This is the best channel on UA-cam for the serious studying of theory. Second to none. Danny is an amazing musician and rarely in amazing musicians a truly fantastic teacher. Pure gold.
maybe its because your videos came at the right point during my learning, but it seems no one explains these concepts with your level of effort and clarity. Very grateful to have you as a teacher
Beautifully explained! I’ve “known” most of the stuff presented in the video for some time now. How the modes “modify” the major scale, the importance of tonic in the key and how everything relates to it, and the effects/emotions of different intervals etc. But I’m still trying to fully wrap my head around how to use modes at a “thoughtless” level- this video and channel have helped me a lot. Thank you!
I'm obsessed with anything that gets me out of the diatonic scale. I love Moto modulation, I love using borrowed chords, I love using secondary dominance or chromatic mediants. Erik Satie really showed the beauty of modal music
ok this is officially the best video on modes because at 4:54 the question that was on my mind literally when I learned modes (theoretically only, not in practice like demonstrated in the video) was finally answered
Chord tones- I learned that from Carol Kaye who said none of those amazing studio musicians played scales. Of course they had great ears. I do personally practice scales but only to train my ears to those unique sounds.
Random but it's cool that you can pluck chords while holding a pick and picking the bass note (6:30), I've been messing with different ways of comping/fingerstyling while holding a pick and it's not clear which one is the best
It’s called hybrid picking, think of your pick as your thumb, your middle as your index, and your ring finger as your middle finger (as analogs of your normal fingerpicking)
@@nicksalvatore5717 you can also tuck the pick in between your pointer and middle. This still allows fingerpick with the pointer. Holdsworth doesn't do that, he folds the pick in the pointer finger, which means you dont get the pointer on chords. Unless he puts the pick down (as in the comping layer on his tracks?). You can also avoid using the thumb and still play 4 note chords. I started using thumb-pointer traviss picking as a kid which means I had new skills to learn in fusion.
It’s a difficult one. I used to put on the radio and play along for years. So using the notes of a scale I play like a singer finding the notes I hear in my head on the fretboard. Automatically that takes you to the important notes from the chords. This works fine for one scale. If I play with modes it sounds ok but not as musically coherent as when I just play what I hear in my head. The problem I have is that a piece with a lot of keychanges it’s to difficult to play what you hear and then the modal approach works best.
Super helpful lesson, but I suck at modes. For the second example, I understand we have to use modes with a flat 7 and flat 3 to outline the dom 7 and min 7 chords, but why do we have to use lydian and sharpen the 4 for these chords?
You are looking at each chord in the music as a separate entity. The modes tell you the chord tones (that’s the part that you are detecting correctly) and the tensions (what kind of 9 11 and 13 goes with the chord). When you detect that a major7 chord is the IV chord in a key you should automatically assume that a #4 is going to sound more consonant on it than a natural 4
To me, basing a music theory on major or minor scale is a needless limitation, same for modes that are derived from major and minor scales. I base my theory building up on top of pentatonic scales (the root of "almost" all musical traditions around the world), by extending them by adding any more notes (semitone or whole tone intervals) I like, resolve them to the strong pentatonic scale tones. This way I feel more free to incorporate music from any part of the world (blues, african, middle eastern, easten european, indian, etc.) into a strong harmonic structure.
@@ShawnGuess No, you got me wrong. You can get more modes by extending pentatonic scales with additional tones. Pentatonic scale is historical root of most music, including western europe folk and classical music, eastern europe, middle east, africa, asia, not the major and minor. Major/minor scale is just a western european catholic church music tradition that has become a doctrine in western music since then, eastern churches didn't follow they have a completely different music tradition. Traditional folk music (and composed art music) from other regions of the world does not use major/minor/church modes concept/rules, they have different concepts. So it's a limitation. You don't need to stick to major and minor scales and modes derived from these two scales, major/minor has already been perfected in western europe classical music. And if we're talking about jazz, jazz did not come from classical era music theory, this way of teaching music results in the same old western europe music thing, but if you only like that it's fine for you.
@@kdakanmost of those don't even use our 12 tone system. When using our Western 12 tone system, there aren't that many variables. There are only seven scales and 33 modes period. So your idea that using the pentatonic is somehow doing something different is just not true.
@@ShawnGuess When they do use the tampered 12 tone system (that was popularized during Bach's time), using guitar or piano/keyboards, horns, they do use concepts that are similar to what I'm trying to describe here. You can't even explain a lot of Frank Zappa's music, Bartok's music, even older Debussy's music with the system you want to adopt, as Zappa was inspired by modern classical composers who didn't adhere to that system. Btw, I'm a Turkish amateur musician who enjoys all kind of music from all parts of the world and find/feel the connection because of the regional proximity I guess, I can't and don't want to exclude/ignore what's not "ours".
@marbinmusic What confuses me about this video is, all the modes are just cyclical rotations of the associated major/ionian. All the associated modes of C ionian consist of the same exact notes. What changes is the function of each note. A simplified way to say it is that in each mode of C, you change which note you consider the tonic. In *this* sense, you can just use the scale (the same exact shape on the fretboard), but you change where the gravity is and how you play it.
It’s a system of teaching yourself how to hear things against root notes and making sense of what you are hearing. I suspect that people that criticise the modal system haven’t spent enough time pondering it’s benefits
@@marbinmusic I was less critiquing modes and more just pointing out that indeed all the modes are the same set of notes / scale shape. So even if you do engage with modes, in some sense, you're still just playing the scale. Thanks for the good video.
I agree with you, and I think it's true on simpler songs like the first example in this video. But for more complex songs with more complex harmony such as the second example given in the video, that really drives home why modes are important to know. There are a lot of different ways to look at it and at the end of the day music theory works best in understanding music after the fact, rather than as a strict code or set of rules. I've come to really enjoy thinking modally and I compose a lot using mode mixture. But when I am jamming or playing live I rarely think much about the modes. I'm more of a keyboard player though, if I'm playing guitar it's usually acoustic and accompanying my voice, so maybe it is different on e. guitar.
Thank you. It's all training wheels. The problem though is in the musicality. You can learn patterns but not be musical at all. With all the technical training, it's also really good to take time and invent melodies. Sing them, don't play them. We intuitively know what sounds good and meaninful, we just let our hands lead instead of our feel. I've learned to recognize the signature note in each mode. But I'm still working on getting every mode under my fingers across and up and down the fretboard. Learning the triads and the one signature note for each mode will help focus on feel over function.
Great video. Really like this channel. Wondering if someone can tell me why we should play Lydian for the G7 and Gb7 in Girl from Ipanema. I thought it should be Mixolydian
It’s Lydian dominant not Lydian. For the Gb7. G mixolydian will work for the G7. It’s because Gb7 is subV of V (C7) in that key and sub Vs always get that mode. It’s the same parent scale as C altered (Db melodic minor)
Question. If the bass note dictates the chord of the moment, like on Ipanema, a bass player plays Gb instead of C, and I play some type of Gb7 “scale” like Db mm, isn’t that going to sound more “in” than if I play Db mm over a C bass note? I saw Jimmy Bruno argue that Gb7 over Gb7 was white chalk on a white chalk board whereas a C triad over Gb made G the b9, C the #11, and E the b7. And you never know what the bass player is going to play. Interested in your thoughts on this.
You are conflating 2 things here, voicings and modes. If you play Db mm and the bassist is playing Gb you are in fact making a Gb Lydian dominant sound and if you use the same parent scale you are playing a C altered sound. Both have their own sound and are equally in to my ear. When you play over a C bass note and you use Gb major triad you get the b2 #4 b7 which is a very modern sounding bunch of notes to play from Altered. If you play over a Gb root and you use Db mm you don’t have a C major triad but you can use C augmented which will give you the 2 #4 and b7 from Gb lydian dominant. I think what Bruno meant was that you should find ways to grab the tensions from the mode as opposed to chord tones. Substitutions are literally ways of memorizing groups of tensions in chunks that are derived from the mode (which is the parents scale against a bass note)
it’s harmony 101, but remember you “bird brain”, lots of musicians have no knowledge of harmony BUT lots of practice, a good earring and taste. Theory is really good for professional musicians who needs to read a chart , harmony is good for composer , it’s a faster way to compose , but remember music comes from the ears and soul first and lots of practice
Fmaj7, G7, G min7, G flat7, Fmaj7. How come G7 chord (C# is the 4th note) normally it’s C note. Yet when you play 3 ,4, 5 melody notes starting from F maj7 melody notes are A, B flat, C. Then G7 notes are B, C# and D, it works. What I’m trying to say is it sounds good, playing C# with G7 chord. I don’t understand why natural (C note) doesn’t work over G7 chord in this case
because it interacts with the third. C and B are a half step away from eachother the C interacts with what gives a chord its quality (the third) the function of the chord becomes cloudy and out of place. playing the C# would be adding the #11 or playing G lydian over G7, even better you can do lydian dominant if you add a b7
you need modes for 100 % !! Why ? If you see Dmi7 you never know what key is it ! it is 3 mode of Bbma7 or 2 mode Cmaj7 and playing around these two chords is different that is why we need modes !! my friend !
That is why you don't need modes, you need to know harmonic context, and if you know that you already know the notes you need to use. If you are going to use the corresponding mode for the harmonic function you need to know the key you are in. If you know that, you know the seven notes you need to use. Modes will help you if you want to play modal. If you want to know what notes you need to play on a IIm7 on a IIIm7 on IVm7 on IVmaj7 on V7 or a VII half dim7 you already have your answer. you play the notes of the key signature.
@@saxofonistacr if those seven chord functions are as deep as you are going to go with improvisation I can see why you’d think it’s redundant but I see it as training wheels on the way to more complex harmony
Thanks for saying this- I just saw some "teacher" on You Tube yesterday saying exactly what youre talking about here, he showed using ONE major scale shape and how you can move it around/ ugh. I said get off your lazy asses and learn the 7 modes (shapes etc) I didnt even mention you should many different ways for each mode. Why is it guitar players are looking for the "easiest (AKA laziest) Annoys me to no end
@@marbinmusicwha wha what? I guess I missed that lesson. F=1 C=V right? I understand adding the III chord before the VI to create a mini II-V for example but afraid I'm lost here
@@Local-Bus I think I geddit now. The key is C here. As we move between the diatonic chords the maestro wants us to TEMPORARILY think of EACH of these as the I chord and not just C the whole time so that the flavor of each chord/mode can come out. So yes F is the IV chord of C, but the TS progression starts on F and so F is temporarily the I chord, before G in turn becomes the I chord etc etc. Did I get this right Maestro?!
I don't know if modes make any sense for guitar players, for sax players if you are playing tonal music modes don't help much. It is important to play over the changes but you dont need modes for that if you just know the parent scale. Also the whole mode thing gets obsolete if you are not starting from the root of the mode. If you are playing a song that goes C Am Dm G7 , you only need to know the C major scale. You get no benefits in thinking C ionian A eolean D dorian G mixolidyan. You certainly get a lot out of knowing the arpegios and not just runing C ionian up and down. and understanding that you are playing over different chords. But I see no point on thinking of G mixolidian when you are playing over G7, what if you start your phrase from the 3th of G? would you be thinking on B locrian? or if you start on the fifth of G7, do you think D dorian? Again most people that talks about modes are guitar players, maybe it helps to think like that because of how you need to put your fingers on the notes. But if it is not for a mechanical thing I see no point for playing tonal music. It is true that playing over a song like Garota de Ipanema it is harder, you are usually fine if you still try to simplify it. I Really don't like lydian dominant for V7/V
@@saxofonistacr modes give names for the sounds being made in the moment. they are created by playing a parent scale against a part of itself aka a bass note. What you say is false, Danny Markovitch (the saxophone player in Marbin) thinks and talks about modes all the time since they are the truth and the way. Understanding modes give you the ability to categorise each note in a scale structure in a way that related to the sound it is used over. Not only does it let you know what will sound right based on the chord function, it will also show you where the avoid notes are once you understand some basic principles. Now please go stand on the corner.
@@marbinmusic Yes, there are many other musicians that talk and use modes, it is way more with guitar players. I understand modes, I just don't think is very beneficial to think in terms of modes for tonal music. Most of the musicians I like didn´t think in those terms. You can hear Jerry Bergonzi talk forever about modes and permutations, and patterns, and rythmic displacement Does he knows that stuff. No doubt, Does much people relate to his music? NO There are many great grand masters that played music for people that never thought on those terms, they just knew tonality, chords and basic scales and made music people wanted to listen too. It is proven modes is not the ONLY way, and I argue is not the BEST way to get started
I'll never understand all these anti modes people.. What's wrong with having more musical information ? It is literally a deeper understanding of the tonality.
I spent like 15 years thinking I was missing something super important about modes bc I only took one semester of jazz and I kept seeing people talking about playing different modes over different chords. I had it in my head that it was somehow involved with the hipper outside sounds I associate with jazz cats that actually know their shit. About six months ago I realized that it’s just the above and I’m still salty about it. If my jazz teacher had just given me a pass on all the memorization and just been willing to meet me where I was I think I would have stuck with it and ended up much farther along in my playing much faster
@@marbinmusic hahah Dani says What he thinks, and guives 0 f**ks. LOVE the lessons, amazing.. im now 33 and have been playing profesionally now for about 3 years in bars and hotels, you would probably puke if you Heard me play guitar, you hateful jieuw you. Thanks so much for the lessons
I agree. I understand learning music theory is very important. But this level of complication is just insane to me. Like it's no longer even fun at this point lol.
This is the best channel on UA-cam for the serious studying of theory. Second to none. Danny is an amazing musician and rarely in amazing musicians a truly fantastic teacher. Pure gold.
It’s honestly unbelievable how good this is
Totally agreed!
maybe its because your videos came at the right point during my learning, but it seems no one explains these concepts with your level of effort and clarity. Very grateful to have you as a teacher
Glad I could help! Check out the Patreon and Feel free Hit me up privately too if you connect with the teaching style
Beautifully explained! I’ve “known” most of the stuff presented in the video for some time now. How the modes “modify” the major scale, the importance of tonic in the key and how everything relates to it, and the effects/emotions of different intervals etc. But I’m still trying to fully wrap my head around how to use modes at a “thoughtless” level- this video and channel have helped me a lot. Thank you!
Best (and coolest) guitar educational content on youtube! For freaking free!!!!! Thanks!
Tell your friends and enemies! Thank you
Best musical education on YT. What a beast of a player as well.
I'm obsessed with anything that gets me out of the diatonic scale.
I love Moto modulation, I love using borrowed chords, I love using secondary dominance or chromatic mediants. Erik Satie really showed the beauty of modal music
ok this is officially the best video on modes because at 4:54 the question that was on my mind literally when I learned modes (theoretically only, not in practice like demonstrated in the video) was finally answered
I love that I've intuitively doing some of this in the last few weeks, and then discovering your videos that totally assist and make sense.
Amazing as always!
Great lesson Danni. Is why I say your one of the best teachers and players on UA-cam
You rock!
My brain is leaking out of my ears. I feel like I just opened the wrong cupboard.
I've never had my brain liquify when I've looked for plates and found cups instead. What are in your cupboards, horrible truth unfit for man's eyes?
@@marbinmusic I feel like I opened a cupboard and saw the inside of the refrigerator from Ghostbusters. Sorry. Wrong class!
Chord tones- I learned that from Carol Kaye who said none of those amazing studio musicians played scales. Of course they had great ears. I do personally practice scales but only to train my ears to those unique sounds.
Amazing lesson. Thank you for giving of yourself in this way.
Thanks for watching, glad you liked it.
The example at the end really made the point.
Amazing lessons. Love it. Dani is fucking awesome.
I have a birdbrain
Same haha. I feel like you gotta be a rocket scientist to understand what he was saying lol.
Why is Lydian (4) played over the dominant (5) chord on G7 and Gb7? Wouldn't the mixolydian be used here?
Very informative, although i was hoping for more demonstration of the contrast when the chords are all in the same key
Random but it's cool that you can pluck chords while holding a pick and picking the bass note (6:30), I've been messing with different ways of comping/fingerstyling while holding a pick and it's not clear which one is the best
It’s called hybrid picking, think of your pick as your thumb, your middle as your index, and your ring finger as your middle finger (as analogs of your normal fingerpicking)
@@nicksalvatore5717 you can also tuck the pick in between your pointer and middle. This still allows fingerpick with the pointer. Holdsworth doesn't do that, he folds the pick in the pointer finger, which means you dont get the pointer on chords. Unless he puts the pick down (as in the comping layer on his tracks?). You can also avoid using the thumb and still play 4 note chords. I started using thumb-pointer traviss picking as a kid which means I had new skills to learn in fusion.
It’s a difficult one. I used to put on the radio and play along for years. So using the notes of a scale I play like a singer finding the notes I hear in my head on the fretboard. Automatically that takes you to the important notes from the chords. This works fine for one scale.
If I play with modes it sounds ok but not as musically coherent as when I just play what I hear in my head.
The problem I have is that a piece with a lot of keychanges it’s to difficult to play what you hear and then the modal approach works best.
Super helpful lesson, but I suck at modes. For the second example, I understand we have to use modes with a flat 7 and flat 3 to outline the dom 7 and min 7 chords, but why do we have to use lydian and sharpen the 4 for these chords?
You are looking at each chord in the music as a separate entity. The modes tell you the chord tones (that’s the part that you are detecting correctly) and the tensions (what kind of 9 11 and 13 goes with the chord).
When you detect that a major7 chord is the IV chord in a key you should automatically assume that a #4 is going to sound more consonant on it than a natural 4
@@marbinmusic aaahhh, right. 4 chord in the key gets the fourth mode (Lydian). That’s the part I was forgetting. Thank you!
I’m trying to find the interval map on patreon, where can I find that vid?
Scroll back a few months ! It’s on there
To me, basing a music theory on major or minor scale is a needless limitation, same for modes that are derived from major and minor scales. I base my theory building up on top of pentatonic scales (the root of "almost" all musical traditions around the world), by extending them by adding any more notes (semitone or whole tone intervals) I like, resolve them to the strong pentatonic scale tones. This way I feel more free to incorporate music from any part of the world (blues, african, middle eastern, easten european, indian, etc.) into a strong harmonic structure.
So it's useless to base your music on major or minor scales so instead you choose to base your music on major or minor pentatonic scales, got it. 🤣
@@ShawnGuess No, you got me wrong. You can get more modes by extending pentatonic scales with additional tones. Pentatonic scale is historical root of most music, including western europe folk and classical music, eastern europe, middle east, africa, asia, not the major and minor. Major/minor scale is just a western european catholic church music tradition that has become a doctrine in western music since then, eastern churches didn't follow they have a completely different music tradition. Traditional folk music (and composed art music) from other regions of the world does not use major/minor/church modes concept/rules, they have different concepts. So it's a limitation. You don't need to stick to major and minor scales and modes derived from these two scales, major/minor has already been perfected in western europe classical music. And if we're talking about jazz, jazz did not come from classical era music theory, this way of teaching music results in the same old western europe music thing, but if you only like that it's fine for you.
@@kdakanmost of those don't even use our 12 tone system. When using our Western 12 tone system, there aren't that many variables. There are only seven scales and 33 modes period. So your idea that using the pentatonic is somehow doing something different is just not true.
@@ShawnGuess When they do use the tampered 12 tone system (that was popularized during Bach's time), using guitar or piano/keyboards, horns, they do use concepts that are similar to what I'm trying to describe here. You can't even explain a lot of Frank Zappa's music, Bartok's music, even older Debussy's music with the system you want to adopt, as Zappa was inspired by modern classical composers who didn't adhere to that system. Btw, I'm a Turkish amateur musician who enjoys all kind of music from all parts of the world and find/feel the connection because of the regional proximity I guess, I can't and don't want to exclude/ignore what's not "ours".
I use scales and intervals. I just know when to play what where by my ear
@marbinmusic What confuses me about this video is, all the modes are just cyclical rotations of the associated major/ionian. All the associated modes of C ionian consist of the same exact notes. What changes is the function of each note. A simplified way to say it is that in each mode of C, you change which note you consider the tonic. In *this* sense, you can just use the scale (the same exact shape on the fretboard), but you change where the gravity is and how you play it.
Sorry, I see another commentor made the same point and you already replied.
It’s a system of teaching yourself how to hear things against root notes and making sense of what you are hearing. I suspect that people that criticise the modal system haven’t spent enough time pondering it’s benefits
@@marbinmusic I was less critiquing modes and more just pointing out that indeed all the modes are the same set of notes / scale shape. So even if you do engage with modes, in some sense, you're still just playing the scale. Thanks for the good video.
I agree with you, and I think it's true on simpler songs like the first example in this video. But for more complex songs with more complex harmony such as the second example given in the video, that really drives home why modes are important to know.
There are a lot of different ways to look at it and at the end of the day music theory works best in understanding music after the fact, rather than as a strict code or set of rules. I've come to really enjoy thinking modally and I compose a lot using mode mixture. But when I am jamming or playing live I rarely think much about the modes. I'm more of a keyboard player though, if I'm playing guitar it's usually acoustic and accompanying my voice, so maybe it is different on e. guitar.
Thank you. It's all training wheels. The problem though is in the musicality. You can learn patterns but not be musical at all. With all the technical training, it's also really good to take time and invent melodies. Sing them, don't play them. We intuitively know what sounds good and meaninful, we just let our hands lead instead of our feel. I've learned to recognize the signature note in each mode. But I'm still working on getting every mode under my fingers across and up and down the fretboard.
Learning the triads and the one signature note for each mode will help focus on feel over function.
Great video. Really like this channel. Wondering if someone can tell me why we should play Lydian for the G7 and Gb7 in Girl from Ipanema. I thought it should be Mixolydian
It’s Lydian dominant not Lydian. For the Gb7. G mixolydian will work for the G7.
It’s because Gb7 is subV of V (C7) in that key and sub Vs always get that mode. It’s the same parent scale as C altered (Db melodic minor)
@ Ahh got it. Makes sense. Thanks!
This is great. I shouldve known this.
Question. If the bass note dictates the chord of the moment, like on Ipanema, a bass player plays Gb instead of C, and I play some type of Gb7 “scale” like Db mm, isn’t that going to sound more “in” than if I play Db mm over a C bass note? I saw Jimmy Bruno argue that Gb7 over Gb7 was white chalk on a white chalk board whereas a C triad over Gb made G the b9, C the #11, and E the b7. And you never know what the bass player is going to play. Interested in your thoughts on this.
You are conflating 2 things here, voicings and modes. If you play Db mm and the bassist is playing Gb you are in fact making a Gb Lydian dominant sound and if you use the same parent scale you are playing a C altered sound. Both have their own sound and are equally in to my ear.
When you play over a C bass note and you use Gb major triad you get the b2 #4 b7 which is a very modern sounding bunch of notes to play from Altered. If you play over a Gb root and you use Db mm you don’t have a C major triad but you can use C augmented which will give you the 2 #4 and b7 from Gb lydian dominant.
I think what Bruno meant was that you should find ways to grab the tensions from the mode as opposed to chord tones. Substitutions are literally ways of memorizing groups of tensions in chunks that are derived from the mode (which is the parents scale against a bass note)
it’s harmony 101, but remember you “bird brain”, lots of musicians have no knowledge of harmony BUT lots of practice, a good earring and taste.
Theory is really good for professional musicians who needs to read a chart , harmony is good for composer , it’s a faster way to compose , but remember music comes from the ears and soul first and lots of practice
Nah
@@marbinmusicWes did 😂 and some musicians from Zappa, and Mike Rutherford,Alex Lifeson, Gilmour…..paul mccartney, MONK
I love you
I'll say, I think this is the easiest way to understand a lesson, with regards to the modes.
Glad it made sense. Thanks for tuning in
Fmaj7, G7, G min7, G flat7, Fmaj7. How come G7 chord (C# is the 4th note) normally it’s C note. Yet when you play 3 ,4, 5 melody notes starting from F maj7 melody notes are A, B flat, C. Then G7 notes are B, C# and D, it works. What I’m trying to say is it sounds good, playing C# with G7 chord. I don’t understand why natural (C note) doesn’t work over G7 chord in this case
because it interacts with the third. C and B are a half step away from eachother the C interacts with what gives a chord its quality (the third) the function of the chord becomes cloudy and out of place. playing the C# would be adding the #11 or playing G lydian over G7, even better you can do lydian dominant if you add a b7
you need modes for 100 % !! Why ? If you see Dmi7 you never know what key is it ! it is 3 mode of Bbma7 or 2 mode Cmaj7 and playing around these two chords is different that is why we need modes !! my friend !
Very true.
That is why you don't need modes, you need to know harmonic context, and if you know that you already know the notes you need to use. If you are going to use the corresponding mode for the harmonic function you need to know the key you are in. If you know that, you know the seven notes you need to use. Modes will help you if you want to play modal. If you want to know what notes you need to play on a IIm7 on a IIIm7 on IVm7 on IVmaj7 on V7 or a VII half dim7 you already have your answer. you play the notes of the key signature.
@@saxofonistacr if those seven chord functions are as deep as you are going to go with improvisation I can see why you’d think it’s redundant but I see it as training wheels on the way to more complex harmony
@@marbinmusic Im responding to a person that is talking about needing modes for knowing the appropriate notes of a chord in a tonal context
Excellent
Thanks for saying this- I just saw some "teacher" on You Tube yesterday saying exactly what youre talking about here, he showed using ONE major scale shape and how you can move it around/ ugh. I said get off your lazy asses and learn the 7 modes (shapes etc) I didnt even mention you should many different ways for each mode. Why is it guitar players are looking for the "easiest (AKA laziest) Annoys me to no end
Pardon me Maestro but why is I=F at 0.40? Great content btw. :-)
@@chriswrighton5162 the idea is to teach yourself how to think of diatonic changes as a series of moving 1s
@@marbinmusicwha wha what? I guess I missed that lesson. F=1 C=V right? I understand adding the III chord before the VI to create a mini II-V for example but afraid I'm lost here
@@Local-Bus I think I geddit now. The key is C here. As we move between the diatonic chords the maestro wants us to TEMPORARILY think of EACH of these as the I chord and not just C the whole time so that the flavor of each chord/mode can come out. So yes F is the IV chord of C, but the TS progression starts on F and so F is temporarily the I chord, before G in turn becomes the I chord etc etc. Did I get this right Maestro?!
Looks like that was a typo, it should say F=IV
Oh oh, did Nick get booted, was he chastised for his gonzo style? Very restrained editing! Thanks for the lesson gever! UPDATE: Nevermind, LOL!
Modes are nice to know.
BuT cAn yOu JuST pLaY wItTh SooOUL😮😂🎉🎉 OR NOT?😏🥺🥺
I don't know if modes make any sense for guitar players, for sax players if you are playing tonal music modes don't help much. It is important to play over the changes but you dont need modes for that if you just know the parent scale.
Also the whole mode thing gets obsolete if you are not starting from the root of the mode.
If you are playing a song that goes C Am Dm G7 , you only need to know the C major scale.
You get no benefits in thinking C ionian A eolean D dorian G mixolidyan.
You certainly get a lot out of knowing the arpegios and not just runing C ionian up and down.
and understanding that you are playing over different chords.
But I see no point on thinking of G mixolidian when you are playing over G7, what if you start your phrase from the 3th of G? would you be thinking on B locrian? or if you start on the fifth of G7, do you think D dorian?
Again most people that talks about modes are guitar players, maybe it helps to think like that because of how you need to put your fingers on the notes. But if it is not for a mechanical thing I see no point for playing tonal music.
It is true that playing over a song like Garota de Ipanema it is harder, you are usually fine if you still try to simplify it. I Really don't like lydian dominant for V7/V
@@saxofonistacr modes give names for the sounds being made in the moment. they are created by playing a parent scale against a part of itself aka a bass note. What you say is false, Danny Markovitch (the saxophone player in Marbin) thinks and talks about modes all the time since they are the truth and the way.
Understanding modes give you the ability to categorise each note in a scale structure in a way that related to the sound it is used over. Not only does it let you know what will sound right based on the chord function, it will also show you where the avoid notes are once you understand some basic principles.
Now please go stand on the corner.
@@marbinmusic Yes, there are many other musicians that talk and use modes, it is way more with guitar players. I understand modes, I just don't think is very beneficial to think in terms of modes for tonal music.
Most of the musicians I like didn´t think in those terms.
You can hear Jerry Bergonzi talk forever about modes and permutations, and patterns, and rythmic displacement
Does he knows that stuff. No doubt, Does much people relate to his music? NO
There are many great grand masters that played music for people that never thought on those terms, they just knew tonality, chords and basic scales and made music people wanted to listen too.
It is proven modes is not the ONLY way, and I argue is not the BEST way to get started
I'll never understand all these anti modes people.. What's wrong with having more musical information ? It is literally a deeper understanding of the tonality.
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When playing a song with no key changes, could also just study the importance of hitting chord tones within one scale, seems an easier approach
Right, at that point you are seeing the different chord tones as roots / anchors within the scale which pretty much translates to knowing the modes.
I spent like 15 years thinking I was missing something super important about modes bc I only took one semester of jazz and I kept seeing people talking about playing different modes over different chords. I had it in my head that it was somehow involved with the hipper outside sounds I associate with jazz cats that actually know their shit.
About six months ago I realized that it’s just the above and I’m still salty about it. If my jazz teacher had just given me a pass on all the memorization and just been willing to meet me where I was I think I would have stuck with it and ended up much farther along in my playing much faster
@@marbinmusicthis is my approach, but I just got started with improvisation
🐔+🧠= literally me
Wowwww
This is like "The Lord of the Rings"...I'm not exactly sure what's going on.
😂
I'm a bird brain. Guilty as charged!😀
Needless complication, focussed on by guitarists to seem smart. Use your ears and the key
@@lkb3rd needless oversimplification presented by rando to make lack of knowledge seem acceptable. Use your brain and the mode.
@@marbinmusic hahah Dani says What he thinks, and guives 0 f**ks. LOVE the lessons, amazing.. im now 33 and have been playing profesionally now for about 3 years in bars and hotels, you would probably puke if you Heard me play guitar, you hateful jieuw you. Thanks so much for the lessons
I agree. I understand learning music theory is very important. But this level of complication is just insane to me. Like it's no longer even fun at this point lol.