[0:00] here we go streaming
[0:04] what's up everyone happy saturday
[0:07] today is my third installment
[0:10] of the music master class series the
[0:13] first one was on uh i can't remember
[0:16] what was on basics of music theory
[0:18] second one was on
[0:20] scales and chord progressions okay this
[0:22] one is specifically on modes we're gonna
[0:25] do modes in 30 minutes
[0:27] some of you are watching this channel
[0:29] are like what are you talking about you
[0:30] guys you talking about modes all the
[0:31] time i actually haven't talked about
[0:32] modes in a very long time
[0:35] and
[0:36] there's
[0:37] three basic modal groups that we're
[0:40] going to talk about today modes are the
[0:41] major scale modes of the melodic minor
[0:43] modes of the harmonic minor now i want
[0:45] to mention a couple things so i have a
[0:47] second youtube channel that many of you
[0:48] know about it's called rickbiato 2.
[0:51] i've been uploading content there for
[0:53] the last couple months even though it's
[0:54] been in existence for five years
[0:57] and i did a video recently about two
[0:59] videos ago
[1:00] with the
[1:02] modes of the harmonic major scale that
[1:04] we're not going to get to today and i'm
[1:06] going to upload a video probably
[1:08] tomorrow on the modes of the double
[1:10] harmonic major scale
[1:12] okay
[1:13] so that will complete this list of the
[1:16] modal scales you have major scale modes
[1:18] of the melodic minor modes of the
[1:20] harmonic minor those are the harmonic
[1:22] major modes of the double harmonic major
[1:24] okay
[1:25] why are modes important
[1:29] modes are important because they can be
[1:32] used for writing they can be used for
[1:35] improvising
[1:36] there are songs that are written
[1:39] based on modes for example there's a
[1:41] song called so what by miles davis
[1:44] there's a song called impressions by
[1:45] john coltrane
[1:47] there are songs that use modes like
[1:51] norwegian wood by the beatles that is
[1:53] just all in mixolydians matter of fact a
[1:55] lot of rock songs are in the mixolydian
[1:57] mode
[1:59] let's talk about them what the
[2:00] characteristic notes are in those modes
[2:03] and how they sound okay
[2:06] the discount code for today for our uh
[2:08] live stream is rb500 so it's 50 off any
[2:13] of my three educational products if you
[2:16] want to support the channel and actually
[2:18] learn something while you're watching
[2:21] check out my biato book bundle that has
[2:23] all these things i'm actually going to
[2:24] be going from pages of
[2:27] i think 16 17 and 18 in the book i'm
[2:30] going to be referring to
[2:32] um but that has all the music theory
[2:34] that i talk about on the channel in it
[2:36] with tons of examples the this bundle is
[2:39] 700 page pdf okay 50 off that 50 off my
[2:43] biato ear training method
[2:45] 50 off my new quick lessons guitar
[2:48] course okay i talk about modes in all of
[2:50] these things the ear training course
[2:53] talks about how to hear them okay how to
[2:55] hear chord progressions how to your
[2:57] modal scales how to hear modal chords
[3:00] okay we'll talk about that in a second i
[3:02] want to talk about how these scales are
[3:04] structured how these modes are
[3:06] structured
[3:07] we're going to use the the major scale
[3:10] as the basis to construct the other
[3:12] modes like what notes from the major
[3:14] scale are changed to create these other
[3:17] modes okay
[3:19] so
[3:21] the ionian mode is the major scale so if
[3:24] we're in the key of c ionian
[3:26] or key of c major
[3:30] it's just all the white notes okay
[3:32] that's those are the modes of the major
[3:34] scale okay
[3:35] and we're going to call those one
[3:37] through seven
[3:39] the reason is
[3:40] that it's easy to understand
[3:43] conceptually when you change notes from
[3:46] the major scale
[3:48] that you get these other scales but
[3:50] these are all going to be based off the
[3:52] note c
[3:53] okay
[3:54] now
[3:55] if i talk about this the sk the modes in
[3:58] the key of c you'd have
[4:02] c ionian
[4:04] d dorian
[4:05] which is a second mode e phrygian
[4:09] f lydian
[4:11] g mixolydian and so on and so forth
[4:14] but i'm going to talk about the modes in
[4:17] relation to just the note c so these are
[4:19] all going to be parallel okay because
[4:21] i'm going to show you what you do to a c
[4:23] major scale or the c ionian mode to get
[4:26] a c dorian to get a c phrygian to get a
[4:28] c
[4:29] lydian to get a c mixolydian c a online
[4:31] c locrian okay and we're going to go on
[4:33] to the other scales after that okay
[4:37] the major scale
[4:38] the ionian mode okay
[4:41] there are seven chords in this just like
[4:43] there are in the major scale they're the
[4:45] same chords c major d minor e minor f
[4:48] major g major a minor b diminished okay
[4:52] the important thing is to recognize what
[4:55] these relationships from one note to the
[4:57] next are and what a
[4:59] ionian scale sounds like and it sounds
[5:02] like
[5:04] this
[5:10] can call that an ionian chord i'm
[5:12] basically pressing all the notes in a c
[5:14] major scale
[5:16] but the important notes
[5:18] that give it
[5:20] its shape
[5:22] are the c major triad
[5:24] the fourth
[5:26] and the seventh that's
[5:29] that's the sound of ci of c ionian
[5:38] [Music]
[5:46] what's up billy some people say it's a
[5:47] little quieter quiet billy's gonna turn
[5:49] it up here yeah
[5:52] okay so these are
[5:53] these would be ionian voicings
[6:02] [Music]
[6:05] but i'm focusing in on where the half
[6:08] steps are in the scale because that's
[6:10] the most important thing you guys that
[6:12] have followed my channel for a long time
[6:15] know that i talk about
[6:17] knowing where the half steps are because
[6:18] that's actually what defines the sound
[6:20] of the mode really those notes are
[6:23] really important ones to key in the half
[6:25] steps in the ionian mode are between
[6:27] three and four
[6:28] and then seven and eight okay
[6:31] so you've
[6:32] got
[6:34] between the third and fourth notes so e
[6:36] and f and then
[6:38] between seven and eight so b and c again
[6:41] so those notes really are
[6:49] that gives you that sound of that mode
[6:51] right
[6:52] [Music]
[6:58] okay
[6:59] dorian is a very different sound
[7:02] dorian is a major scale with a flat
[7:05] third and a flat seven if i start on the
[7:08] note c and i flat the third note of a c
[7:10] major scale
[7:12] then i flap
[7:15] the seventh note i get to see dorian
[7:18] scale so there's the c door
[7:24] just let that kind of sink in that sound
[7:26] what does c dorian sound like right it
[7:28] sounds kind of like this
[7:29] [Music]
[7:44] where are the half steps between two and
[7:45] three
[7:47] and between six and seven
[7:49] those notes are really important so if i
[7:51] take the two and three i'm just going to
[7:53] play c and g in the bass
[7:57] then i'm going to take the six and seven
[8:02] there's
[8:02] [Music]
[8:06] that's
[8:08] dorian right there that gives you that
[8:10] sound but that that six is really
[8:14] important and the third
[8:15] that really describes it right there i
[8:17] put the
[8:17] [Music]
[8:19] those two notes in there and that's
[8:20] pretty much most of a
[8:22] most of a dorian
[8:24] sound
[8:25] right
[8:26] whoops
[8:29] that would be c dorian right there okay
[8:32] phrygian is characterized by a flat two
[8:35] right
[8:36] and
[8:38] this five flat six those are where your
[8:41] half steps are
[8:42] so c fringing is a c major scale with a
[8:45] flat three or sorry flat two flat three
[8:47] flat five fl all right
[8:49] flat two flat three flat six flat seven
[8:51] okay so it'd be c
[8:53] d flat e flat f g
[8:57] a flat b flat c okay so you have the
[9:01] one in flat two
[9:02] and then you have the
[9:04] five and flat six okay so this is
[9:10] a lot of times you'll hear a phrygian
[9:11] voicing
[9:13] would be a
[9:16] major triad up a half step
[9:24] that's really the sound a phrygian there
[9:28] okay because i've got that major triad d
[9:30] flat major
[9:32] over c
[9:36] so it's a minor sound with a flat two
[9:40] the flat six and the flat two give it a
[9:42] darkness because the flat two wants to
[9:45] resolve down to one and the flat six
[9:47] wants to resolve down to five okay
[9:49] that's what gives it its melancholy
[9:51] sound a darkness you hear a lot of metal
[9:53] sounds that use the phrygian mode
[9:56] okay
[9:57] anything that has a flat two
[10:00] or a flat six
[10:01] those notes want to move down they want
[10:04] to resolve down okay whereas the sixth
[10:08] in dorian actually wants to resolve
[10:10] upward
[10:11] that's why dorian is a brighter minor
[10:14] sound okay
[10:15] so if i have c dorian
[10:18] [Music]
[10:21] that a that six
[10:23] [Music]
[10:25] has a natural tendency to rise and it
[10:27] actually takes a minor mode and makes it
[10:30] sound brighter okay
[10:32] uh
[10:33] lydian
[10:35] sharp four and five
[10:37] is where the half step are and then
[10:38] between seven and eight okay
[10:41] lydian
[10:43] lydian has a
[10:44] celestial sound or
[10:48] otherworldly
[10:49] okay see lydian would be
[10:51] [Music]
[10:57] there's your lydian sound
[10:59] major scale with a sharp four
[11:05] that sharp four
[11:06] [Music]
[11:10] wants to resolve up to the fifth so the
[11:12] lydian mode has a natural lift to it
[11:15] it's a brighter sound than the ionian
[11:18] scale the ionian scale has the natural
[11:20] fore
[11:21] that wants to move down lydian has the
[11:24] sharp four that wants to move up
[11:27] that's why i call it a brighter scale
[11:30] okay and you hear that in film scoring
[11:32] all the time lydian mode is one of the
[11:33] most common mode it has a triumphant
[11:36] sound to it or
[11:38] more otherworldly if you hear um
[11:41] i'm trying to think if i'll get
[11:42] demonetized if i do this
[11:45] um
[11:46] uh i better not play it because if i
[11:48] play this one chord it's from this the
[11:50] the show is six feet under it's thomas
[11:52] newman soundtrack and the first chord is
[11:56] a lydian triad okay and and it actually
[12:00] um
[12:02] is just
[12:04] that
[12:05] okay that probably d-minus is my video
[12:07] just for that because that's actually
[12:09] the voicing that he uses there and it's
[12:11] a
[12:12] when i say a lydian triad it's one sharp
[12:15] four
[12:16] five okay as opposed to a major triad
[12:20] lydian triad
[12:22] okay
[12:24] i love the lydian mode i love all these
[12:26] modes i love all modes period um
[12:29] the next mode is the mixolydian mode
[12:31] mixolydian mode has
[12:33] the half step between three and four and
[12:36] between six and seven okay
[12:39] so
[12:40] c mixolydian is basically c major scale
[12:43] [Music]
[12:45] with a flat seven okay so once again
[12:52] there's your mixolydian sound
[12:56] [Music]
[13:06] love that sounds beautiful
[13:07] [Music]
[13:19] okay
[13:20] mixolydian is used in rock
[13:22] ac dc you name it any classic rock song
[13:26] pretty much uses mixolydian it's the
[13:28] most common mode that is used in rock
[13:31] music rock melodies i would play some
[13:34] but i'll just tell you norwegian wood is
[13:37] one that uses it that's i played it in
[13:39] the video before
[13:41] but the whole melody is
[13:43] mixolydian but i can think of a hundred
[13:46] songs that use mixolydian in the in the
[13:48] uh as a mode that's written off okay so
[13:51] basically it's that your tonic in this
[13:53] case would be c
[13:55] and everything kind of resolves down to
[13:56] c but the scale has a b flat in it right
[13:59] your you people say well aren't you in
[14:02] the key of f it's like well it's using
[14:04] the notes f major but it's the fifth
[14:06] mode and it always resolves back to c
[14:09] that's the thing about modes is that
[14:11] they have a natural tendency to resolve
[14:13] to the
[14:14] tonic
[14:16] that
[14:17] would be the five chord in the major key
[14:19] so in the key of f c is the five chord
[14:22] and mixolydian is the fifth mode
[14:24] but the song can be
[14:27] in the key of
[14:28] c mixolydian because it's always
[14:30] resolving back to c even though it's got
[14:32] the chords of f major in it right
[14:35] okay next mode aeolian right the saddest
[14:38] mode
[14:40] that has absolutes between two and flat
[14:43] three and five and flat six once again
[14:47] that flat six
[14:49] wants to resolve down
[14:51] okay and that's what gives aeolian
[14:54] two three
[14:56] flat three four five flat six flat seven
[15:01] it gives it a very dark
[15:04] sad
[15:06] i think a sad
[15:07] that gives it a sad sound
[15:24] i just love that
[15:30] [Music]
[15:32] it's beautiful beautiful i love aeolian
[15:35] [Music]
[15:39] that flat
[15:41] that flat six is just so
[15:43] sad sounding right you hear melodies um
[15:47] many great great songs use aeolian
[15:51] modes one of my favorites is a sting
[15:54] tune called i burn for you i made a
[15:55] video called the aeolian mode i've got
[15:57] videos on all these modes if you look on
[15:59] my channel
[16:01] look up lydian look up aioli and look up
[16:03] locrian leave find them all on my
[16:05] channel on this channel or my rick beato
[16:07] 2 channel once again
[16:09] all this stuff is in my beato book
[16:13] if you want to follow along with these
[16:14] things and actually know what i'm
[16:15] talking about discount code rb 500 50
[16:19] off
[16:20] that
[16:21] ear training my ear training course
[16:23] teaches you how to hear these modal
[16:25] scales how to hear these modal sounds
[16:27] right and then i do a lot of
[16:29] improvisations using the modes in my
[16:31] guitar course my quick lessons but 50
[16:34] off all three of those go to my website
[16:36] for that the last mode here locrian last
[16:39] mode of the major scale has a half step
[16:40] between one and two right so it gives
[16:42] that
[16:43] darkness to it but then between four and
[16:46] flat five okay
[16:48] i found a great locrian tune so low
[16:51] grain one two flat three
[16:54] four flat five flat six
[16:57] flat seven
[16:59] back to one
[17:01] that has a real
[17:09] just
[17:10] beautiful
[17:21] so
[17:29] [Music]
[17:33] i love that there's a tune called
[17:35] opening the opening it's on keith
[17:37] jarrett's intervals
[17:40] dark intervals record
[17:42] appropriately called dark intervals
[17:45] because the first song is in locrian
[17:47] it's 13 minutes of sea locrian okay it's
[17:50] beautiful keith jarrett
[17:52] if you don't know who he is go to
[17:54] spotify go to apple music type in keith
[17:56] jarrett look up the first song on dark
[17:59] intervals came out in 1988
[18:02] and it's in locrian okay so these are
[18:03] the modes in the major scale they all
[18:05] have a distinctive sound when i hear
[18:08] this kind of a sound
[18:09] i'm like oh it's lydian i just know this
[18:12] lydian as soon as i hear that if i hear
[18:14] this sound
[18:16] i'm like oh that's aeolian it's an
[18:18] aeolian sound
[18:20] they just have such a unique flavor to
[18:22] them all of these modes have a unique
[18:25] unique sound to them right this is
[18:32] lydian
[18:34] you can hear this
[18:40] if it was this
[18:42] i would say hmm what is that
[18:44] well that's more of a mixolydian
[18:46] [Music]
[18:50] but this is
[18:52] lydian
[18:53] just a voicing has a complete sound to
[18:57] it a lydian sound if i think of the
[18:59] scale when i play that chord
[19:01] [Music]
[19:07] i'm singing very poorly a d flat lydian
[19:11] scale
[19:14] but i could sing
[19:22] so i just sang all the notes in the
[19:24] chord
[19:26] d flat a flat f g b flat e flat a flat d
[19:30] flat a flat f g b flat
[19:33] a flat
[19:35] so those are the notes
[19:37] in this d flat lydian chord sung from
[19:40] the bottom up when i hear that i hear
[19:42] those notes
[19:44] in that particular order right but i
[19:46] recognize the sound of it as a sound
[19:50] now
[19:51] the next scale we're going to talk about
[19:53] is the melodic minor scale one of my
[19:55] favorite scales that is used more
[20:00] um
[20:01] but you get use
[20:03] melodic minor is used by people like
[20:05] stevie wonder
[20:07] um
[20:08] let's see melodic minor
[20:10] i'm going to call it mel min okay so i
[20:13] have to write it all out we have melodic
[20:15] minor
[20:18] we have dorian flat 2
[20:23] we have lydian augmented i'm going to
[20:25] breathe it abbreviate these
[20:28] we have mixolydian sharp 11
[20:31] we have mixolydian flat six
[20:34] we have uh locrian natural two
[20:38] and we have altered dominant or all
[20:40] super low grain we'll call it for today
[20:42] super locrian
[20:48] now
[20:49] melodic minor scale compared to a major
[20:52] scale is a major scale with a flat third
[20:54] one two flat three four
[20:57] five six
[20:59] seven okay
[21:00] so
[21:05] okay now in classical music people go
[21:10] and then they come down
[21:13] aeolian that's what you call the
[21:15] classical melodic minor but we're
[21:17] actually going to use melodic minor as a
[21:19] constant structure like a jazz musician
[21:21] would
[21:22] great great sound now what do you do
[21:24] with these other modes well if you know
[21:25] what dorian is dorian flat too if i
[21:27] write out a dorian scale
[21:31] once you know the modes of the major
[21:32] scale right dorian flat two that's all
[21:36] it is that's why it's called that they
[21:38] they basically use the names
[21:40] of the major scale modes so once you
[21:42] know them
[21:43] all you do is you do what the scale
[21:45] tells you to do okay lydian augmented
[21:48] i'm gonna write lydian
[21:51] sharp four five six seven
[21:53] and augmented when somebody says
[21:55] augmented augmented chord they're
[21:56] talking about a sharp five so this is
[21:59] lydian augmented okay we'll come back to
[22:01] these mixolydian sharp 11 okay
[22:04] sharp 11 means sharp four so i'm going
[22:06] to write out a mixolydian scale four
[22:09] five six flat seven 7.
[22:12] i'm going to raise the fourth mixolydian
[22:15] right sharp 11 or sharp 4.
[22:17] mixolydian flat 6. i just did a post
[22:21] on um
[22:23] on instagram
[22:25] where i played
[22:27] the mixolydian flat six scale
[22:32] and
[22:34] um
[22:34] [Music]
[22:35] and i talked about how when i was in
[22:37] music school the teachers used to say oh
[22:39] mixolydian six don't worry about that
[22:41] nobody uses that it's like what
[22:43] it happens to be one of the best modes
[22:45] it's like one of my favorite modes you
[22:47] want to write beautiful melancholy
[22:50] music that has a major feel to it
[22:52] mixolydian flat six
[22:55] you'll thank me later i'm just kidding
[22:57] uh locrian natural two locrian normally
[23:00] has a flat two right so it's basically a
[23:02] low-grade scale
[23:03] i'll make the two natural
[23:06] flat three four flat five flat six flat
[23:10] seven okay so it's a low green scale
[23:12] but with a natural two
[23:14] i'll put a natural here just so you
[23:16] remember
[23:17] normally locrian
[23:19] has a flap but since we're comparing to
[23:21] the major scale we're just going to go
[23:22] like this and then
[23:24] super locrian one of my favorite scales
[23:26] one flat two flat three flat four flat
[23:30] five flat six flat seven
[23:33] okay
[23:35] the super locrian mode is used with
[23:37] dominant chords and we're going to talk
[23:38] about
[23:40] these um
[23:42] this is really a
[23:43] dominant sounding mode it's called super
[23:46] locrian but most people that i know like
[23:49] myself refer to it as
[23:51] altered
[23:52] dominant
[23:54] the reason it's called alter dominant is
[23:55] because if you take
[23:58] if let's say you're in the key of c
[23:59] right
[24:00] [Music]
[24:02] so
[24:09] it's a c major has a
[24:11] major third
[24:13] sharp five
[24:14] flat seven
[24:16] it also has the flat nine and the sharp
[24:18] nine in it
[24:19] [Music]
[24:20] so
[24:30] anytime you have an altered sound right
[24:34] that would be more of a jazz voicing
[24:37] one
[24:38] sharp nine i'm sorry one flat nine sharp
[24:41] nine third sharp four sharp five flat
[24:44] seven that's why it's called the alter
[24:46] dominant scale because it contains the
[24:48] sharp nine flat nine sharp five flat
[24:50] five in the scale
[24:51] they're just hidden by these things but
[24:53] if i go like this
[24:56] uh flat nine
[24:58] sharp nine
[24:59] flat five uh flat five
[25:01] i'm sorry this is the third
[25:03] hidden and harmonic this is the
[25:06] uh flat five and this is the sharp five
[25:09] the flat six and sure five are the same
[25:11] notes there
[25:12] this flat four is is what i
[25:14] which would be is kind of confusing but
[25:16] really that flat four is the actual
[25:18] major third okay
[25:22] these are the modes of the melodic minor
[25:25] scale these are the uh the formulas for
[25:29] the modes of the melodic minor scale
[25:32] now
[25:32] i have videos with all of these on my
[25:35] channel each one individually with
[25:38] pieces that i've written in then if you
[25:39] look up oh they're between my my normal
[25:42] channel and my rick be out of 2 channel
[25:44] go to them and search these names and
[25:46] you will find videos on each specific
[25:49] mode so you don't have to actually
[25:51] wonder i go through all the chords that
[25:52] are in them and i have a piece that is
[25:54] written in the particular
[25:56] modes okay so when you want to hear what
[25:58] they sound like or you go to page
[26:02] uh
[26:02] melodic minor would be page 18 in the
[26:05] biato book and once again discount code
[26:08] rb500 50 off you want to support the
[26:12] channel and you want to learn about
[26:14] music that's how you can do it right so
[26:16] you buy i i only make educational
[26:18] courses
[26:19] that teach you how to become a better
[26:21] musician that's that's
[26:23] that's what this channel is it's a uh
[26:26] it's a music learning channel but
[26:29] think of this these things are kind of
[26:31] the textbooks that go along with you
[26:33] with them and give you a greater
[26:35] understanding if i'm talking about a
[26:37] topic and you're watching a video and be
[26:38] like what what are we talking about here
[26:42] what is this alter dominant or that we
[26:44] just open up the beato book or go to my
[26:46] ear training course you can hear it or
[26:48] you just go do a video in here and you
[26:50] hear me
[26:52] hear a video with a piece written on it
[26:54] where i talk about all the scales that
[26:55] are related to it okay
[26:58] if you go to page uh example 17 on page
[27:02] 20 we have the modes of the harmonic
[27:05] minor scale
[27:07] okay
[27:09] once again
[27:11] the modes of the harmonic minor scale
[27:14] just have a series of no of uh i relate
[27:17] them to the major scale okay so we have
[27:19] the harmonic minor scale
[27:24] harmonic minor scale is a major scale
[27:26] with a flat third
[27:30] with a and a flat six and a major seven
[27:32] so in the key of c it'd be one two flat
[27:35] three four five flat six
[27:38] major seven so you have this augmented
[27:41] second in the middle of the scale that's
[27:43] real
[27:44] which really gives it that sound right
[27:46] so that is um
[27:49] that is the harmonic minor scale i and i
[27:53] made a mistake it's on page did i say
[27:55] page 19 billy yeah page 19 okay
[27:59] the second mode is locrian natural six
[28:04] once again you take a low green scale
[28:06] one flat two flat three four
[28:09] flat five natural six flat seven okay
[28:13] it's just memorizing these formulas you
[28:15] do exactly what the scale says what the
[28:18] mode says okay the third mode is ionian
[28:21] augmented
[28:24] ionian augmented ionian one two three
[28:28] four
[28:29] sharp five there's your augmented
[28:31] six
[28:32] and seven okay
[28:35] um so
[28:37] when you go to this page you'll say okay
[28:38] i only augmented and you look at it and
[28:40] you say okay there's an e flat if you're
[28:42] in the key of c there's a triad e flat
[28:45] augmented that's based off that mode
[28:48] uh uh off that scale degree and then
[28:50] there's an e flat major seven sharp five
[28:53] chord that's built as a seventh chord
[28:56] the next mode is dorian sharp four right
[29:02] and what you do take a dorian scale
[29:05] three
[29:06] sharp the fourth
[29:07] five
[29:08] six flat seven
[29:10] um then you have phrygian major
[29:14] you do exactly what it says one
[29:17] two
[29:18] three right
[29:20] flat two is the phrygian part
[29:22] four
[29:23] five flat six
[29:26] flat
[29:27] seven
[29:28] phrygian major so it's basically a
[29:31] phrygian scale
[29:33] okay so it usually works with dominant
[29:34] chords in the key of c
[29:36] melodic minor
[29:38] it would be a g phrygian major okay so
[29:42] that scale
[29:44] um
[29:45] uh the flat six kind of acts as a sharp
[29:49] five
[29:50] right and the flat two really acts as a
[29:52] flat nine it's this is used as a
[29:57] mode over dominant chords okay it's
[29:59] really gives the flavor like um
[30:02] uh it gives a flavor of a minor key like
[30:05] a dominant chord a five chord and a
[30:07] minor key it's a great great great sound
[30:09] love phrygian major
[30:11] um
[30:13] the
[30:13] next mode here is lydian sharp nine i
[30:16] have a great video on lydian sharp nine
[30:20] lydian short now one of my favorite
[30:22] scales
[30:23] it's one
[30:24] sharp two that's the sharp nine three
[30:28] sharp four
[30:30] five six
[30:31] seven that's lydian sharp nine and then
[30:34] we have altered dominant
[30:37] double flat
[30:38] seven okay so one flat two flat three
[30:42] flat four flat five flat six i'm rushing
[30:46] here flat seven i'm trying to do it all
[30:47] in 30 minutes
[30:49] that is the formula for altered dominant
[30:51] double flat seven it's the alternate
[30:53] scale and i just
[30:54] double flat the seventh note okay
[30:56] so
[30:57] one two flat one flat two flat three
[31:01] flat four flat five flat six
[31:04] [Music]
[31:05] uh double flat seven
[31:07] [Music]
[31:08] and there's your augmented second
[31:10] interval right there at the top of the
[31:11] scale that's the ultra dominant double
[31:13] flat seven once again
[31:15] i have a video called scale wars that i
[31:17] put two different scales together and
[31:19] one of the ski in one of the pieces i
[31:21] juxtaposed the ultra dominant double
[31:23] flat seven against another scale i can't
[31:25] remember great video scale wars go back
[31:27] early in my channel and watch these it's
[31:30] one of my favorite videos
[31:32] okay these are the modes of the major
[31:35] scale melodic minor and harmonic minor
[31:38] scale
[31:39] all of this is in my ear training course
[31:41] all of it is in my beato book bundle if
[31:44] you want to know more about them and
[31:46] really study them and learn them
[31:47] discount code is rb 500
[31:50] 50 off that
[31:52] um i have a piece on the harmonic major
[31:55] scale i i actually took the harmonic
[31:57] major scale and i wrote a piece on all
[32:00] seven modes
[32:01] go to my rick beato 2 channel
[32:04] follow me there or follow me on
[32:05] instagram at rickbiota1 because i do
[32:07] improvisations
[32:09] on instagram as well but there's a
[32:11] harmonic major scale piece a piece in
[32:14] every mode i'm going to put up this the
[32:16] uh a video with a piece in every one of
[32:19] the double harmonic major modes
[32:22] okay
[32:23] you guys are amazing thank you so much
[32:25] for hanging in there these mode things
[32:27] are really
[32:29] a lot of people think they're complex
[32:31] it's just memorization that's all
[32:34] that's all you got to do just going to
[32:35] memorize you got to look at the stuff
[32:36] write it down and you'll get it
[32:38] you guys are awesome thank you have a
[32:40] great rest of your weekend we'll see you