Scales Vs Modes: What's the Difference?

Rick Beato
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4 Dez 2022



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Comentários 848
NYZHL 2 anos atrás
I always teach modes as keys, rather than scales. A C major scale is still a C major scale if you start it on a different note. It's the tonal centre that matters. Think of a mode as a sonic environment and it makes a lot more sense.
I DONT GIVE A **** 3 meses atrás
I think of it as intervals, period. No matter where you start a scale or what mode of that scale you play, the interval formula stays the same
SKEMTHEORY 4 meses atrás
@Madeline The concept of "mode" is a lot more objective/scientific than the concept of "relative major/minor". What's the relative-major of A harmonic minor? Modes (the fact that you can invert scales) are just an objective fact of reality (it's not a philosophical notion).
SKEMTHEORY 4 meses atrás
@Madeline ... but A minor is still a mode of C major, whether you call it "A minor" or "A Aeolian". In other words, what you call a scale doesn't change the fact of what it is, and every scale is a mode of other scales.
SKEMTHEORY 4 meses atrás
@Richard Hood The most descriptive, specific, and accurate term is "inversion". If you can understand what a "chord inversion" is, you can understand what a "scale inversion" is.
Josh Glenn
Josh Glenn 4 meses atrás
There are seven different modes, and each one is made by playing a major scale starting on a different note. So A minor is the C major scale starting on the sixth note which is also called Aeolian mode.
Jake Hendriksen
Jake Hendriksen 2 anos atrás
It was theory videos that first brought me to your channel, Rick. I still have a long way to go, but I just want you to know how much I appreciate your passion as an educator and your joy as a musician. You're doing important work!
matthijsfix 2 anos atrás
I always enjoy those awkward first seconds when Rick is still idle.
Hobo Divine
Hobo Divine 5 meses atrás
Rick is my new idle. 🥁
Vicente Ochoa
Vicente Ochoa 10 meses atrás
He’s just like 🧍
Jeppy Anos atrás
P Cats
P Cats Anos atrás
Yeah, because after that I'm lost
911zlitz 2 anos atrás
@Dm3qXY there's enough of them to make a series of documentaries of him doing that.😂
Warp Head
Warp Head 2 anos atrás
I'm really glad you're going to be revisiting the scales / modes / chord theories. Also your great videos on modes and composers, where you show progressions on the keyboard are amazing and I'm glad they're back too!
Fabien Jeunejean
Fabien Jeunejean 2 anos atrás
A scale is defined by intervals. And modes are different views of a scale. I finally understood ! Thank you Rick ! I appreciate your videos !
Cyril ViXP
Cyril ViXP 23 dias atrás
How it could be the different view if it consists of different notes?
Zack Johnson
Zack Johnson Anos atrás
You and me both brutha!
Dario Orlando
Dario Orlando 2 meses atrás
Hey Rick, I love your videos! Just wanna ask you, when you talk about scales (not modes), why don't you include other scales like Hungarian Minor or Neapolitan Minor or Major? They have modes too!
Kira learns Norwegian
Kira learns Norwegian 2 anos atrás
Perfecto. Again, great content. After my whole life of struggling to play any instrument, I'm finally feeling motivated to learn music theory and I can already see how useful it is!
Kira learns Norwegian
Kira learns Norwegian 2 anos atrás
@Irti Too many goals :S Such little time!
Irti 2 anos atrás
So you're learning Norwegian AND music theory? You've got a lot on your plate!
Kira learns Norwegian
Kira learns Norwegian 2 anos atrás
@Donald Kuntze Thanks, I'll give it a go :)
kim erswell
kim erswell 2 anos atrás
@Donald Kuntze Inspired!
Donald Kuntze
Donald Kuntze 2 anos atrás
Start with Smoke on the water or Freebird.
Black Cap Baron
Black Cap Baron 2 anos atrás
Just watched the Peter Frampton interview. One of the best interviews of a musician I’ve seen. In depth, intelligent questions about details without getting too nerdy. And he let Peter actually talk unlike most interviewers. If Rick can somehow do this with more artists (particularly legends like Peter) asking about how they wrote something and discussing it in detail, that would be amazing!
trollstjerne 2 anos atrás
Great live stream Rick! Great to hear that you will redo the the scales and modes videos. If possible think it would be very helpful if you could view them in parallel. When all modes derive from C major scale they can end up sounding very similar and just like C major starting on a different note. But if you show each mode using the same root note the difference will be huge. Thanks and keep up the great work!
Rodrigo Muleyro
Rodrigo Muleyro 2 anos atrás
I think that would be great too!
cflowers69 2 anos atrás
I think the single constant throughout my guitar teaching years, was that there are always students who understand how everything works, and why everything works, but yet they can't paint a picture with the information they have on hand. You can explain every last color in the paintbox, but some folks just can't figure out that, in the end, it all comes down to your creativity. It is that "leap of faith" thing that you saw in the third Indiana Jones movie. lol. You have to smear the paint around on the canvas and see what works. Otherwise you are just running scales and modes against textbook safe spots. And I am not talking about just flailing away, hoping that everything works out. lol. No, there is a fine line that you cross from learning music theory to creating, and I always believed that it was the sheer audacity that humans (artists) convey when creating that allows this to happen. Tell a story about a shipwreck, and in the middle of the story, also tell of dogs playing poker. Is that what you want to tell about? Good! What would the soundtrack to THAT story sound like? Tell us about it........
John Victor
John Victor 2 anos atrás
Sounds like whom the 🐝 tolls
cflowers69 2 anos atrás
@Steve W I love theory as well, and I took to it in grade school while in orchestra and playing cello/viola. Music theory provides the roadmap for how it all works and affixes together, and it will certainly push your creativity because knowing theory unlocks most if not all of the colors in the paintbox. That freedom allows for unobstructed selection of where your creative impulses will take you. Concur with the scribbling! Love it right back!
Steve W
Steve W 2 anos atrás
This is really good! I'm a music teacher who LOVES theory; so much so that I often leave students in the dust because my brain goes down a trail that their not yet prepared to travel. Oftentimes, after a short jaunt into Theoryland, I will say, "But let's start painting now. Even if you 'scribble' at first, let's just create some pictures together." Love it!
Michael Glaesemann
Michael Glaesemann 2 anos atrás
I've learned by ear all my life. Your work is making me want to change and learn what I've been doing all this time. My son knows music theory. Can't wait to spring some of this on him. Ha!
kronosecw 2 anos atrás
Rick you really need to cover chord progressions to go along with the mode that keeps the feeling of the mode. Without that people will be stuck with only having a drone note. Gambale did a great job in his modes video. I'd like to hear your take on it too
kronosecw 2 anos atrás
@Ryan Rick has 100,000 videos. I'm sure he's covered the topic before. However, since he did say he wanted to redo his mode videos now that he has better equipment and a bigger following, I'd like to see him talk about to the bigger picture. In this video, that aspect obviously wasn't present.
Ryan 2 anos atrás
Have you looked through all his videos? I ask because he has SEVERAL videos on modes and has examples of progressions focused on 'Modal playing'. Unless he's taken them down, which I doubt. Actually go-to his channel and look.
Krystle Pyette
Krystle Pyette 2 anos atrás
kronosecw This!!
Code Designs
Code Designs 2 anos atrás
You are awesome Rick! Love your help. You are very thorough and have helped me tremendously to understand many of what the greatest would call 'fundamentals'. I have played an LTD/ESP/Mesa Boogie for close to 25 years now. Even though I can pick up a song by ear... now I can say that I have a deeper understanding of the theory...especially with modes, scales, and finding proper key of songs (from another of your videos). This is priceless and helps to spread the love of music. Two thumbs up!
Ross 2 anos atrás
An observation using the circle of 5ths to aid visualization: your root tone remains the same. Lydian is immediately on the right of C Ionian (eg: the mode of C with the sharp 4th), and C mixolydian to the left. Left again gives you C Dorian. Another left, C aeolian. 1 more C phrygian. Last step you get C locrian. Note that skipping letters will give you the next mode. Also note Dorian is symmetrical- it's intervals are identical stepping up or down from the root. Either side of Dorian those modes' assymetries are shared but inversely. Just a little learning aid.
Milan the Villan
Milan the Villan 2 anos atrás
Love these theory videos, excellent content as always, Rick!.. A question on how to apply this theory, though.. It's clear that where the halfsteps are is what defines the sound of a particular mode. But how do you use this in improvisation, should you target 1,3,5 + degrees that make the halfsteps in a mode? So you "arpeggiate" a mode in that way? Example, 1-#4-5-7-8 for Lydian?
James Strater
James Strater 2 anos atrás
Awesome video. I have learned more about music theory than I ever thought possible. Rick, you are a genius.
kengon 2 anos atrás
Great commentary, Rick. Wholly and enthusiastically endorse your approach! 👍👍
Douglas Darrell
Douglas Darrell 6 meses atrás
Thankyou Professor Beato for your analysis and reasoning of music theory and the relationships to all the spectrums of composed music written or out of your head impros.
AJ Miller
AJ Miller 2 anos atrás
I’m new to your channel and think you guys do a great job. You have a cool way of explaining things.
jayelshaddai 2 anos atrás
Happy new year Rick ! keep up the good're the best teacher on the net !
Charles Thurmond
Charles Thurmond 2 anos atrás
Thanks. This is taking me a while to learn and your videos are great. Thank you for your enthusiasm as well.
Noel Beltran
Noel Beltran Anos atrás
Thank you for all this divine info and down. I am failry new learning music theory and you make it super easy to understand
Tom Jones
Tom Jones 2 anos atrás
Love your videos Rick! Great information! So first, this is not an argument or a debate, simply a thought based on my knowledge as an educator. There is no difference between a scale and a mode. By definition, modes are scales: "any series of pitches, ascending or descending", as you say, from the Latin word, scala... Since traditional Western music scales are based on a set series of whole steps and half steps within an octave, each mode simply represents a different placement of the half steps within that octave. E.X. Major (also known as the Ionian Mode): WWHWWWH. Natural Minor (also known as the Aeolian Mode): WHWWHWW. Lydian Mode: WWWHWWH. You are correct that contemporary musicians don't think this way, certainly when improvising on a chord symbol. When I think natural Minor, I think "flat 3 and flat 6 (degrees of the major scale)", or Dorian ( Flat 3 and 7 in the (D) major Scale). It all has to happen in a split second! Anyway, my point remains the same...they're all "Scales". Maybe the title should be "USING Scales vs Modes"... Keep up the great vids!!
Devil's doorbell
Devil's doorbell 2 anos atrás
Thank you for the discount, Rick. Just bought your book. Also for the lesson. Modes are still a learning curve for me and this is helpful.
David Bennett
David Bennett 2 anos atrás
I love your videos. You are a fabulous instructor. I have learned much and particularly understanding what I am playing and why it works melodically.
Tim Harrington
Tim Harrington 2 anos atrás
Your channel makes me excited that I'm going to be learning all kinds of cool stuff about music. Thank you so much for your hard work Rick!
Maleth Ouk
Maleth Ouk 2 anos atrás
Thank you RB. Even though this stuff is so technical and I have tried so many times to teach myself this stuff you take it next level because you truly love music the way you appreciate every facet of it. Especially in your what makes this song great series. I run music workshops to get the most damaged and marginalised kids in Melbourne Australia and I just wanted to thank you from the bottom of my heart for keeping me inspired to share music in a therapeutic way to explore their emotions and activate their brains in a unique way that rekindles a trust for adults that has sparked and transformed their interest in learning music. I aspire to one day understand a quarter of the stuff you know so I can share it with these young people. You are a masterful teacher and I thank you so much for impact that you have had on my life. I try to emulate you in my session with the young people but I mostly love how you always pay tribute to the process of music making and collaboration of each musician and producer and you do this with no ego but are driven by the talent and artist just being in the moment and making something special. Thank you so much. Love watching your vids. Don’t stop! Much love and appreciation. 🙏🏻
JC THEROD 2 anos atrás
This is cool, brings back memories of when i took music theory in college. Thank you for sharing your knowledge.
GlennFiddles 2 anos atrás
Rick, I love your videos on modes as someone who has been fascinated by them since a teenager in the 1990s where I was a huge Satriani/Vai/DiMeola fan and a religious reader of guitar magazines. But all this has me wondering: have you ever explored modes in non-Western traditions, specifically the maqam and dastgah systems, or other eastern cultures that use microtones? These tend towards a very different way of highlighting the role of all intervals (not just the half tones, for example). I feel like these modal systems are much more sophisticated sonically (and by extension, emotionally) than the Western 12-note system, even though they function non-chordally. I notice a lot of your thoughtful analyses of modes tend to focus on what chords will imply a certain mode and what chords result from each degree of the scale. It seems to me that in maqam, musicians and composers are thinking about the specific emotional possibilities of a much greater set of possible intervals for the construction of melodies rather than chords (which don't really work in microtonal systems). Check out Maqam Saba if you want to hear a beautiful but (to me) creepy and disorienting set of intervals. I'm just starting to learn about maqam but I'd be curious to know your thoughts or exposure to these musics and what your takeaway is.
Juandu Plays
Juandu Plays 2 anos atrás
thank you so much for sharing this with us, this type of content is pure gold for all of us that couldn't afford music school for one reason or the other. Keep it up maestro!
Owen Grech
Owen Grech 2 anos atrás
So happy that you are remaking all these great videos! Thanks! Michael Romeo from Symphony X likes to use the whole tone scale as well
Juan Carlos Sánchez
Juan Carlos Sánchez 2 anos atrás
This channel is pure gold!!! Loving your videos Rick! They way you talk about music and theory make me instantly get my guitar and rock it!
renanbelli 2 anos atrás
Hey Rick, I have seen a bunch of your videos - not all - and I never heard you mention the band Silverchair. I find particularly Daniel Johns one of the most underrated guitar players in rock music, not to mention songwriter. The record Diorama is, for me, a piece of art as a whole. Would love to see an analysis of any of their music by you. Thx for all the music education!
Peter DeVault
Peter DeVault 2 anos atrás
Hey Rick - I'm really excited to hear you say you're going to be doing new videos on all of the modes. I've enjoyed all of them so far - looking forward to it. Thank you.
Milan 2 meses atrás
5:43 sounds like something out of the Dream Theatre/Queensryche playbook. Beautiful!
pancake punch
pancake punch 2 anos atrás
this guy is a musical god. professors are great but were not all bachs. it's still complicated but made very obtainable. or at least gave you that feeling you can learn it... love it
Ian Morton
Ian Morton 2 anos atrás
I've had multiple knowledgeable people over the course of at least 15 years try to explain modes to me and this is the first time I've actually understood it.
Rory London
Rory London 2 anos atrás
Indeed! The education you can get from Rick is phenomenal, and this is partly because he's able to take any musical concept, no matter how simple or complex, and explain it in a way that's pallattable and relatable.
Coach Riles
Coach Riles 2 anos atrás
I have just found your channel and are loving these educational videos. I took a few years of college music courses before changing my major, but I still love playing music and studying theory. This is really helping me pick up where I left off with some of my schooling. Thank you!
drmichaelshea 4 meses atrás
I REALLY appreciate your erudition, Rick. Thank you
Marco Cruz
Marco Cruz 2 anos atrás
Rick you rock! I see musicians on BRvid analyzing songs and it surprises me when they can easily say this is in this mode or this one, I'd like to get up to that level, how do I do that?
Chuck Tomatoes
Chuck Tomatoes 2 anos atrás
Rick, thank you for the disount on the book. I've been wathcing your videos for a little over a year and I decided it was long overdue to learn the basic principles of real music. Thank you for the inspiration and resources you provide.
Dustin Fields
Dustin Fields 2 anos atrás
I love your videos! Going through it on my mandolin while you go over it. Love it!
Erna Bardana
Erna Bardana 7 meses atrás
Yay for the Mandolin!!! I'm a noob.. Self taught using You Tube.
Dirk Radloff
Dirk Radloff 2 anos atrás
Thank you for mentioning the Korngold Violin concert, such a great composition, which is sadly overlooked often. I highly recommend the recording of Jascha Heifetz. I studied it myself, but some parts were too difficult for me.
Chris Slagle
Chris Slagle 2 anos atrás
Hi Rick I just came across your channel and find it greatly inspiring thank you for this information I am going through and watching these to catch up a bit. I have been playing guitar for years and really enjoy practicing scales / modes but what is the best way to practice to bring that modal sound out more? I struggle with deciding to practice parallel from the root and changing it up per mode or each position individually related back to the parent scale I usually do scales arpeggios and chords etc. thanks again! Chris
Tim Sellsted
Tim Sellsted 2 anos atrás
Thanks Rick. Your videos always help me connect better with my fretboard. Is there a better way to learn scales other than fretboard patterns? I've worked my way through the 5 pentatonic scale patterns, major scale and all 7 modes and natural minor. Starting on mel min now. Thanks again!
Andrew and Dewi
Andrew and Dewi 2 anos atrás
Thanks for clarifying these concepts Rick. All this assumes 12 tone equal tuning per octave, of course. Once you step out of that framework - and particularly outside of the "Western" music world - intervallic tuning and temperament becomes more of an factor. Could you talk about scale vs. tuning vs mode?
Lalo del Campo
Lalo del Campo 4 meses atrás
Rick I love your channel !!!!!!! I believe that scale and mode are the same, only that scale is mentioned in terms of path and mode in terms of color.
AGC World
AGC World 2 anos atrás
Rick. There is a pervasive source of confusion in talk of modes (not in this video but in general) that would be great for you to address. When we speak of tonalities and composition, modes are very distinct providing tonalities and chord movement beyond everyday major and minor keys. As such the distinction for example between say dorian and Lydian is unambiguous and decisive in this context. But in the beginning study of Jazz Improvisation they concept of mode is used in a very different sense. An example makes this clear. Suppose we have a ii V I cadence in C maj. No we are told that the ii chord - D m7 - takes D dorian. Now I remember as an early student of Jazz thinking: “You mean I have to play ideas built on the root using the white keys from D to D?!” But of course this is not case, as saying D dorian over Dm7 simply means utilizing the “pallet” of note choices that is the white keys on a piano. (Pat Methany first made this clear to me in one of his videos). As such against Dm7, playing an idea built on those white keys but starting on F could also be conceptualized as D Dorian. But, and this where students get confused, it also could be seen as F Lydian over Dm7. So in so-called jazz chord scale theory (ala David Baker/Jamey Aebersold) It is simply a matter of convention and simplicity that we say, for example, that m7 chords take the dorian mode built on the root of the chord. But we could also say m7 chords take Lydian built on the minor third of the chord, or Ionian built a b7 above the root., etc. as these are all the same note sets! (For simplicity I’m setting aside the issue of where chord tones fall relative to the beat) But of course the easiest thing is simply to think of dorian built on the root, and so we proceed this way by convention. And of course the same goes for Mixolydian over V and all the rest. But what we DON’T mean in this cord-scale context is that the the ii lives in dorian “tonal space” (I.e. where V chords are m7ths!) or that the IV chord lives in Lydian tonality. And similarly for modes of mel min where can talk of playing super locrian over an altered chord built on the root or equivalently of playing mel min built from a half-tone above the root. So it seems that the application of the concept of “mode” in jazz chord scale theory is more arbitrary and based on convention, where as in the realm of tonality, composition etc the distinction between modes - e.g dorian bs Lydian - is more absolute. I would love to hear you elaborate on this at some point: “modes vs modes! Joseph P Cannavo (Physician by day, modern jazz clarinet by night!) PS. Wished you lived in Denver!
Rocinante01 2 anos atrás
I have always thought of the Lydian mode in terms of being a major scale of the major 5th of the scale you are using. Is there an advantage/disadvantage to thinking of it in this way? If I see you at NAMM, I may ask you this.
Michael Bobrik
Michael Bobrik 2 anos atrás
@Kyle C Myxolydian would be a major scale of the major 4th of the scale. Lydian - F becomes F# (like in Gmaj, as Rocinante0 said). Myxolydian - B becomes Bb (like in Fmaj).
Kyle C
Kyle C 2 anos atrás
That’s mixolydian
Jean-Baptiste Lepetit
Jean-Baptiste Lepetit 2 anos atrás
I've been watching this channel for a long time , and this is my first comment (I think), so first I would like to thank Rick for his amazing job. This channel made me discover so many great artists I didn't know and rediscover artists I already knew. Thank you! Regarding the modes. I've been struggling with these concepts from the day I started to learn harmony for guitar / piano and this video unfortunately doesn't really adress my questions as it doesn't really talk about harmonic context. Some of the other RIck's video provide hints and some of the below comments too, but it's hard to bridge the dots. I studied basic classical harmony/composition, that I will call below "tonal harmony", whereby I'd have a scale from which to build a melody and a set vocabulary of classical/clichés cadences to harmonize over that melody. Tonal center is on the root (let's say C), the musical theme builds tensions (e.g. supported by a G7) and everything unfolds by going back to the "home/center of gravity" sound (C) providing a sense of resolution. Pretty basic but robust. With this knowledge, by reading a sheet music (let's say, a Bach choral) one can analyse the cadences, give the tonality, modulations, etc. The issue I have with modes is that I find them so different from this theory and I cannot really formulate my questions into a single one. A list of questions I have (not MECE) and would love someone to answer would be : - By reading a melody line, can I tell whether it is in C ionian vs D Dorian without actually listening it? - When I'm listening to the beginning of Let it be (C G Am F), am I hearing C Ionan then G mixolydian then A aeolian then F lydian melodies or just a regular C major melody with tonal harmonization principles? - If I change the bass note from the Indiana Jones theme (Ionian) from a C to a D drone, does it become a D Dorian melody? - How can my ear tell when I' modulating from a D dorian to a G mixolidian sound ? - For each mode, is a there a "usual" set of cadence that are a "signature" of this mode (a bit like the perfect V7 > I is a strong clue of the underlying major tonality)? If so how can one learn this? (i.e. how can you build your repertoire of cadences in DOrian for example if that makes sense...) - In the end is there a real difference between modal composition and tonal composition ? If so what is the best way to summarize it? If anyone can bring light on this, this would be much appreciated. Apologies if this is already adressed in one of Rick's videos I may not have watched yet!
James Schaeffer
James Schaeffer 2 anos atrás
Great stuff as always, Rick.
Daniel Human
Daniel Human 2 anos atrás
My mind was blown when I learned that there are dominant variations of the modes; e.g. Phrigian with a natural 7, or Ionian with a minor 7.
The Arno
The Arno 2 anos atrás
All you do is create modes from the Melodic Minor scale or the Harmonic minor scale. Just change the starting note in each scale and you get 14 new modes.
Jon Paulson
Jon Paulson 2 anos atrás
there is so much good stuff in here, thank you for sharing!! minor video comment: if the white board was square and level in the frame it would be a subtle detail that would polish it to the next level! Thank you for your channel!
Chuck Finch
Chuck Finch 2 anos atrás
As much as I usually enjoy your videos I found this confusing and filled with expectations of my already having some significant theory knowledge. You speak on the subject as it is natural sounding or being a certain way. That may be true for you but doesn't become instantaneously true for me just because you said it. I think most guitar players want to know about modes as they relate to improvisational soloing or perhaps overall song composition (harmony and melody). When a teacher speaks about modes as they relate to a major scale, commonly C major, I then settle on C as the base tonality of reference. D dorian may be the notes from the C major scale (2 - 9) but how does that relate to C as the home or base tonality? In my thinking, it doesn't. I would rather compare C dorian to C major. The difference being dorian has a dominant 7 rather than major 7. So I am guessing (never really have confirmed my thinking in any absolute way from watching anybody's video) that a song in the key of C where the root chord includes a dominant 7 ( or in fact any chord in the song composed of the notes of that mode) will allow soloing over the top using the C dorian mode with a focus on the dominant 7 being the most prominent tone (or the interval between 6/Dom7 0r Dom 7/Octave? ) providing the tonal color of the composition. I realize this response has spun out of control. Lol. I woiuld like to be able to look at a song or progression, recognize the modal nature if it exists and then improvise over it at a glance.
Luke Day Music
Luke Day Music 2 anos atrás
You realistically play a mixture of mode, pentatonic and arpeggio. So yeh the Dorian mode in the key of C is Dm Dorian which moves commonly to a G7 (G mixolydian, G major pentatonic, G7 arpeggio) which resolves back to C (C Ionian, C pentatonic major,, C maj7 arpeggio etc) Do not play Cmin Dorian mode over the C tonic chord. You would be clashing the minor3 over major3. Also would clash the dom7 with the correct maj7. If you deliberately bend the minors to majors then that's ok but only because the bends result in the tonic mode. The chords: Dmin7, G7, C. That's 2 5 1 in C.
Unity Freelancer
Unity Freelancer 2 anos atrás
Chuck Finch I agree. Deriving the modes is easy, but if you play D Dorian over C major triad, it just sounds like you’re play the C major scale. The. Same is true for all the modes derived from C major. If, however, you play C Dorian over the C major triad, you get a completely different mood. I want to know what is going on there!
Dylan Decker
Dylan Decker 2 anos atrás
Hey Rick, can you make a video exploring modes in jazz improvisation (ex. 7th mode of melodic minor and its uses)?
Music Muncher
Music Muncher 2 anos atrás
Great video! When I was teaching guitar, the concept of the modes was the most difficult to grasp by students, for whatever reason. Once you know what it is and master it, it's an amazing tool to write and/or understand music.
mer red
mer red 2 anos atrás
I am playing guitar for a very long time. Had the luck to have chosen high quality resources that either did not talk about modes (and the need for them never showed up), or explained clearly that it was just a non essential concept. Afterwards, based on my experience, I would like to add: they are not only non essential, but often confusing and non practical. The problems many students have with modes should be an alarm signal that something is wrong.
IP Brann
IP Brann 6 meses atrás
Vous avez une façon d’enseigner, simple et efficace, grand merci. Vous répondez à des questions que l’on se pose. 👍🏻 et j’ai ai eu des enseignants .. Et j’ai aussi compris qu’a force d’avancer, je comprends mieux, ma compréhension est différente aussi. Merci à vous.
Brian Lyall
Brian Lyall 2 anos atrás
Love your passion. Your willingness to share your knowledge is wonderful. It's starting to sink in here.
One Man And His Songs
One Man And His Songs 2 anos atrás
Great video, thanks! I hadn't considered that it's the half-steps that define the mode's character: That's a big level-up moment for me :)
David Hoxit
David Hoxit 2 anos atrás
I'm looking forward to future modes and scales videos, and many thanks Rick and friends!
Eric Chilver
Eric Chilver 2 anos atrás
Hello Rick your expanding my mind loving these videos thankyou
Andrew Lindstrom
Andrew Lindstrom 2 anos atrás
How do we write chord progressions that we can use with these modes? Really love this topic
Stephen Richards
Stephen Richards 2 anos atrás
MaggaraMarine pardon me. I just had a listen to the tune and I agree, there is no tonic and just a centre at E. The issue is that there is no real movement or tonality . It is essentially a pedal on E. They do not have this urge to go places. I say this as in the listeners expectation as functional harmony is just a reflection of trends and not some universal characteristic. Now if you wanted to make this more interesting, if there was a bridge that used D , say a first inversion F# A D as a pivot to G major, you have now established a tonal centre. You could could easily have a different bridge using b minor as a pivot for iii, then G A to D. That would also create tonal centre. There just isn’t really a hierarchy which is what makes tonality a system that allows for very intricate modulation essentially based on tritone resolution and using early paradigms and exploiting them. And if you did have that move to G the raised 6 becomes the Lydian 4 but since it acts as a suspension, there is no real need to add more jargon. Modal jazz has incredibly complex progression that have no real genesis other than sound which is great for that style. That is why jazz can be hard as when you go past the 2 v 1 , then things transcend the need for a system or theory other than, this chord goes here because well it sounds cool. Tonal harmony and voice leading works great for what it was designed for. Modes do not have the same sort of urge for resolution which makes the concept of chord succession at least in terms of paradigms that one could sort of expand upon as harmony was initially developed. You Will notice that every single example rick mentioned , the Lydian 4 always resolves which using modes does not really explain itself. Western tonality does. It is much more adept at making sense of all the voice leading. It’s strange. I am just advocating for the system that requires the least amount of concepts for the music in question. I have studied jazz. There is a place for scale theory. There is a place for other frameworks. Rick seems to only use one. I think he does a a disservice to hai audience.
MaggaraMarine 2 anos atrás
​@Stephen Richards _"or use D major as the key and it will fit the western tonality rather well."_ If you are referring to "Scarborough Fair", it is quite clearly centered around E minor. It would make no sense to analyze that song in D major. Sure, those chords would fit traditional D major key quite well (they would actually be very basic chords in D major), but the way they are used in that song simply makes no sense in D major.
Stephen Richards
Stephen Richards 2 anos atrás
Eta Carinae exactly. That is essentially the gist and the problem with using scale theory to analyze music that is in the western tonal tradition.
Stephen Richards
Stephen Richards 2 anos atrás
MaggaraMarine or use D major as the key and it will fit the western tonality rather well. The whole point of modal jazz was to not conform to the traditional chord hierarchy. Using modes , chord succession does not really follow traditional dominant tonic resolution. There is a reason why nobody uses scale theory to analyze late romantic works which is what all these film scores are using. It isn’t about being rigid. It is using the tool that was codified for that particular music,
MaggaraMarine 2 anos atrás
@Richard Steven Just because modes don't have as clear "chord hierarchy" as major and minor keys, doesn't mean you can't write chord progressions with them. There are plenty of songs that are in one mode and use many chords. Scarborough Fair uses Em D G and A chords and is entirely in E Dorian. Mad World uses those same chords. Then there are modal jazz tunes that treat each chord as its own mode, for example So What and Impressions use a "progression" that modulates from D Dorian to Eb Dorian and back, and Cantaloupe Island uses Fm7 Db7 Dm7 progression where each chord implies a different mode.
David Castelein
David Castelein Anos atrás
A mode of a scale is relative to the tonal center that is played, or suggested by our brain ! That’s why people sometimes hear different version of the same lick , when tonal center is not clearly played !
Art 2 anos atrás
Visuals are great Rick! You have probably even set the bar for others a few times. Love the studio lighting as well.
Chris S. - Guitar, Music, & Hiking Vlog
This particular topic has been baffling me for years. I think I might finally be getting it. For us unknown and obscure players the guitar does have a bit of a Rubic’s cube type aspect to it. I guess that’s what makes it so interesting.
GuitSiva 2 anos atrás
Thanks Rick Beato for Modes and Scales discussion and other references like Allen Holdsworth, Russell and so on which was quite informative indeed..👌 Good job dude..👍 Warm cheers..😊 🎊Greetings for the NEW YEAR 2020🎊 God bless..👏🙏🎸🎶😊
JamesC 2 anos atrás
Rick, I love all of your videos. I'm dying to know, however, why some people prefer to think of modes as sharpening / flattening notes, rather than thinking, say, Dorian means, "Just focus on the ii chord - the scale is 2, 3, 4, 5, 6, 7, 1, 2 and done..." Way less things to memorize this way it seems to me... Lydian... just think of it as 4, 5, 6, 7, 1, 2, 3, 4 This gives me a fraction of the things to memorize / have to think of on my feet while playing...
MaggaraMarine 2 anos atrás
Have you ever had to recognize modes by ear? If you have to recognize the mode of the song simply by listening to it (not playing it on your instrument), what notes are you listening to? I'm guessing you would be listening to the "characteristic notes" of the mode (that are the notes that make it different from traditional major and minor scales). Whenever I hear a raised 6th in an otherwise minor tune, I immediately think of Dorian. D Dorian sounds much closer to D minor than it does to C major. If there's another way of identifying the modes (without touching your instrument), tell me about it. Let's say the melody goes like D E F G A G F E D F A F D. At this point, it sounds like D minor and nothing else. Now, let's say I then continue for example by playing D C B A G A F E D F A F D. Still sounds very clearly centered around D, but there is one note that makes it different from regular D minor and that is B. But there is only one B - it would make no sense to stop treating D as the tonic/the first note of the scale. Also, if I later added a Bb, it would just be in a mixed tonality - you would use both natural minor and Dorian, and that is actually really common in more modern minor key tunes. Take "The House of the Rising Sun" or "Stairway to Heaven" - both songs mix A minor and A Dorian.
Jeff 2 anos atrás
JamesC That’s the way I’ve always thought of them / processed them. It just makes sense to me that way.
JamesC 2 anos atrás
@Robert Anderson Good info. (For what it's worth, I find very few people who communicate this way - even talk about modes, etc... so I'm all about figuring out how to think about it for myself in a reliable / instantaneous way...) Your alphabet analogy makes a lot of sense. I'm hoping in a couple years, I will be able to think about it either way just as easily...
Robert Anderson
Robert Anderson 2 anos atrás
@JamesC You can think of it that way. It's musical convention, however, for 1 to be the tonic. Just as you could decide that the English alphabet starts with 'K'. You can still speak and write just fine, the order of the alphabet is more or less arbitrary. But it's going to be confusing when you try to communicate with others about it. That's the main reason to stick to conventions.
JamesC 2 anos atrás
@Jayme T , I hear you. It seems a case of choosing to memorize "this" or to memorize "that". Music is crazy!!!
Jack H
Jack H Anos atrás
The Ionian mode "is" the major scale. Aeolian "is" the natural minor scale. These two facts should be the very first things that every mode lesson should start with. Rick teaches great Mode lessons, although some videos may be too complex for total mode beginners. Most mode videos on line lack some basic facts and make modes seem overcomplicated. The biggest misconception on line, is that a mode is one scale with a new root note. Instead, the Biggest fact about Modes which constantly gets overlooked (except by Rick) is that each mode is a major scale with one or more half tone adjustments. Focusing on those half tone adjustment is what gives each mode it's unique sound. This is most often left out of most BRvid videos, yet is the the MOST important fact one needs to recognize if they truly understand modes. Just highlighting the A note while playing the G major scale does not create the sound of the Dorian mode. Soo may people learn this from mode videos, and think they now understand modes. What creates the sound of Dorian is highlighting the half tones between the 2 and flat 3, and the natural 6 and flat 7. This is very easy to understand and learn if taught properly. One needs to have a firm knowledge of intervals, and how the major and minor scales work before trying to learn modes.
Alan Campbell
Alan Campbell Anos atrás
Thanks man
Mexican Zeppelin
Mexican Zeppelin 2 anos atrás
BTW, that white board rendition with the D to D graphic for Dorian was perfect for the mind to grasp the idea of how the intervals are being tweaked.
John Ulrich
John Ulrich 2 anos atrás
First rule of Beato Club...never talk about the Beato Club! Love the videos. I've learned more in the last year than the rest of my life.
Christian Paul-Delage
Christian Paul-Delage 2 anos atrás
I'm still going through your book, but learning that you're going to go through every mode over again is the best news I've heard this year so far!
Billsy Bainbridge
Billsy Bainbridge 2 anos atrás
Rick, I started (back in 1985) using the term System to refer to a superset of Modes, reserving the term Scale for step-wise construction of a collection (or set) of notes (in contrast to Intervals), so a System = a Scale + its Modes, i.e. the Diatonic System (Major + minor Scales and their Modes), Melodic System, Harmonic System, Dynamic System, Contratonic System, Kinetic System. Diminished System, Chromatic System, in that order of Dissonance. This way of thinking always makes it clear that a scale "never lives in isolation" but is part of a "community" of sound.
Brendan Wertlieb
Brendan Wertlieb 2 anos atrás
Hey rick really like the videos, love learning about music theory, quick question so I was tryin to practice e Lydian and I realized it has the same collection of notes as g# minor. I guess I’m just confused on the difference if there is one or is it just the staring place? Or the chords used ? Thanks ( trying this out cause you said you read all the comments )
Rafael Perez
Rafael Perez 2 anos atrás
Ionian W W H W W W H Dorian W H W W W H W Phrygian H W W W H W W Lydian W W W H W W H Mixolidian W W H W W H W Aeolian W H W W H W W Locrian H W W H W W
CrazyLazyDave 2 anos atrás
It would be cool if you could add a piano roll on the screen and have midi trigger on screen. Helpful for visual learners
Ernest B
Ernest B 2 anos atrás
@CrazyLazyDave I agree Dave!
CrazyLazyDave 2 anos atrás
@picknngrinnin 😅 I get the play on words there. But just would be nice. Obviously not necessary. Just would be nice. Then you could visualize the intervals. People don't all learn as easy the same ways. Some people it wouldn't help at all. But it would help other people
The snaggletooth
The snaggletooth 2 anos atrás
I appreciate you enriching the world by freely sharing your knowledge. Most people would pay to learn this stuff.
DUTCHUFO4REAL 2 anos atrás
Hi Rick, i like your channel a lot. It breaths music and that runs trough your veins. I am Ray(Floatwithme) a Dutch composer. Keep up that great work in all you do. Cheers Ray
John Moore
John Moore 2 anos atrás
I would describe a mode as a pattern of intervals, while a scale is a set of pitches which forms an instance of a mode.
Ken D. Webber
Ken D. Webber 2 anos atrás
The difference between a mode and a scale is that a mode comes FROM a scale, has the exact same notes as the scale it comes from BUT to be a mode you have to shift the modal center the song is grooving on. For example, if you take the D Major scale and you want to play the Dorian mode your bass player would be droning or vamping on E while the guitar player has shifted to E, F#, G, A, B, C#, D with E as the 1, F# is now the 2, G is the 3 and so on to play solos and melodies. Your root note, your modal center, is now E.
dougdevine27 2 anos atrás
This is the most succinct and understandable statement regarding the scale/mode conundrum. At least for my tech-oriented brain.
BARKINGattheMOON100 2 anos atrás
John Moore Where the Fuck did you escape from. I ain't leaving the house until you gets caught.
Christopher Prim
Christopher Prim 2 anos atrás
Rick, if you think it might be helpful, explain how you hear a mode sometime, like break it down which notes/intervals are clueing you in. I had to re-listen to your Dorian example at about 12:52 a few times, and listen to the scale you played, and play it myself, before I got that what sounded to me like the b7, 1 and 3 in a Mixolydian mode was actually the 3, 4 and 6 in Dorian. Out of context, I had no sense of A as the root. Maybe that was the problem with the example.
Richard Steven
Richard Steven 2 anos atrás
i think the actual issue is how does the tonal system compare to the modal one. The major minor scale are modes that eventually became preferred for reasons won’t go into but because you have a few centuries of a language and lexicon of musical devices based on one particular scale , it isn’t s much that modes and scales are different, we just aren’t used to modes , we don’t really have a system that can exploit them in a practical way that will appeal to most that are locked into the tonal way of how music , most music works. Indian ragas have their own system. Using tonal traditions to analyze Indian music is a little less than ideal. Using modes to analyze antiquated music from the late 19th century is also granted of some value but it doesn’t really go very far. You would be a terrible bebop player if you didn’t know modal scale theory. You would not make very good atonal music using western tonality. Theory is a framework of relationships to sound a certain way. I think using the system that works best for its intended purpose the best approach. Modes can be useful as an addendum by using their structures over a tonal context but I really think you lose so much information by using modes to explain tonal passages of music.
Jon Tull
Jon Tull Anos atrás
Keep in mind, Rick got his Masters at the New England Conservatory -- a traditional music institution -- in jazz. Refreshing to have someone who can jam AND talk the theory.
G M 2 anos atrás
Great video, Rick! Maybe would help a little more if had overhead cam to show keyboard. But maybe not having keyboard shown makes people focus on hearing/paying attention to the notes.
Gre Thi
Gre Thi 2 anos atrás
Rick, my mentor, I love your channel. So glad I found it! I would love for you to make a video about Cowboy Bebop's soundtrack by Yoko Kanno. that'd be so damn interesting!!
Jason Bryant. Bass Guitar Player
thank you sir.... you are amongst the easiest of teachers on BRvid.
Gurpreet 2 anos atrás
Hi rick I love ur content. U r so knowledgeable in music theory. I just want to know what your take on indian classical music. I mean those ragas. Please make a video on it too. That video will be awesome. Thanks.
sam davies
sam davies Anos atrás
The Ionian mode is a simple 'doh re mi' major key. It is the modern major scale. It is composed of natural notes beginning on C. Ionian mode.
 Sixxx Guitar
Sixxx Guitar 2 anos atrás
hey, rick love this video if you can do some videos on writing music for tv and movies that would be great!
Josh 2 anos atrás
I love you, Rick. You're a living wiki of all things music, each video saturated with links that I can't help but click on. But also humble and kind. Now what was it that I going to do today?
Robert Anderson
Robert Anderson 2 anos atrás
IMO: modes *are* scales. They're scales that happen to be derivable from inversions of another scale. But it would probably cause less confusion if you didn't even know that's one way to obtain them, or learned it after the fact. The view as alterations of a scale is the more useful way to think about it.
Kyle C
Kyle C 2 anos atrás
@Brod Jefferson I don’t understand why people insist on arguing that something is “easiest “ for me when I say it isn’t. If that’s easiest for you, great, go for it. I play jazz and find it more useful to remember modes my way.
Kyle C
Kyle C 2 anos atrás
@Brod Jefferson You say “modal rather than in a key,” but people now teach that a mode can BE a key. Argue with Robert Anderson about this, not me, I’m just accepting current terminology.
MaggaraMarine 2 anos atrás
@Eta Carinae You don't need a key to have a scale. Would you not call the octatonic scale or the whole tone scale a "scale" just because it's not in any specific key? All modes are scales. Actually, Ionian and major are the same scale (they are built out of exactly the same intervals), but not exactly the same thing (depending on context, it may be more "correct" to refer to those notes as "Ionian" or "major"). Scales exist outside of functional harmony. (Though I would say that nobody really talks about "Ionian" - everybody just says "major". The distinction between them in more modern music isn't really clear. Ionian was relevant in the pre-tonal music because back then people had a way different approach to harmony and tonality that is basically outdated today. Maybe if the music uses this non-functional "each chord is its own mode" approach, then maybe talking about "Ionian" would make sense in that context. But that's not the only use for modes. Modes can also be their own tonalities - you can write a song entirely in Dorian, which doesn't mean it will necessarily only use one chord. For example Scarborough Fair is entirely in Dorian, and the progression uses Em, D, G and A chords.)
Eta Carinae
Eta Carinae 2 anos atrás
@MaggaraMarine as I understand modes, they aren't actually scales because they don't have a key, and thus aren't tonal. I'm not entirely clear on this convention either, but think like this: the ionian mode is NOT the same as the major scale, nor is the aeolian mode the same as the minor scale. Those modes distinguish themselves through their aversion to tonality - clues are in the context of the piece, DESPITE all the notes being the same as their tonal counterparts. Imo as long as you have a clear idea on the functional (not related to the musical sense of the term) meaning of modes, the categories you use are up to you, but that's the convention as it stands.
MaggaraMarine 2 anos atrás
Yes. Modes are definitely scales. Lydian is a scale just like major is, but both scales can be derived from the same parent scale - both are modes of the diatonic scale. Usually people use the term "mode" when they refer to all of the different scales that you can derive from one scale. But you could also say that "mode" is one of the two components that defines a key. Key needs a tonal center and a mode (in this case, "mode" traditionally means major or minor). C major means C is the tonal center and the mode is major. C minor means C is the tonal center and the mode is minor. (For example when you change from C major to C minor, you are only changing the mode, not the tonal center.) I guess people simply prefer to use the word "key" when referring to major and minor to distinguish it from the other more "exotic" scales that are not major or minor. So, there are basically three definitions to "mode": 1. The different scales that you can derive from a parent scale. 2. One of the two components that defines a key (key = tonal center + mode). 3. A non-major/minor tonality (a tonality that lacks traditional functional harmony). ("Modal music" vs "tonal music".) I agree that seeing them as "altered major/minor scales" is the best way of understanding their sounds. You need to understand that Mixolydian has a b7 in relation to the tonic to be able to recognize it as Mixolydian. That's the note that makes it different from major (this is important if you want to recognize different modes by ear - and you do this by finding the characteristic notes of the mode, for example b7 in Mixolydian or #4 in Lydian). But I do think that the knowledge of relative modes is also helpful. It just makes memorizing the notes in the different scales a lot easier (and it also helps you with understanding where those different scales come from). "Modes are not keys"... Well, sure, at least if we use the traditional definition, there are just two different types of keys - major and minor. But modes can work exactly the same way as keys. Then again, this depends on how modes are used in a piece of music. If you treat each chord in a song as a different mode, then I wouldn't say they are keys (for example "Flying in a Blue Dream" uses four different Lydian chords: C, Ab, G and F, but that doesn't mean it's in four different keys - it's actually all centered around C, so you would say it's "in the key of C", but the different chords in the progression all imply Lydian starting from the root of the chord). But if you decide to write a song only using one mode - for example "Scarborough Fair" - then I don't see a problem with saying it's in the "key" of E Dorian (it uses Em, D, G and A chords, it's centered around Em and it uses no Bbs, so describing it as "E Dorian" is simply the most accurate way of describing the song). Many times, modes aren't used like keys, though, at least in modern music.
Be-Bop 2 anos atrás
Thanks for including the piano for auditory reference of how the modes sound, which is invaluable. When will you cover the "Depeche" Mode? Sorry, bad joke!
PuzzlePlayer 2 anos atrás
@menin atym That's the standard mode of Scotsmen!
PuzzlePlayer 2 anos atrás
good joke :)
menin atym
menin atym 2 anos atrás
Years ago Depeche Mode were guests. Host joked, Isn’t that the name our new toilet flush system? Radio silence!
Lisbonized 2 anos atrás
Nyx Aquar 🤣 but having said that, we don’t always need to play any notes. We could just “enjoy the silence”!
Nyx Aquar
Nyx Aquar 2 anos atrás
That was clever and funny. I guess people are people!😊
Valerio Rizzotti
Valerio Rizzotti 2 anos atrás
Hi Rick! I've recently used D double Harmonic Major on a soundtrack for a short film: harmonizing the 7th grade, there's a dim 3rd. How would you spell that chord?
Thomas Belmonte
Thomas Belmonte 2 anos atrás
For me, mode is derived from main scale and mode needs a scale + a chord to be defined
Alfred Bell
Alfred Bell 2 anos atrás
I just bought the Beato Book 3.0. (what a great text for getting your basics and theory down). It's the least I can do since I've watched and learned a lot from Rick (all for free!). Everyone should support him so he can make a good living as a musician, teacher, producer, etc. He has such passion for music. He'll continue to give us great content.
sgilly80 Anos atrás
I’m a terrible guitar player, but I enjoy trying to get better. Thanks Rick!
Ty Roberts
Ty Roberts 2 anos atrás
Hi Rick, Love this video. My only critique is it would be very helpful to actually see your keyboard keys maybe a split screen(?). That is unless you want to only hear the differences between these modes. ;-)
koho 2 anos atrás
The modes are the set of all scales comprised of 7 notes drawn from the "western" 12 tones, that are made up of only whole or half steps, and such that the required 2 half steps are maximally separated.
Giacinto Finocchiaro
Giacinto Finocchiaro 2 anos atrás
Hi, Rick. Thank you very much for your video on Scales & Modes. Very informative. But, to this day, RB16 or RBMODE not working on your shopping page.
El Jison
El Jison Anos atrás
We don't watch you for your video making skills, it's all about the music. FYI, they are at least as good as any teaching videos I've seen that aren't "super financed" or have a professional studio team recording and editing the videos for mass production. Honestly, sometimes the over-production of the video can sometimes take away from the pedagogical value.
Rose Viola
Rose Viola 2 anos atrás
I wonder if the Lydian scale/mode is the reason I find 'Every Little Thing She Does Is Magic' by The Police so incredibly uplifting?
Jonas 2 anos atrás
Great content as always ^^ deserves a million views
koolade76 2 anos atrás
I like this it makes perfect sense to how I visualise scales and modes, what I find helpful is relating them to sounds and genre.
koolade76 2 anos atrás
Also do the mugs ship internationally?
Khen 2 anos atrás
I would say that for practical use a scale is any devision of the octave with notes in between. From a mathematical stand point it's practical to use the term mode as a RELATION between scales. To be exact, if the sequence of intervals in scale A is a shift of the sequence of intervals in scale B (continuing over the octave) we say that A is a mode of B (and also B is a mode of A). The practical use if it is the ability to construct one scale easily by using a scale you already know.
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