but if you have any advice i'd love to hear it.
Awesome
Would have been interesting to change modes while staying on the same video clip. Changing clip in sync with modes is changing two things at the same time which doesn't allow for clear understanding of what drives what.
+Stephane Bernard Close your eyes or watch a static picture while listening
Yes sure I can do that. What were the exact scales ? It' seems that in order it was C Lydian, E Phrygian, C something (you lost me on that road :-) ) , C locrian and then the combination where it's hard for me to tell who is who. Thanks
Stephane Bernard. the C something piece is based on a A minor melodic scale with a C as tonic
Thanks Heinrich. It seems then that it can be called C Lydian #5 or C Lydian Augmented. Looking at that scale we see also that it's a Wholetone then Diminished structure, the reverse of the Altered Scale !
Stephane Bernard indeed that's true, it's reverse! an interesting way to look at it! whereas the altered scale is also a melodic minor scale built on C#
Jeeeeze...how fast were you going?
Can I buy physically the beato book?
Hmm ive always found the b2 happier than the b5/#4 though its probably a matter of the context its used in
I do not get it. Everytime I try to improvise in locrian mode on my guitar, it sounds crappy. What does Rick do differently? I guess it's the chord voicings.. maybe I shall transcribe it :D
Didn't John Mayer write a song about this?
unless it's already been covered, could we please have five minutes of Rick on the 'hitchcock' chord. I usually make clear eye contact with a stranger before just hitting it, always funny.