I'm learning how to play the piano to have fun improvising, and this is the most eye-opener video I've ever seen, thank you thank you Dan!! Thanks to you I've been making incredible progress; finally i can sit and play the piano having fun on my own, practicing random chord progressions (without necessarily memorizing a song to play over and over)
I started again studying your Play Piano in 10 lessons. All my life, now 45, I was moving my fingers like playing piano any time I was listening music, love classical and all kind of music type in general. You helped my frustration of not playing at all to diminish day after day. I am extremely grateful for those 10 memorable videos. You have an amazing common sense, brilliant mind and for sure you are a wonderful person beside being a incredible teacher and I will say great psychologist and philosopher. Thank you for being!
Hello there and welcome to my channel. Your message was more inspiring to me than how I might be inspiring to you! I wonder if you have discovered my blog? If so, or not, this article may prove useful to you: piano-jazz.blogspot.hu/2015/11/the-pianists-checklist.html Also, perhaps drop me an email? danthecomposer@gmail.com Best, Dan
No body ever explained this to me, this is really a Master Key. You can literally sit at the piano and just mess around with this and figure stuff out. Im gonna watch this again to lock it in
While this was beyond my pay grade, it was so well explained that I wasn't lost. I'm still at the point of mastering Major Scales, but having an idea of where I can go with them is inspiring. Merci beaucoup.
bro i've been watching all sorts of videos about modal and jazz theory and yours has to be the CLEAREST one that makes the most sense....thank you so much!!!!
Wait, did I actually stumble onto someone who can actually teach jazz piano?!! 2 years of clicking videos where people didn’t know what they were doing. Finally I’m going to get it right
Very kind of you TF, thank you and welcome. I understand your sentiments. Be sure to see the description boxes of all my videos for further, related goodies. Since you're into the jazz stuff, perhaps this video next? ua-cam.com/video/ibsOgT6MyCU/v-deo.html Best, Dan
Blown away how simple you made it! Best lesson in modal theory I've seen / read! Been struggling a long time to understand how the scales can be used over the II, III, VI, ...
Thank you very much Anders and welcome to my channel :) I think you would do well to see this video next: ua-cam.com/video/DnFVFyZL6bw/v-deo.html Updates welcome :) Best, Dan
Please help me to help you by making the most of the following links which will give you access to much more recent content, as well as some options to support my channel: Video Management Website: www.dan-the-composer.com Blog: piano-jazz.blogspot.com/ All Videos: ua-cam.com/users/danthecomposervideos All Playlists: ua-cam.com/users/danthecomposerplaylists eBooks and Podcast Collection: danthecomposer.gumroad.com/ Water Pianism Syllabus: piano-jazz.blogspot.com/2022/04/water-pianism-syllabus.html Patreon: www.patreon.com/danthecomposer Don't forget the Bell icon when you Subscribe to be notified of all new uploads!
I have been studying the modal theory but never had any idea on how to apply it from a practical piano-playing perspective. I believe this LESSON and how you explained it gave me good starting point in discovering how to use modes in basic mprovisation. As a bonus, I have a better understanding on why the 11 sounds better when sharpened i.e. CM9#11. Thank you Dan! You are heaven-sent ;)
How kind of you - thank you and welcome to my channel! :) I'm thinking of which video would suit you best next... I've decided on this one: ua-cam.com/video/k2z8KHlKYE8/v-deo.html Let me know how you get on... Best, Dan
Excellent video. So interesting how everything is connected in different ways and the pleasant sounds within a scale follow this specific rule. I will definitely come back to this video as I’m learning the major scales! Thanks Dan
I love your thorough explanations in every one of your videos!!! Keep pushing wonderful content, you're changing my mind, and I'm sure the minds of others.
Thank you again, Chris! Changing your mind is one of my intentions but perhaps 'cleaning' is a more apt word ;) Have you seen this? piano-jazz.blogspot.com/2015/11/the-pianists-checklist.html Best, Dan
What do you mean "only" ? (;-) Guitar is worthy of much respect. Piano, King of Instruments. Guitar, Queen of Instruments. But it is a crazy good video, isn't it? Amazingly good, and answers many long-held questions, at least for me. Piano is so linear and transparent, especially when danthecomposer is explaining music on it.
Thanks Martin, glad it helps. Yes, the ML book is very intense and this video will help the modal theory pages make more sense.. especially once your major scales are mastered! Best, Dan
My pleasure, Sam. Thank you very much for your encouraging words! Be sure to see the description box for further study links which assist in understanding this video's content... or email! danthecomposer@gmail.com Best, Dan
That is a nice review piano lesson on Modal Theory. I had a hard time to understand the theory when I first time viewed the previous video on Modal Theory which was published on June 7, 2014. I certainly do not have any difficulty to comprehend this one. Thanks Dan for your time and efforts.
Thank you GP - most appreciated. You may enjoy this video next: ua-cam.com/video/5nWnjZEi2P8/v-deo.html And perhaps this article: piano-jazz.blogspot.hu/2016/01/the-fear-of-spontaneity.html Best, Dan
once my channel grows I'll have to shout you out because I'm self taught and your videos are the most clear and concise, along with Michael New. I've improved significantly since I subbed ✊
James, that's very kind but I honestly wouldn't ask that of you. It's quite important that, as you did, people find me naturally; this is the reason I do not promote my channel anywhere but my own FB page (facebook.com/danthecomposer1) - but by all means, if you're happy with your natural progress and think others of similar mental programming would understand, then do so for their benefit rather than my channel's popularity's benefit! Do also consider my blog: www.piano-jazz.blogspot.com Best, Dan
danthecomposer I know you're a humble guy, it's just that I incorporate a lot of your philosophical approach to piano as well and I just don't want to take credit for the ideas that you've worked long and hard on. The concept of the beginner's mind, internal piano, removal of conscious interference, etc. Plus you can demonstrate the concepts more than I can at the moment, so it's all for the sake of helping others improve :)
Brilliantly explained. Thanks for your help! I have to play some background jazz music for an art show so I want to get all the help I can. I'm still new to it all
Hi Evan. Thanks for your comment and welcome. Always here to help. You've watched this one... i wonder if you have seen this? ua-cam.com/video/pT6UXxUXCoM/v-deo.html - or this? ua-cam.com/video/Y1QIkmxpM7c/v-deo.html Master those 12 major scales before you get too caught up in all the jazz stuff because EVERYTHING comes from major scales. This will help: ua-cam.com/video/heEVryaj-wI/v-deo.html Let me know how you get on. Best, Dan
You're awesome Dan, the head surgeon of the piano science of sounds....amazing how you open this beautiful tutorial, unselfishly to the rest of the world. Thank you so much, I would like to buy your videos for learning purposes, soon ... as I am busy right now with my patient. Kudos!
@Danthecomposer Hi Dan! Thanks for another great upload. I must have rewatched your previous video on modal theory around ten times now and I think this was a great addition as it gave me some new insights! I've been wondering, how useful can modal theory be in classical improvisation? I myself am a great fan of the romantics like chopin/liszt/debussy and also of Bach. Consequently In my improvisations I tend to try to improvise in either styles, romantic or baroque. But i'm still struggling to incorporate the wealth of theory I've learned from you in these areas. It's probably partly due to the fact that I love to play the minor scales.. I would humbly ask whether you have some tips to share regarding classical improvisation? Also, are fugues, besides jazz, your cup of tea aswell? I would be exalted to see a video on that topic, if I may be so free as to suggest one. Love your blog by the way! You're the best piano teacher on youtube!
Hello Alexander, Thank you kindly for your comment :) Glad the videos are having the desired effect! Classical improvisation is one of those snobby topics, you know. Personally, I'm on the fence. You have Chopin who was incredibly strict about the score and mastering it then you have Liszt who was also strict and faithful yet spent his whole life performing improvisations on pieces and encouraging students (based on student diaries) to see beyond the music and not become 'carbon copies' of either him or each other. Artistic individuality, he called it. So who is right!? There is that French guy (I forget his name) who improvises on classical pieces (I mean full-on jazz improvisation of Bach as if Bach were Cole Porter!) - I like the result but knowing WHAT he is playing gives me itches...! Know what I mean? I do appreciate fugues and of course the Liszt/Chopin era (not just in Music but the 19th century in general) is not only my cup of tea, but the kettle and sugar too (and a dash of milk - I'm British, after all). The answer cannot be: Improvise on classical pieces like this: blablabla... It must include what you mean by improvising? Do you mean 'embellishing a melody a little'? Or do you mean 'analysing the chords, removing the melody from them and playing whatever I want based on jazz theory', just like you would the regular jazz repertoire? If it's the first, then I can safely say: consider chord extensions, passing notes and playing with tempo changes. If it's the second, then the classical piece ends up no longer being the classical piece but just a chord progression which could have been written 150 years in its future, you know? For example, Liebestraum (ua-cam.com/video/TOmBznrzxHs/v-deo.html), in the first section, contained a jazz standard 36251 progression! 150 years before they became the norm! So you could take Liebestraum and make it literally into a jazz piece (well, the main section at least). But would you want to? It's already so utterly perfect. I do recommend listening to the whole recording. It's Cziffra. Say no more. So.. I'll definitely do some minor stuff since I ALWAYS avoid it so I'll make a point of WHY I always avoid it in the video :) Over to you... Best, Dan
Alex, I wish I could write as much as you in my response but I can't! It was enjoyable however to follow your thought process and see your realisations take shape. I also of course appreciate your comments towards my teachings/videos; you do well to 'accept' the Water Pianism philosophy since, as I'm sure you understand, it's not 'mine' - it just 'is', and I've realised what 'is', so I bring it to you to help you realise Yourself! Your improvisation ideas sound nice but I'm curious: you want to be very free with pieces... why don't you start composing? Can you imagine (no!) what your Inspirational Source is currently holding from you until you're ready to listen to it!? I've jotted some things about minor things but I need to do 2 tutorials before that but it will come... I'll probably tie it up with an article too since it's quite a subject, minors! 'Proper tea' time now :) Best, Dan
Hi Dan.sorry about my typing found how to do it now.l,m a novis at this computer lark,lm getting their. You made me laugh as allway,s with your Banta.lovely chord on dream a little dream,eb7 13 b9 still getting grips of it.modal video,marvelous, trying to watch all.your magic thank,s cheer,s eric smith.captain,mugwash.5
Hey Dan what about improvising over triads? Since we lose the 7th would chords 1, 4, and 5 be treated the same? If that was the case would it be ok to play C ionian, lydian, and mixolydian over a C major triad?
Hi there, sorry for delay! Going through missed comments right now. Absolutely improvise over M/m triads. It's good not to overwhelm yourself with 7ths too early on; there's always time to add those. And yes, 1 4 5 are major triads, just note that 1 and 4 are major 7ths and 5 is a dominant 7th (b7) so be careful on that note when improvising. Enjoy! Best, Dan
Hi Dan, A very clear explanation, and until half way though I understood the concept. I'm a little confused at how you arrived at the usable scales in the example. For the Am7 chord you said G Major, F Major, C Major and for Dm7; C, Bb & F. At first I though you avoid the Minor modes, but that doesn't seem to make sense if your playing them against a minor chord (but of course it must be correct as they sound right) and also F is the 6th Mode of Dm7 (minor) which messes up my theory of playing the Major 7 modes only. Halp! Tim
Hello Tim, Thanks for the comment and question. For Am7 , I said G, F and C because Am7 is a m7 chord type so it's acting as 2nd, 3rd or 6th of three respective major scales. A is the 2nd of G, 3rd of F and 6th of C. Dm7, therefore, is of C, Bb and F... as you wrote. I am ignoring the minor modes because that is beyond the scope of the video. Why would you think you can only play Major 7 'modes'? And what does that mean, exactly? :) Over to you... Best, Dan
Hi Dan, I said that because the penny still hasn't completely dropped for me about modes and I'm probably confusing them with scales, or keys or just a general, time for a cup of tea variety of confusion It's very interesting to consider which notes you really shouldn't play, although as you said, those notes can be played discordantly just so long as you know they are the wrong notes! Thanks to your practical explanation, the path to comprehension is glistening, bathed in the half-light from the moon of reason. I'll keep going at it :) Tim
Thank you Spencer. There is a collection of chords for minor scales but, dare I say, they are less used. This is enough to bide you over when pretty much anything, considering you can add blues scales to this, and highlight extensions.. that's already pretty much every possibility covered. However, if you're interested in minor mode chords, simply see here: en.wikipedia.org/wiki/Jazz_scale#Modes_of_the_melodic_minor_scale and wish you didn't ask :) Best, Dan
Well spotted! I put an annotation up on the screen but since they don't show on mobile devices, you probably didn't get to see it! I was so angry when I noticed that in the review sitting :) Thank you for mentioning it here so people who don't see the annotation can read about it... Thank you! Best, Dan www.piano-jazz.blogspot.com
Hello there - welcome to my channel and thanks :) Yes indeed. I will be doing a video on that soon because enough people have asked about it. It is based on the same thing but the reason it's not so common is because there are 3 minor scales (and one of them is the 6th mode!) so which one should be used? It just gets a big complicated... but I'll detail it clearly in a video and probably related article. Best, Dan
A bit fast but nice explanation. Need to watch many time to hold on to it. Question, what's a good way to playing and identifying inversion in progression. I'm having a difficult time identifying them. Any good practice tips
Hello Mike, thanks for watching and welcome. Modal theory is 100% major scales. If you don't yet know your major scales, master them first (on your internal piano is better!) ua-cam.com/video/heEVryaj-wI/v-deo.html Inversions are only identifiable if you know the major scale (EVERYTHING comes from them; they're the DNA of music). If you know the major scale, you know the degrees instantly (1-7 and beyond if interested in jazz chord extensions) so inversions you know 'passively'. You must also know the key because in inversions, the root note is obviously not the key of the chord so that's important to define: E, G, A, C is C6 first inversion or Am7 second inversion, for example. Inversions are not a memory item, they are a passive knowledge through mastery of the major scales. I hope this helps! Best, Dan
As good as always. love it. One little thing though : Why don't you use the name "major" in the 5th mode ? Because in the other modes you use the exact value names the chords have in the major scale such as : 1=major , 4= major , 2=minor , etc. Amd we know that in the major scale the major chords are 1, 4 and 5. So shouldn't the 5 be called major , even though we know it has a dominant function ?
Hi Kenneth, trust you're well. The word 'Major' when used with chord naming does not refer to the third interval, it refers to the 7th. If I said GMajor 7th.. it would be wrong (as the 5th mode of C) because it would imply an F#. The letter/key itself already implies major third because I did not say 'minor'. According to your logic, I would have to say: G Major dominant 7th. Silly :) Does this clarify? Best, Dan
Excellent! Thanks for sharing :) Now, try this video: ua-cam.com/video/5nWnjZEi2P8/v-deo.html and this article: piano-jazz.blogspot.hu/2016/01/the-fear-of-spontaneity.html Best, Dan
Hey Dan, first of all you are awsome. I've decided to continue play after a 12 years break (because of you). I've learned to play a keyboard, and now i regeret it, i should have played piano. I've learned all the major scales like you suggested. The problem is that i can freelly play them only from the root... when i start from different key for practice reasons, it becomes a mess. what should i do? to "demess" it efficiently. thanks ;)
Thank you Valery and welcome to my channel! :) Good decision, I'm delighted to be a source of your inspiration. I shall remain. Very good that you know the major scales but since this is so important, I would like to question you further: Do you REALLY, honestly, on your internal piano away from the physical piano, KNOW the major scales? Be absolutely confident in them because they are the master key to your whole piano world, no matter which path you realise is Yours. You said you can only play them from the root... this means you have only remembered the shapes. This is an illusion. Please, do enjoy the exercises in this video to reinforce them: ua-cam.com/video/heEVryaj-wI/v-deo.html Also, digest this article in your own time: piano-jazz.blogspot.hu/2015/03/seeing-major-scales-differently.html I look forward to your update! Best, Dan
Great tutorial dan I had a question ❓ How to improvise over chord progression..like you did some of it in the end of this video I can think of modes with particular chord but when playing a progression do we have to constantly think of changing scale for melodies in the right hand?
Hello Samyak, thanks for watching. 'How to improvise' is an ENORMOUS question which I can't answer in one response. I have tried to make some videos on the topic such as this one: ua-cam.com/video/wn5qJA0EqAU/v-deo.html and this one: ua-cam.com/video/pzsvycun39g/v-deo.html Sure, modes are good but try to move away from being owned by scales. I call it a 'pool of notes' and combining this with 'improvising from the root', you'll really find Your sound: ua-cam.com/video/Y1QIkmxpM7c/v-deo.html This video is also some food for thought: ua-cam.com/video/5vkOqjByveY/v-deo.html Hope it all helps! Best, Dan
Hello Dan, I have couple of technical questions if you please. IF Bm is the dorian of A, phrygian of G, and Aeolian of D, then I can play these scale notes: B C C# D E F# G G# A However .... When I play them together, they don't sound good. How can I make sure my scale notes sound good when the modal theory is applied correctly? Second question, Is this a general modal theory or Is it a more of Jazz modal theory? Sorry if you find any of my questions sound naive but since you explain Jazz in this video, I thought it might be a modal theory for Jazz.
All questions are welcome :) First, you are entering the realisation that scales don't dictate improvisation. Many (teachers!) don't realise this... they throw around scales and invent melodies using them without really going deeper into the what's and why's certain notes sound better than others, and the answer is to do with interval preferences, not scales. Many notes from various scales overlap into each other so to save time, focus on identifying all intervals from the chromatic scale and associate an adjective emotion with them. This video will help: ua-cam.com/video/Y1QIkmxpM7c/v-deo.html Modal theory is not a 'jazz' theory aspect, it is just used by improvisers quite a lot but don't let it own you... you must own it! Let me know your views on the video provided.. it will enlighten you a lot! Best, Dan
Hi there. It depends on how well you have really mastered this particular playlist... I recommend to start with jazz the playlist called Sorted Song Analyses. In those, I discuss jazz things using songs and provide related content to stuff you may not understand. Enjoy :) Best, Dan
Thank you for your wonderfully informative videos Dan. I am just a bit confused since I have been watching other youtube videos (my bad!) that has explained modal theory using scales, ie the Ionian scale is a WWHWWWH (major) the Dorian is WHWWWHW, Phrygian is HWWWHWW etc and I have spent hours working out the scales for each of these modes. This appears to be a completely different approach to the one you are using here. How can I connect these two views or should I just disregard the other?! Thank you in anticipation.
Thank you LaoLou for watching. Welcome to my channel. Yes, the way it is explained elsewhere is not helpful. Do you really want to remember a huge list of Ws and Hs? No. That doesn't even refer to the major scales yet modes ARE major scales inverted. Major scale mastery is #1 on my channel and should be in every pianist's mind. Absolutely reject that interval nonsense and focus on mastering your major scales because once you know them, you inherently know major scales, can find chords and then even play inversions inherently! Powerful stuff. See here: ua-cam.com/video/ZmFQQ6dd7bI/v-deo.html&list=PL4cPpP-Ua6NWl43cy2XiArwodqSmWBOzC and here: ua-cam.com/video/heEVryaj-wI/v-deo.html Let me know how you get on. Best, Dan
Thank you for your reply @@danthecomposer I am watching and re-watching your videos on modes but I have to say that I am struggling with it as you move through the chords so quickly. I am mastering the major scales as you have suggested and can even do them with my eyes closed now so I am pleased about that, but these modes are just frying my brain if I am honest. Maybe I am trying to do too much too soon or perhaps you could do another complete video explaining modes at a slower pace!! Thank you again. Learning the piano is giving my life new meaning and I am determined to master it! I have learnt most of my stuff from you since finding your channel earlier this year.
Great news about the major scales with eyes closed! Even better. I have an older video which may be slower for you, about modes, but I apologise in advance about the quality: ua-cam.com/video/PelOkGt8kIwD/v-deo.htmlo let me know how you get on.Thanks for your kind words.Best,Dan
@@danthecomposer Thank you Dan. I think I just needed to use the pause button on these videos and write it down as I went; I am starting to 'get it' now. This also explains the roman numeral system when determining chords from major or minor scales, which I now have to un-learn as the method that you are teaching allows for greater understanding. Thank you again
I’m curious which part you didn’t get? Major scale mastery is an absolute prerequisite so perhaps check my playlist called Absolute Major Scale Mastery first? Modes are basically major scale inversions… Best, Dan
I really learned alot from this tutorial. Say, for minor chords I can use dorian, phrygian and aeolian. For dominant 7th chords I can use only mixolydian. And for major chords I can use ionian and lydian. The only mode left is the locrian. When/where can I use locrian mode sir?
So basically it works to play those notes from other scales because the chord we play could be in one of those different scales. Is this also "modulation" what people refer to when changing the scale in the middle of a piece, or would that be a different thing?
Hi, thanks for your question. Yes, you get it. The 2 3 6 modes are all minor 7ths, for example, so Dm7 could be the 2nd, 3rd or 6th of 3 respective major scales (C, Bb, F) so you can play the notes of the major scales of those keys and be very safe. Of course they are not the ONLY notes but it's a way to get going with improvising and having a bag of safe notes. Modal theory is in itself not modulation but I see why you connect the two. Modulation is more about the root ('key definer') of a chord in terms of structure of a song. Modal theory can be applied to the changes offered through modulation since you will always have a 'bag of safe notes' as the song itself goes through different keys. Modulation is just a hugely unnecessarily complex idea which just comes down to: change key for a little or long time either by overlapping chord types (which both appear in the 'leaving' key to the 'target' key) to drift between keys seamlessly or just jumping directly into another one (usually one semi-tone up but also a random new key). Once you've mastered this modal theory stuff, modulation is almost passively acquired. Hope it helps. Best, Dan
Hi there! Awesome video! Although I thought I had it and then I tried to figure out the scales on which to improvise of the rootless chords (ua-cam.com/video/uXIoZ0SsvUI/v-deo.html) following the process explained in the video: II - Am7 -scales G and F V - D7 - scale G I - GMaj7 - scales G and D VI -- E7 - altered - scales G and D and Bb But it just didn't sound right when I played. Where did I get it wrong? Can someone help me out? I'd really appreciate it! Thanks Oh also, I'd like to ask: when you say for example that Dorian mode is always a minor7, you are talking about the whole chord of about the 7th?
Hello Clemente, thanks for your question, comment and welcome to my channel! I'll begin with the last question you asked: 'minor' ALWAYS refers to the third. 7 means dominant 7 and major 7 means the major 7th of the major scale (hence the logical label). They can be combined as m7 and mMaj7. Dorian, the second mode, is always a m7 chord (1, b3, 5, d7). Dm = D, F, A, C. When you say it doesn't sound right, it is perhaps because you're just playing the scale in a completely bland, linear way without musicality. The various scales which work with certain chords just provide you with what I call a 'pool of notes'; it's your job to pluck the ones you want, without too much conscious interference, and play them in a way you enjoy which is aligned with your musical personality. I would recommend this video to get you going with a little idea: ua-cam.com/video/Y1QIkmxpM7c/v-deo.html Let me know how you get on. Best, Dan Oh, and read this: piano-jazz.blogspot.com/2016/01/the-fear-of-spontaneity.html
danthecomposer thanks for the explanation. I'll keep the article and the related video as a reference. One last question: Do you see any flaws in the 4 chords and scales I mentioned considering the process of modal law and the 2-5-1-6 prog? Cheers! :-)
Pleasure. Well, rather than saying flaw, I would say that you've written them in capital letters whereas capital letters are only used for major 3rd-based chords and lowercase for minor-based chords. Further, the VI (vi) should be m7 (Em7) but you wrote it as major (E7) - the reason I didn't bring it up is because I assumed you taken it from that other video and that doesn't surprise me because in jazz, the vi is often made to be VI with some more advanced chord. I use 13b9 for the 6th, for example! Does this help? I can offer more detail if necessary; just don't like to open a kettle of fish when not necessary :) Best, Dan
danthecomposer thanks a lot!! Yes you are right, in that video he makes me play the VI as a E7 altered (G#, C, D, G) which is 3rd+b13+b7+#9. I didn't understand why it wasn't an em7. Happy you brought it up. I'll try to keep on working on the scales above on these chords and get more familiar with them. Probably playing rootless chords confuses me a bit when improvising. I should take one step back. Thanks again!
danthecomposer thanks a lot!! Yes you are right, in that video he makes me play the VI as a E7 altered (G#, C, D, G) which is 3rd+b13+b7+#9. I didn't understand why it wasn't an em7. Happy you brought it up. I'll try to keep on working on the scales above on these chords and get more familiar with them. Probably playing rootless chords confuses me a bit when improvising. I should take one step back. Thanks again!
Yes! Wow - how did that happen? I think the b5 got kicked out of my mind when I accidentally played the M7! I've put an annotation up on the video to correct it. Thank you kindly and apologies. Best, Dan
why are you adding the seventh? isn't it just the major chords of each key down the line, fit into minors when appropriate. So 1,3,5. Is adding the seventh something you only do in Jazz?
Hello Kelly, Modal theory requires use of the 1 3 5 7. The chord types are either major or minor but there is still space for one more note: the 7th (major or dominant). You could say it's something you only do in jazz but modal theory requires complete use of the major scale and since chords are built on major and minor thirds, there are 4 notes as a result (1 3 5 7) so the 7 is just as in the game as the 1 3 and 5. The major/dominant 7ths are incredibly important, too.. there is a big difference in sound between them so just playing major/minor triads is really, really, really bland. Hope that helps! Best, Dan
Dan, I've commented before about how amazing are your videos and the effort you put on them without asking anyone a penny. Highly respected attitude and I give you a like for each video I watch. Anyways, I have couple of concerns beginning from 17:37 that are really confusing me right now: 1- You said that min7 chord type means 2-3-6. I didn't really get that one. Why min7 is 2-3-6? ... What is confusing me is that we are now talking about the 6-2-5-1 progression. Where did the 2-3-6 come from? 2- You said that Am7 can be the dorian of G, phrygian of F, and Aeolian of C just to come up with the conclusion that we can use C, G, and F chords in our progressions. I am lost here. Why do we need to use these chords while we are still talking about the 6-2-5-1 progressions in the first place? ... Also, I can easily conclude that C, G, and F can be used with the key of Am7 because simply they are notes in the Am scale in general. Sorry, I am really lost in this one. On the other hand, I almost learned everything from you since I bought my keyboard in Jan 2017 without any kind of flattering. In other words, you are not going to believe my level of confidence in playing and improvising because of your videos. Thank You Dan for doing this. Blessings EDIT: Okay, I got the answer of my second question after rewinding this part several times. You meant to play C, F, and G scales notes into a one big mix for solo improvisation. Nice.
Hello sir, thanks for your questions. I note the edit at the bottom and yes, I meant you can use the MAJOR SCALES, *not chords* of G, F and C because Am7 is the 2nd of G, 3rd of F and 6th of C... according to modal theory. Your first question is easy to understand if you do not set yourself up for a complicated answer: In modal theory, a minor 7 chord (1, b3, 5, d7) appears on the 2nd, 3rd and 6th notes of any major scale when you play the 1 3 5 7 of their own major scale and flatten any notes which don't fit into the master key. So, if the master key major scale is C, the 2nd, D, the 3rd, E and the 6th, A... their OWN 1357 notes from their OWN major scales result in the 3 being flattened to make a minor and the major 7th being flattened to make a dominant 7. Example in C major master key: 3rd, E. E major: E, F#, G#, A, B, C#, D#... 1 3 5 7 from this: E, G#, B, D#.. which notes are not in the master key of C? G# and D#... so lower them and NAME THE RESULT: E, G, B, D... Em7 :) Same thing on D and A... but also the same thing in EVERY KEY when you find its 2nd, 3rd and 6th. Now, of course, some appear in more than one master key.. D is the 2nd in C but the 3rd in Bb.. so if you play Dm7, you could play C major (meaning Dm7 is dorian, the 2nd) or the notes of Bb major (meaning Dm7 is the phrygian, the 3rd)... (of F major, when Dm7 is the 6th). I hope this helps? Perhaps watching again with this in mind it will suddenly make sense? Best, Dan
Jazz as a definitive has no real historical value as music applies: Its impossible to fully grasp without improvising and as such has not really entered the consciousness of all: Its unlike classical where a great mass of people know it without thinking of how it sounds: This is not a judgement ~ but a mere observation: Jazz could disappear or it could prove otherwise:
Thank you too! You're very kind. Welcome to my channel. Might I recommend my blog? Start here, perhaps: piano-jazz.blogspot.hu/2016/01/the-fear-of-spontaneity.html Best, Dan
Newer, better quality and shorter video on modal theory and diatonic chords: ua-cam.com/video/h4bZlontz2A/v-deo.html
I'm learning how to play the piano to have fun improvising, and this is the most eye-opener video I've ever seen, thank you thank you Dan!!
Thanks to you I've been making incredible progress; finally i can sit and play the piano having fun on my own, practicing random chord progressions (without necessarily memorizing a song to play over and over)
I started again studying your Play Piano in 10 lessons. All my life, now 45, I was moving my fingers like playing piano any time I was listening music, love classical and all kind of music type in general. You helped my frustration of not playing at all to diminish day after day. I am extremely grateful for those 10 memorable videos. You have an amazing common sense, brilliant mind and for sure you are a wonderful person beside being a incredible teacher and I will say great psychologist and philosopher. Thank you for being!
Hello there and welcome to my channel. Your message was more inspiring to me than how I might be inspiring to you!
I wonder if you have discovered my blog? If so, or not, this article may prove useful to you: piano-jazz.blogspot.hu/2015/11/the-pianists-checklist.html
Also, perhaps drop me an email? danthecomposer@gmail.com
Best,
Dan
No body ever explained this to me, this is really a Master Key. You can literally sit at the piano and just mess around with this and figure stuff out. Im gonna watch this again to lock it in
While this was beyond my pay grade, it was so well explained that I wasn't lost. I'm still at the point of mastering Major Scales, but having an idea of where I can go with them is inspiring.
Merci beaucoup.
Well, I came back to this and it was a great lesson. Perseverence helps.
bro i've been watching all sorts of videos about modal and jazz theory and yours has to be the CLEAREST one that makes the most sense....thank you so much!!!!
You are a truly a great teacher. Empowering the student to be amazing. This topic is fantastic. Thanks Dan.
Wait, did I actually stumble onto someone who can actually teach jazz piano?!! 2 years of clicking videos where people didn’t know what they were doing. Finally I’m going to get it right
Very kind of you TF, thank you and welcome. I understand your sentiments. Be sure to see the description boxes of all my videos for further, related goodies. Since you're into the jazz stuff, perhaps this video next? ua-cam.com/video/ibsOgT6MyCU/v-deo.html
Best,
Dan
Blown away how simple you made it! Best lesson in modal theory I've seen / read! Been struggling a long time to understand how the scales can be used over the II, III, VI, ...
Thank you very much Anders and welcome to my channel :) I think you would do well to see this video next: ua-cam.com/video/DnFVFyZL6bw/v-deo.html
Updates welcome :)
Best,
Dan
Please help me to help you by making the most of the following links which will give you access to much more recent content, as well as some options to support my channel:
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I have been studying the modal theory but never had any idea on how to apply it from a practical piano-playing perspective.
I believe this LESSON and how you explained it gave me good starting point in discovering how to use modes in basic mprovisation. As a bonus, I have a better understanding on why the 11 sounds better when sharpened i.e. CM9#11. Thank you Dan! You are heaven-sent ;)
How kind of you - thank you and welcome to my channel! :)
I'm thinking of which video would suit you best next... I've decided on this one: ua-cam.com/video/k2z8KHlKYE8/v-deo.html
Let me know how you get on...
Best,
Dan
Excellent video. So interesting how everything is connected in different ways and the pleasant sounds within a scale follow this specific rule. I will definitely come back to this video as I’m learning the major scales! Thanks Dan
Great video I may have to watch that a few times to get it down!!
Thank you so much
Brilliant, answered many questions I had about modes!
Thanks so much!
I love your thorough explanations in every one of your videos!!! Keep pushing wonderful content, you're changing my mind, and I'm sure the minds of others.
Thank you again, Chris! Changing your mind is one of my intentions but perhaps 'cleaning' is a more apt word ;)
Have you seen this? piano-jazz.blogspot.com/2015/11/the-pianists-checklist.html
Best,
Dan
Thank you . I finally understand . Excellent tutorial .❤
It`s crazy how helpful this is! I only play guitar but this is so important for any instrument!
What do you mean "only" ? (;-) Guitar is worthy of much respect. Piano, King of Instruments. Guitar, Queen of Instruments. But it is a crazy good video, isn't it? Amazingly good, and answers many long-held questions, at least for me. Piano is so linear and transparent, especially when danthecomposer is explaining music on it.
I needed this video so much, should've started here. Thank you Dan, you can't imagine how much I admire you!
Thanks Dan! one of the very best and easiest explanations on model theory that I have come across! Very much appreciated! :)
Very kind of you Ness, glad it helped! This article may also help applying it: piano-jazz.blogspot.hu/2016/01/the-fear-of-spontaneity.html
Best,
Dan
Man, you're a genius. I've been playing around with Mark Levine's jazz piano book, but you're a great help. Thanks
Thanks Martin, glad it helps. Yes, the ML book is very intense and this video will help the modal theory pages make more sense.. especially once your major scales are mastered!
Best,
Dan
Dan, you're knowledge is incredulous...my head is spinning but I will review several times...most enjoyable lesson as are all your lessons are!!
My pleasure, Sam. Thank you very much for your encouraging words!
Be sure to see the description box for further study links which assist in understanding this video's content... or email! danthecomposer@gmail.com
Best,
Dan
Ive been watching your videos for years. Thank you for uploading 😊
That is a nice review piano lesson on Modal Theory. I had a hard time to understand the theory when I first time viewed the previous video on Modal Theory which was published on June 7, 2014. I certainly do not have any difficulty to comprehend this one. Thanks Dan for your time and efforts.
Thanks for your comment Andrew. Glad this helps more! Any suggestions, let me know.
Best,
Dan
Hi Dan,
This is the best and most complete explanation of modes.
Thanks!
Thanks Charlie, glad it helped :)
You may enjoy this video next: ua-cam.com/video/5nWnjZEi2P8/v-deo.html
Best,
Dan
Excellent video Dan thank you
Awesome tutorial as always, I've always loved playing tunes around this progression.
Thank you GP - most appreciated.
You may enjoy this video next: ua-cam.com/video/5nWnjZEi2P8/v-deo.html
And perhaps this article: piano-jazz.blogspot.hu/2016/01/the-fear-of-spontaneity.html
Best,
Dan
DON'T LOOK AT MY PROFILE PICTURE I saw your about page. Im sorry.
once my channel grows I'll have to shout you out because I'm self taught and your videos are the most clear and concise, along with Michael New. I've improved significantly since I subbed ✊
James, that's very kind but I honestly wouldn't ask that of you. It's quite important that, as you did, people find me naturally; this is the reason I do not promote my channel anywhere but my own FB page (facebook.com/danthecomposer1) - but by all means, if you're happy with your natural progress and think others of similar mental programming would understand, then do so for their benefit rather than my channel's popularity's benefit!
Do also consider my blog: www.piano-jazz.blogspot.com
Best,
Dan
danthecomposer I know you're a humble guy, it's just that I incorporate a lot of your philosophical approach to piano as well and I just don't want to take credit for the ideas that you've worked long and hard on. The concept of the beginner's mind, internal piano, removal of conscious interference, etc. Plus you can demonstrate the concepts more than I can at the moment, so it's all for the sake of helping others improve :)
Such an awesome video, thank you!!
Brilliantly explained. Thanks for your help! I have to play some background jazz music for an art show so I want to get all the help I can. I'm still new to it all
Hi Evan. Thanks for your comment and welcome. Always here to help. You've watched this one... i wonder if you have seen this? ua-cam.com/video/pT6UXxUXCoM/v-deo.html - or this? ua-cam.com/video/Y1QIkmxpM7c/v-deo.html
Master those 12 major scales before you get too caught up in all the jazz stuff because EVERYTHING comes from major scales.
This will help: ua-cam.com/video/heEVryaj-wI/v-deo.html
Let me know how you get on.
Best,
Dan
You're awesome Dan, the head surgeon of the piano science of sounds....amazing how you open this beautiful tutorial, unselfishly to the rest of the world. Thank you so much, I would like to buy your videos for learning purposes, soon ... as I am busy right now with my patient. Kudos!
Excellent Dan. Thank you.
Pleasure once again. Any requests welcome!
Best,
Dan
Dan, You always help me soo much :D
Keep up the good work!!! Thanks!
Thank you Daniel! Always a pleasure :)
Many things in the pipeline as always!
Best,
Dan
@Danthecomposer Hi Dan! Thanks for another great upload. I must have rewatched your previous video on modal theory around ten times now and I think this was a great addition as it gave me some new insights! I've been wondering, how useful can modal theory be in classical improvisation? I myself am a great fan of the romantics like chopin/liszt/debussy and also of Bach. Consequently In my improvisations I tend to try to improvise in either styles, romantic or baroque. But i'm still struggling to incorporate the wealth of theory I've learned from you in these areas. It's probably partly due to the fact that I love to play the minor scales.. I would humbly ask whether you have some tips to share regarding classical improvisation? Also, are fugues, besides jazz, your cup of tea aswell? I would be exalted to see a video on that topic, if I may be so free as to suggest one. Love your blog by the way! You're the best piano teacher on youtube!
Hello Alexander, Thank you kindly for your comment :) Glad the videos are having the desired effect!
Classical improvisation is one of those snobby topics, you know. Personally, I'm on the fence. You have Chopin who was incredibly strict about the score and mastering it then you have Liszt who was also strict and faithful yet spent his whole life performing improvisations on pieces and encouraging students (based on student diaries) to see beyond the music and not become 'carbon copies' of either him or each other. Artistic individuality, he called it. So who is right!? There is that French guy (I forget his name) who improvises on classical pieces (I mean full-on jazz improvisation of Bach as if Bach were Cole Porter!) - I like the result but knowing WHAT he is playing gives me itches...! Know what I mean?
I do appreciate fugues and of course the Liszt/Chopin era (not just in Music but the 19th century in general) is not only my cup of tea, but the kettle and sugar too (and a dash of milk - I'm British, after all).
The answer cannot be: Improvise on classical pieces like this: blablabla... It must include what you mean by improvising? Do you mean 'embellishing a melody a little'? Or do you mean 'analysing the chords, removing the melody from them and playing whatever I want based on jazz theory', just like you would the regular jazz repertoire?
If it's the first, then I can safely say: consider chord extensions, passing notes and playing with tempo changes. If it's the second, then the classical piece ends up no longer being the classical piece but just a chord progression which could have been written 150 years in its future, you know?
For example, Liebestraum (ua-cam.com/video/TOmBznrzxHs/v-deo.html), in the first section, contained a jazz standard 36251 progression! 150 years before they became the norm! So you could take Liebestraum and make it literally into a jazz piece (well, the main section at least). But would you want to? It's already so utterly perfect. I do recommend listening to the whole recording. It's Cziffra. Say no more.
So.. I'll definitely do some minor stuff since I ALWAYS avoid it so I'll make a point of WHY I always avoid it in the video :)
Over to you...
Best,
Dan
Alex,
I wish I could write as much as you in my response but I can't! It was enjoyable however to follow your thought process and see your realisations take shape. I also of course appreciate your comments towards my teachings/videos; you do well to 'accept' the Water Pianism philosophy since, as I'm sure you understand, it's not 'mine' - it just 'is', and I've realised what 'is', so I bring it to you to help you realise Yourself!
Your improvisation ideas sound nice but I'm curious: you want to be very free with pieces... why don't you start composing? Can you imagine (no!) what your Inspirational Source is currently holding from you until you're ready to listen to it!?
I've jotted some things about minor things but I need to do 2 tutorials before that but it will come... I'll probably tie it up with an article too since it's quite a subject, minors!
'Proper tea' time now :)
Best,
Dan
Perhaps I'll upload my composition in the facebook group soon!
Hi Dan.sorry about my typing found how to do it now.l,m a novis at this computer lark,lm getting their. You made me laugh as allway,s with your Banta.lovely chord on dream a little dream,eb7 13 b9 still getting grips of it.modal video,marvelous, trying to watch all.your magic thank,s cheer,s eric smith.captain,mugwash.5
wow this is amazing! best explanation ever!
Spectacular class, appreciated!
Thank you very much and welcome to my channel!
You may also like this video: ua-cam.com/video/pzsvycun39g/v-deo.html
Best,
Dan
Hey Dan what about improvising over triads? Since we lose the 7th would chords 1, 4, and 5 be treated the same? If that was the case would it be ok to play C ionian, lydian, and mixolydian over a C major triad?
Hi there, sorry for delay! Going through missed comments right now. Absolutely improvise over M/m triads. It's good not to overwhelm yourself with 7ths too early on; there's always time to add those. And yes, 1 4 5 are major triads, just note that 1 and 4 are major 7ths and 5 is a dominant 7th (b7) so be careful on that note when improvising. Enjoy!
Best,
Dan
Hi Dan, A very clear explanation, and until half way though I understood the concept. I'm a little confused at how you arrived at the usable scales in the example. For the Am7 chord you said G Major, F Major, C Major and for Dm7; C, Bb & F. At first I though you avoid the Minor modes, but that doesn't seem to make sense if your playing them against a minor chord (but of course it must be correct as they sound right) and also F is the 6th Mode of Dm7 (minor) which messes up my theory of playing the Major 7 modes only. Halp! Tim
Hello Tim,
Thanks for the comment and question.
For Am7 , I said G, F and C because Am7 is a m7 chord type so it's acting as 2nd, 3rd or 6th of three respective major scales. A is the 2nd of G, 3rd of F and 6th of C. Dm7, therefore, is of C, Bb and F... as you wrote. I am ignoring the minor modes because that is beyond the scope of the video.
Why would you think you can only play Major 7 'modes'? And what does that mean, exactly? :)
Over to you...
Best,
Dan
Hi Dan, I said that because the penny still hasn't completely dropped for me about modes and I'm probably confusing them with scales, or keys or just a general, time for a cup of tea variety of confusion
It's very interesting to consider which notes you really shouldn't play, although as you said, those notes can be played discordantly just so long as you know they are the wrong notes!
Thanks to your practical explanation, the path to comprehension is glistening, bathed in the half-light from the moon of reason.
I'll keep going at it :)
Tim
Great video thank you blessings
Really, really helpful. Thanks.
My pleasure, thank you for watching and welcome.
Best,
Dan.
Absolutely godlike.
very informative! how does this logic apply to the harmonic/ jazz melodic minor scales?
Thank you Spencer.
There is a collection of chords for minor scales but, dare I say, they are less used. This is enough to bide you over when pretty much anything, considering you can add blues scales to this, and highlight extensions.. that's already pretty much every possibility covered.
However, if you're interested in minor mode chords, simply see here: en.wikipedia.org/wiki/Jazz_scale#Modes_of_the_melodic_minor_scale and wish you didn't ask :)
Best,
Dan
Great video! At 13:26 you said half-diminished but played a minor 7 - a "minor" slip-up ;) Otherwise very good and helpful video!
Well spotted! I put an annotation up on the screen but since they don't show on mobile devices, you probably didn't get to see it! I was so angry when I noticed that in the review sitting :) Thank you for mentioning it here so people who don't see the annotation can read about it...
Thank you!
Best,
Dan
www.piano-jazz.blogspot.com
Hello and thanks for your lessons, they are great ! Does exist something like "modal theory" for MINOR scales ?
Hello there - welcome to my channel and thanks :)
Yes indeed. I will be doing a video on that soon because enough people have asked about it. It is based on the same thing but the reason it's not so common is because there are 3 minor scales (and one of them is the 6th mode!) so which one should be used? It just gets a big complicated... but I'll detail it clearly in a video and probably related article.
Best,
Dan
Dan you are amazing thank you
Too kind, glad you understand the teachings :)
This article may be of interest: piano-jazz.blogspot.hu/2016/01/the-fear-of-spontaneity.html
Best,
Dan
A bit fast but nice explanation. Need to watch many time to hold on to it. Question, what's a good way to playing and identifying inversion in progression. I'm having a difficult time identifying them. Any good practice tips
Hello Mike, thanks for watching and welcome. Modal theory is 100% major scales. If you don't yet know your major scales, master them first (on your internal piano is better!) ua-cam.com/video/heEVryaj-wI/v-deo.html
Inversions are only identifiable if you know the major scale (EVERYTHING comes from them; they're the DNA of music). If you know the major scale, you know the degrees instantly (1-7 and beyond if interested in jazz chord extensions) so inversions you know 'passively'. You must also know the key because in inversions, the root note is obviously not the key of the chord so that's important to define: E, G, A, C is C6 first inversion or Am7 second inversion, for example. Inversions are not a memory item, they are a passive knowledge through mastery of the major scales.
I hope this helps!
Best,
Dan
As good as always. love it. One little thing though : Why don't you use the name "major" in the 5th mode ? Because in the other modes you use the exact value names the chords have in the major scale such as : 1=major , 4= major , 2=minor , etc. Amd we know that in the major scale the major chords are 1, 4 and 5. So shouldn't the 5 be called major , even though we know it has a dominant function ?
Hi Kenneth, trust you're well.
The word 'Major' when used with chord naming does not refer to the third interval, it refers to the 7th. If I said GMajor 7th.. it would be wrong (as the 5th mode of C) because it would imply an F#. The letter/key itself already implies major third because I did not say 'minor'. According to your logic, I would have to say: G Major dominant 7th. Silly :)
Does this clarify?
Best,
Dan
hey dan, do you have minor scale mastery videos? I guess its not neccesary if youve mastered the major scales and know the formula for minor scales...
You bet. Two in fact: ua-cam.com/video/nvyMPyFdbZc/v-deo.html / ua-cam.com/video/vHFK9xvQLO8/v-deo.html
Best,
Dan
Thanks for the lesson. I just had a eureka moment )
Excellent! Thanks for sharing :)
Now, try this video: ua-cam.com/video/5nWnjZEi2P8/v-deo.html and this article: piano-jazz.blogspot.hu/2016/01/the-fear-of-spontaneity.html
Best,
Dan
Brilliant! Thank you.
Thank you once again!
Best,
Dan
ua-cam.com/play/PL4cPpP-Ua6NWl43cy2XiArwodqSmWBOzC.html
Hey Dan, first of all you are awsome.
I've decided to continue play after a 12 years break (because of you).
I've learned to play a keyboard, and now i regeret it, i should have played piano.
I've learned all the major scales like you suggested.
The problem is that i can freelly play them only from the root...
when i start from different key for practice reasons, it becomes a mess.
what should i do? to "demess" it efficiently.
thanks ;)
Thank you Valery and welcome to my channel! :)
Good decision, I'm delighted to be a source of your inspiration. I shall remain.
Very good that you know the major scales but since this is so important, I would like to question you further: Do you REALLY, honestly, on your internal piano away from the physical piano, KNOW the major scales? Be absolutely confident in them because they are the master key to your whole piano world, no matter which path you realise is Yours. You said you can only play them from the root... this means you have only remembered the shapes. This is an illusion. Please, do enjoy the exercises in this video to reinforce them: ua-cam.com/video/heEVryaj-wI/v-deo.html
Also, digest this article in your own time: piano-jazz.blogspot.hu/2015/03/seeing-major-scales-differently.html
I look forward to your update!
Best,
Dan
hey, please make a " jelly roll - the crave" analysis, if you like.
thanks.
Noted :)
Great tutorial dan
I had a question ❓
How to improvise over chord progression..like you did some of it in the end of this video
I can think of modes with particular chord but when playing a progression do we have to constantly think of changing scale for melodies in the right hand?
Hello Samyak, thanks for watching.
'How to improvise' is an ENORMOUS question which I can't answer in one response. I have tried to make some videos on the topic such as this one: ua-cam.com/video/wn5qJA0EqAU/v-deo.html and this one: ua-cam.com/video/pzsvycun39g/v-deo.html
Sure, modes are good but try to move away from being owned by scales. I call it a 'pool of notes' and combining this with 'improvising from the root', you'll really find Your sound: ua-cam.com/video/Y1QIkmxpM7c/v-deo.html
This video is also some food for thought: ua-cam.com/video/5vkOqjByveY/v-deo.html
Hope it all helps!
Best,
Dan
Hello Dan,
I have couple of technical questions if you please.
IF Bm is the dorian of A, phrygian of G, and Aeolian of D, then I can play these scale notes: B C C# D E F# G G# A
However ....
When I play them together, they don't sound good. How can I make sure my scale notes sound good when the modal theory is applied correctly?
Second question, Is this a general modal theory or Is it a more of Jazz modal theory?
Sorry if you find any of my questions sound naive but since you explain Jazz in this video, I thought it might be a modal theory for Jazz.
All questions are welcome :)
First, you are entering the realisation that scales don't dictate improvisation. Many (teachers!) don't realise this... they throw around scales and invent melodies using them without really going deeper into the what's and why's certain notes sound better than others, and the answer is to do with interval preferences, not scales. Many notes from various scales overlap into each other so to save time, focus on identifying all intervals from the chromatic scale and associate an adjective emotion with them. This video will help: ua-cam.com/video/Y1QIkmxpM7c/v-deo.html
Modal theory is not a 'jazz' theory aspect, it is just used by improvisers quite a lot but don't let it own you... you must own it! Let me know your views on the video provided.. it will enlighten you a lot!
Best,
Dan
Thanks Dan :)
I will definitely watch the video.
Dear Dan, do you recommend this Jazz playlist after completing your beginner 10 lessons? Thanks
Hi there. It depends on how well you have really mastered this particular playlist... I recommend to start with jazz the playlist called Sorted Song Analyses. In those, I discuss jazz things using songs and provide related content to stuff you may not understand. Enjoy :)
Best,
Dan
Thanks, will check
Thank you for your wonderfully informative videos Dan. I am just a bit confused since I have been watching other youtube videos (my bad!) that has explained modal theory using scales, ie the Ionian scale is a WWHWWWH (major) the Dorian is WHWWWHW, Phrygian is HWWWHWW etc and I have spent hours working out the scales for each of these modes. This appears to be a completely different approach to the one you are using here. How can I connect these two views or should I just disregard the other?! Thank you in anticipation.
Thank you LaoLou for watching. Welcome to my channel. Yes, the way it is explained elsewhere is not helpful. Do you really want to remember a huge list of Ws and Hs? No. That doesn't even refer to the major scales yet modes ARE major scales inverted. Major scale mastery is #1 on my channel and should be in every pianist's mind. Absolutely reject that interval nonsense and focus on mastering your major scales because once you know them, you inherently know major scales, can find chords and then even play inversions inherently! Powerful stuff.
See here: ua-cam.com/video/ZmFQQ6dd7bI/v-deo.html&list=PL4cPpP-Ua6NWl43cy2XiArwodqSmWBOzC
and here: ua-cam.com/video/heEVryaj-wI/v-deo.html
Let me know how you get on.
Best,
Dan
Thank you for your reply @@danthecomposer I am watching and re-watching your videos on modes but I have to say that I am struggling with it as you move through the chords so quickly. I am mastering the major scales as you have suggested and can even do them with my eyes closed now so I am pleased about that, but these modes are just frying my brain if I am honest. Maybe I am trying to do too much too soon or perhaps you could do another complete video explaining modes at a slower pace!! Thank you again. Learning the piano is giving my life new meaning and I am determined to master it! I have learnt most of my stuff from you since finding your channel earlier this year.
Great news about the major scales with eyes closed! Even better. I have an older video which may be slower for you, about modes, but I apologise in advance about the quality: ua-cam.com/video/PelOkGt8kIwD/v-deo.htmlo let me know how you get on.Thanks for your kind words.Best,Dan
@@danthecomposer Thank you Dan. I think I just needed to use the pause button on these videos and write it down as I went; I am starting to 'get it' now. This also explains the roman numeral system when determining chords from major or minor scales, which I now have to un-learn as the method that you are teaching allows for greater understanding. Thank you again
Is there a video that explains this video?
I’m curious which part you didn’t get? Major scale mastery is an absolute prerequisite so perhaps check my playlist called Absolute Major Scale Mastery first? Modes are basically major scale inversions…
Best,
Dan
Thanks!
Thank you very much indeed. Very kind of you! I hope you'll enjoy the more recent content too!
Best,
Dan
I really learned alot from this tutorial. Say, for minor chords I can use dorian, phrygian and aeolian. For dominant 7th chords I can use only mixolydian. And for major chords I can use ionian and lydian. The only mode left is the locrian. When/where can I use locrian mode sir?
diminished
So basically it works to play those notes from other scales because the chord we play could be in one of those different scales. Is this also "modulation" what people refer to when changing the scale in the middle of a piece, or would that be a different thing?
Hi, thanks for your question.
Yes, you get it. The 2 3 6 modes are all minor 7ths, for example, so Dm7 could be the 2nd, 3rd or 6th of 3 respective major scales (C, Bb, F) so you can play the notes of the major scales of those keys and be very safe. Of course they are not the ONLY notes but it's a way to get going with improvising and having a bag of safe notes.
Modal theory is in itself not modulation but I see why you connect the two. Modulation is more about the root ('key definer') of a chord in terms of structure of a song. Modal theory can be applied to the changes offered through modulation since you will always have a 'bag of safe notes' as the song itself goes through different keys.
Modulation is just a hugely unnecessarily complex idea which just comes down to: change key for a little or long time either by overlapping chord types (which both appear in the 'leaving' key to the 'target' key) to drift between keys seamlessly or just jumping directly into another one (usually one semi-tone up but also a random new key). Once you've mastered this modal theory stuff, modulation is almost passively acquired.
Hope it helps.
Best,
Dan
All right thank you so much for this detailed explanation! :)
At around minute 20:
You said "F sharp and G sharp" (in relation to the 2 chord) quite a number of times.
Did you mean to say "F sharp and A sharp"?
Hi there! Awesome video! Although I thought I had it and then I tried to figure out the scales on which to improvise of the rootless chords (ua-cam.com/video/uXIoZ0SsvUI/v-deo.html) following the process explained in the video:
II - Am7 -scales G and F
V - D7 - scale G
I - GMaj7 - scales G and D
VI -- E7 - altered - scales G and D and Bb
But it just didn't sound right when I played. Where did I get it wrong? Can someone help me out? I'd really appreciate it! Thanks
Oh also, I'd like to ask: when you say for example that Dorian mode is always a minor7, you are talking about the whole chord of about the 7th?
Hello Clemente, thanks for your question, comment and welcome to my channel!
I'll begin with the last question you asked: 'minor' ALWAYS refers to the third. 7 means dominant 7 and major 7 means the major 7th of the major scale (hence the logical label). They can be combined as m7 and mMaj7. Dorian, the second mode, is always a m7 chord (1, b3, 5, d7). Dm = D, F, A, C.
When you say it doesn't sound right, it is perhaps because you're just playing the scale in a completely bland, linear way without musicality. The various scales which work with certain chords just provide you with what I call a 'pool of notes'; it's your job to pluck the ones you want, without too much conscious interference, and play them in a way you enjoy which is aligned with your musical personality.
I would recommend this video to get you going with a little idea: ua-cam.com/video/Y1QIkmxpM7c/v-deo.html
Let me know how you get on.
Best,
Dan
Oh, and read this: piano-jazz.blogspot.com/2016/01/the-fear-of-spontaneity.html
danthecomposer thanks for the explanation. I'll keep the article and the related video as a reference.
One last question: Do you see any flaws in the 4 chords and scales I mentioned considering the process of modal law and the 2-5-1-6 prog?
Cheers! :-)
Pleasure.
Well, rather than saying flaw, I would say that you've written them in capital letters whereas capital letters are only used for major 3rd-based chords and lowercase for minor-based chords. Further, the VI (vi) should be m7 (Em7) but you wrote it as major (E7) - the reason I didn't bring it up is because I assumed you taken it from that other video and that doesn't surprise me because in jazz, the vi is often made to be VI with some more advanced chord. I use 13b9 for the 6th, for example!
Does this help? I can offer more detail if necessary; just don't like to open a kettle of fish when not necessary :)
Best,
Dan
danthecomposer thanks a lot!! Yes you are right, in that video he makes me play the VI as a E7 altered (G#, C, D, G) which is 3rd+b13+b7+#9. I didn't understand why it wasn't an em7. Happy you brought it up. I'll try to keep on working on the scales above on these chords and get more familiar with them. Probably playing rootless chords confuses me a bit when improvising. I should take one step back. Thanks again!
danthecomposer thanks a lot!! Yes you are right, in that video he makes me play the VI as a E7 altered (G#, C, D, G) which is 3rd+b13+b7+#9. I didn't understand why it wasn't an em7. Happy you brought it up. I'll try to keep on working on the scales above on these chords and get more familiar with them. Probably playing rootless chords confuses me a bit when improvising. I should take one step back. Thanks again!
The best one
Thank you, I'm glad it helped. Always more help if needed.
Best,
Dan
This is gold
Thank you and welcome! If I may also recommend this article? piano-jazz.blogspot.com/2017/01/essentials-mastery.html
Best,
Dan
thanks a lot! I am a guitar player myself, but find your videos helpful anyway
I'd share the same stuff under the name dantheguitarist if I could play it ;)
well, guitar players can be composers as well =)
Indeed... One wonders why we have different instruments at all! But thankfully we do.
Isn't the half diminished at 13:21 supposed to have a B instead of a C?
Yes! Wow - how did that happen? I think the b5 got kicked out of my mind when I accidentally played the M7! I've put an annotation up on the video to correct it. Thank you kindly and apologies.
Best,
Dan
No problem and thanks for the lesson
Plsss make a tutorial in "at last" song
Hello Astig,
I have this: ua-cam.com/video/QXLSzD3B2Ok/v-deo.html :)
Best,
Dan
why are you adding the seventh? isn't it just the major chords of each key down the line, fit into minors when appropriate. So 1,3,5. Is adding the seventh something you only do in Jazz?
Hello Kelly,
Modal theory requires use of the 1 3 5 7. The chord types are either major or minor but there is still space for one more note: the 7th (major or dominant). You could say it's something you only do in jazz but modal theory requires complete use of the major scale and since chords are built on major and minor thirds, there are 4 notes as a result (1 3 5 7) so the 7 is just as in the game as the 1 3 and 5.
The major/dominant 7ths are incredibly important, too.. there is a big difference in sound between them so just playing major/minor triads is really, really, really bland.
Hope that helps!
Best,
Dan
This actually clears a few things up for me. Thanks for taking the time to respond.
danthecomposer How to install exhaust fan in the bathroom
Dan,
I've commented before about how amazing are your videos and the effort you put on them without asking anyone a penny. Highly respected attitude and I give you a like for each video I watch.
Anyways, I have couple of concerns beginning from 17:37 that are really confusing me right now:
1- You said that min7 chord type means 2-3-6. I didn't really get that one. Why min7 is 2-3-6? ... What is confusing me is that we are now talking about the 6-2-5-1 progression. Where did the 2-3-6 come from?
2- You said that Am7 can be the dorian of G, phrygian of F, and Aeolian of C just to come up with the conclusion that we can use C, G, and F chords in our progressions. I am lost here. Why do we need to use these chords while we are still talking about the 6-2-5-1 progressions in the first place? ... Also, I can easily conclude that C, G, and F can be used with the key of Am7 because simply they are notes in the Am scale in general.
Sorry, I am really lost in this one.
On the other hand, I almost learned everything from you since I bought my keyboard in Jan 2017 without any kind of flattering. In other words, you are not going to believe my level of confidence in playing and improvising because of your videos.
Thank You Dan for doing this.
Blessings
EDIT: Okay, I got the answer of my second question after rewinding this part several times. You meant to play C, F, and G scales notes into a one big mix for solo improvisation. Nice.
Hello sir, thanks for your questions. I note the edit at the bottom and yes, I meant you can use the MAJOR SCALES, *not chords* of G, F and C because Am7 is the 2nd of G, 3rd of F and 6th of C... according to modal theory.
Your first question is easy to understand if you do not set yourself up for a complicated answer: In modal theory, a minor 7 chord (1, b3, 5, d7) appears on the 2nd, 3rd and 6th notes of any major scale when you play the 1 3 5 7 of their own major scale and flatten any notes which don't fit into the master key. So, if the master key major scale is C, the 2nd, D, the 3rd, E and the 6th, A... their OWN 1357 notes from their OWN major scales result in the 3 being flattened to make a minor and the major 7th being flattened to make a dominant 7. Example in C major master key: 3rd, E. E major: E, F#, G#, A, B, C#, D#... 1 3 5 7 from this: E, G#, B, D#.. which notes are not in the master key of C? G# and D#... so lower them and NAME THE RESULT: E, G, B, D... Em7 :) Same thing on D and A... but also the same thing in EVERY KEY when you find its 2nd, 3rd and 6th. Now, of course, some appear in more than one master key.. D is the 2nd in C but the 3rd in Bb.. so if you play Dm7, you could play C major (meaning Dm7 is dorian, the 2nd) or the notes of Bb major (meaning Dm7 is the phrygian, the 3rd)... (of F major, when Dm7 is the 6th).
I hope this helps? Perhaps watching again with this in mind it will suddenly make sense?
Best,
Dan
It clicked
confusing but clicked :)
thanks Dan
i am sorted ....
woooow!
Jazz as a definitive has no real historical value as music applies: Its impossible to fully grasp without improvising and as such has not really entered the consciousness of all: Its unlike classical where a great mass of people know it without thinking of how it sounds: This is not a judgement ~ but a mere observation: Jazz could disappear or it could prove otherwise:
Modal madness :) the least understood thing on UA-cam.
Kitty!!!!!!!
Thank you soooo much. You are a great teacher.
Thank you too! You're very kind. Welcome to my channel.
Might I recommend my blog? Start here, perhaps: piano-jazz.blogspot.hu/2016/01/the-fear-of-spontaneity.html
Best,
Dan
So helpful! Thank you!
Pleasure and welcome :)
Do consider this playlist: ua-cam.com/video/wn5qJA0EqAU/v-deo.html
Best,
Dan