Glad you like the video :) You might find this video helpful regarding writing songs using modal chord progressions: ua-cam.com/video/grumqcbjlLs/v-deo.html
Well explained. I love this video. My question is am I breaking the modal chord progressions rules, if I stick to Ionian chord progression in a song and apply all seven or six modes in modal melodies n solos?
@simondou6882, in a nutshell, you can do what you want :) There are no rules in music, just guidelines. However, understand that to create a particular modal melody, you have to be sure it is over a progression that is in the same mode you want to create the melody in. Whatever the mode of the progression, that will be the mode of your melody :)
When harmonising scales as a sequence of simple triads, the 'dim' chord is not 'half diminished' - it should be referred to simply as diminished. Only when we extend the chords to 7ths should we then refer to it as half diminished.
@@squashfan9526 yes, I know. It’s a bad habit. I was taught to harmonise a scale in 7th chords first before triads many years ago, so I keep calling the 7 chord half diminished even though I know it’s diminished when there are only 3 voices.
Sorry for the confusion Jon :) It is a diminished chord if you harmonise the scale in triads (3 note chords), however, if you harmonise the scale extending the chords (adding another note ) it becomes a half diminished chord. So B diminished is B D F B half diminished is B D F A I should've just said diminished chord :)
Isn’t sweet home Alabama in the key of g major and those 3 chords just 1,4,5? This is a great video but as a relative novice I get confused very easily so could be way off the mark….and confused
@MatthewFenner-f4f, thanks! Regarding Sweet Home Alabama, there's a bit of an ongoing debate as to what the key of this song is. Google it and you will see :) I think you can think of it as either G Major or D Mixolydian.
Tablature for examples I play in this video can be found here: acousticguitarlessonsonline.net/mixolydian-chord-progressions-guitar
Very clear - superb, thanks.
@jerrymcg3199, you are very welcome! :)
G'day Simon! Greetings from the USA 😎 Great video. Hope you're doing great!
@BonesJonesMusicMD, hey Billy! Thanks, I am doing well. I hope you and the family are well too mate :)
Simon, I've just find your channel and you are really amazing teacher👍
Thank you kressimentto! Glad you like the channel :)
Many thanks. Nice, clear lesson, which opened up modes in a new way for me, namely harmonising the scale to get new chords from it. Great stuff.
@tonymccormick21, you are very welcome! Great to hear this video has helped you in your understanding of modes :)
Agora estou começando à entender um pouco os modos.obrigado, Simon. Você poderia fazer mais vídeos; em outros modos? Obrigado.
You can find more mode videos here: ua-cam.com/play/PLJXtMWIq5iFRItE8-aLLm2rQS54rHKQuM.html
Tenho vontade de aprender os modos gregos, saber usar elas na música. Vou ver o link. Obrigado, Simon.
The similarities but differences between Borrowed chords and Modes and is interesting.
Yes, it is really interesting and glad you liked the video :)
Lovely lesson
@555Dfalmeid, glad you liked the lesson :)
great mate,could you pls show us how to write/tune a new song on moods ?cheers
Glad you like the video :)
You might find this video helpful regarding writing songs using modal chord progressions: ua-cam.com/video/grumqcbjlLs/v-deo.html
Solid lesson
Thanks! Glad you liked it :)
Thanks ❤
@KayGi-pr4ut, you are very welcome! :)
Well explained. I love this video. My question is am I breaking the modal chord progressions rules, if I stick to Ionian chord progression in a song and apply all seven or six modes in modal melodies n solos?
@simondou6882, in a nutshell, you can do what you want :) There are no rules in music, just guidelines.
However, understand that to create a particular modal melody, you have to be sure it is over a progression that is in the same mode you want to create the melody in. Whatever the mode of the progression, that will be the mode of your melody :)
Thanx a million, that is really helpful.
Great lesson. you taught it very well. Thank you
Thanks! I appreciate your kind words :)
When harmonising scales as a sequence of simple triads, the 'dim' chord is not 'half diminished' - it should be referred to simply as diminished. Only when we extend the chords to 7ths should we then refer to it as half diminished.
@squashfan9526, yes I am aware of that. That is my error, I should've said diminished :)
@@acousticguitarlessons ok, but you say half-diminished many times, and in your other videos too
@@squashfan9526 yes, I know. It’s a bad habit. I was taught to harmonise a scale in 7th chords first before triads many years ago, so I keep calling the 7 chord half diminished even though I know it’s diminished when there are only 3 voices.
@@acousticguitarlessons Well, let's see if you can shake off that bad habit - it's not a good look for a guitar tutor!
Is there any way to establish the root note? So you don't lose it when playing in the relative
@richi6006, yes. I think this video will answer your question: ua-cam.com/video/grumqcbjlLs/v-deo.html
On the video you say half-diminished, but the text on the video says diminished. Would you be able to clarify this, please?
Sorry for the confusion Jon :)
It is a diminished chord if you harmonise the scale in triads (3 note chords), however, if you harmonise the scale extending the chords (adding another note ) it becomes a half diminished chord.
So B diminished is B D F
B half diminished is B D F A
I should've just said diminished chord :)
Isn’t sweet home Alabama in the key of g major and those 3 chords just 1,4,5? This is a great video but as a relative novice I get confused very easily so could be way off the mark….and confused
@MatthewFenner-f4f, thanks!
Regarding Sweet Home Alabama, there's a bit of an ongoing debate as to what the key of this song is.
Google it and you will see :)
I think you can think of it as either G Major or D Mixolydian.