Music Theory Masterclass 3: The Modes in 30 Minutes

[00:00] here we go streaming

[00:04] what's up everyone happy saturday

[00:07] today is my third installment

[00:10] of the music master class series the

[00:13] first one was on uh i can't remember

[00:16] what was on basics of music theory

[00:18] second one was on

[00:20] scales and chord progressions okay this

[00:22] one is specifically on modes we're gonna

[00:25] do modes in 30 minutes

[00:27] some of you are watching this channel

[00:29] are like what are you talking about you

[00:30] guys you talking about modes all the

[00:31] time i actually haven't talked about

[00:32] modes in a very long time

[00:35] and

[00:36] there's

[00:37] three basic modal groups that we're

[00:40] going to talk about today modes are the

[00:41] major scale modes of the melodic minor

[00:43] modes of the harmonic minor now i want

[00:45] to mention a couple things so i have a

[00:47] second youtube channel that many of you

[00:48] know about it's called rickbiato 2.

[00:51] i've been uploading content there for

[00:53] the last couple months even though it's

[00:54] been in existence for five years

[00:57] and i did a video recently about two

[00:59] videos ago

[01:00] with the

[01:02] modes of the harmonic major scale that

[01:04] we're not going to get to today and i'm

[01:06] going to upload a video probably

[01:08] tomorrow on the modes of the double

[01:10] harmonic major scale

[01:12] okay

[01:13] so that will complete this list of the

[01:16] modal scales you have major scale modes

[01:18] of the melodic minor modes of the

[01:20] harmonic minor those are the harmonic

[01:22] major modes of the double harmonic major

[01:24] okay

[01:25] why are modes important

[01:29] modes are important because they can be

[01:32] used for writing they can be used for

[01:35] improvising

[01:36] there are songs that are written

[01:39] based on modes for example there's a

[01:41] song called so what by miles davis

[01:44] there's a song called impressions by

[01:45] john coltrane

[01:47] there are songs that use modes like

[01:51] norwegian wood by the beatles that is

[01:53] just all in mixolydians matter of fact a

[01:55] lot of rock songs are in the mixolydian

[01:57] mode

[01:59] let's talk about them what the

[02:00] characteristic notes are in those modes

[02:03] and how they sound okay

[02:06] the discount code for today for our uh

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[02:13] of my three educational products if you

[02:16] want to support the channel and actually

[02:18] learn something while you're watching

[02:21] check out my biato book bundle that has

[02:23] all these things i'm actually going to

[02:24] be going from pages of

[02:27] i think 16 17 and 18 in the book i'm

[02:30] going to be referring to

[02:32] um but that has all the music theory

[02:34] that i talk about on the channel in it

[02:36] with tons of examples the this bundle is

[02:39] 700 page pdf okay 50 off that 50 off my

[02:43] biato ear training method

[02:45] 50 off my new quick lessons guitar

[02:48] course okay i talk about modes in all of

[02:50] these things the ear training course

[02:53] talks about how to hear them okay how to

[02:55] hear chord progressions how to your

[02:57] modal scales how to hear modal chords

[03:00] okay we'll talk about that in a second i

[03:02] want to talk about how these scales are

[03:04] structured how these modes are

[03:06] structured

[03:07] we're going to use the the major scale

[03:10] as the basis to construct the other

[03:12] modes like what notes from the major

[03:14] scale are changed to create these other

[03:17] modes okay

[03:19] so

[03:21] the ionian mode is the major scale so if

[03:24] we're in the key of c ionian

[03:26] or key of c major

[03:30] it's just all the white notes okay

[03:32] that's those are the modes of the major

[03:34] scale okay

[03:35] and we're going to call those one

[03:37] through seven

[03:39] the reason is

[03:40] that it's easy to understand

[03:43] conceptually when you change notes from

[03:46] the major scale

[03:48] that you get these other scales but

[03:50] these are all going to be based off the

[03:52] note c

[03:53] okay

[03:54] now

[03:55] if i talk about this the sk the modes in

[03:58] the key of c you'd have

[04:02] c ionian

[04:04] d dorian

[04:05] which is a second mode e phrygian

[04:09] f lydian

[04:11] g mixolydian and so on and so forth

[04:14] but i'm going to talk about the modes in

[04:17] relation to just the note c so these are

[04:19] all going to be parallel okay because

[04:21] i'm going to show you what you do to a c

[04:23] major scale or the c ionian mode to get

[04:26] a c dorian to get a c phrygian to get a

[04:28] c

[04:29] lydian to get a c mixolydian c a online

[04:31] c locrian okay and we're going to go on

[04:33] to the other scales after that okay

[04:37] the major scale

[04:38] the ionian mode okay

[04:41] there are seven chords in this just like

[04:43] there are in the major scale they're the

[04:45] same chords c major d minor e minor f

[04:48] major g major a minor b diminished okay

[04:52] the important thing is to recognize what

[04:55] these relationships from one note to the

[04:57] next are and what a

[04:59] ionian scale sounds like and it sounds

[05:02] like

[05:04] this

[05:10] can call that an ionian chord i'm

[05:12] basically pressing all the notes in a c

[05:14] major scale

[05:16] but the important notes

[05:18] that give it

[05:20] its shape

[05:22] are the c major triad

[05:24] the fourth

[05:26] and the seventh that's

[05:29] that's the sound of ci of c ionian

[05:38] [Music]

[05:46] what's up billy some people say it's a

[05:47] little quieter quiet billy's gonna turn

[05:49] it up here yeah

[05:52] okay so these are

[05:53] these would be ionian voicings

[06:02] [Music]

[06:05] but i'm focusing in on where the half

[06:08] steps are in the scale because that's

[06:10] the most important thing you guys that

[06:12] have followed my channel for a long time

[06:15] know that i talk about

[06:17] knowing where the half steps are because

[06:18] that's actually what defines the sound

[06:20] of the mode really those notes are

[06:23] really important ones to key in the half

[06:25] steps in the ionian mode are between

[06:27] three and four

[06:28] and then seven and eight okay

[06:31] so you've

[06:32] got

[06:34] between the third and fourth notes so e

[06:36] and f and then

[06:38] between seven and eight so b and c again

[06:41] so those notes really are

[06:49] that gives you that sound of that mode

[06:51] right

[06:52] [Music]

[06:58] okay

[06:59] dorian is a very different sound

[07:02] dorian is a major scale with a flat

[07:05] third and a flat seven if i start on the

[07:08] note c and i flat the third note of a c

[07:10] major scale

[07:12] then i flap

[07:15] the seventh note i get to see dorian

[07:18] scale so there's the c door

[07:24] just let that kind of sink in that sound

[07:26] what does c dorian sound like right it

[07:28] sounds kind of like this

[07:29] [Music]

[07:44] where are the half steps between two and

[07:45] three

[07:47] and between six and seven

[07:49] those notes are really important so if i

[07:51] take the two and three i'm just going to

[07:53] play c and g in the bass

[07:57] then i'm going to take the six and seven

[08:02] there's

[08:02] [Music]

[08:06] that's

[08:08] dorian right there that gives you that

[08:10] sound but that that six is really

[08:14] important and the third

[08:15] that really describes it right there i

[08:17] put the

[08:17] [Music]

[08:19] those two notes in there and that's

[08:20] pretty much most of a

[08:22] most of a dorian

[08:24] sound

[08:25] right

[08:26] whoops

[08:29] that would be c dorian right there okay

[08:32] phrygian is characterized by a flat two

[08:35] right

[08:36] and

[08:38] this five flat six those are where your

[08:41] half steps are

[08:42] so c fringing is a c major scale with a

[08:45] flat three or sorry flat two flat three

[08:47] flat five fl all right

[08:49] flat two flat three flat six flat seven

[08:51] okay so it'd be c

[08:53] d flat e flat f g

[08:57] a flat b flat c okay so you have the

[09:01] one in flat two

[09:02] and then you have the

[09:04] five and flat six okay so this is

[09:10] a lot of times you'll hear a phrygian

[09:11] voicing

[09:13] would be a

[09:16] major triad up a half step

[09:24] that's really the sound a phrygian there

[09:28] okay because i've got that major triad d

[09:30] flat major

[09:32] over c

[09:36] so it's a minor sound with a flat two

[09:40] the flat six and the flat two give it a

[09:42] darkness because the flat two wants to

[09:45] resolve down to one and the flat six

[09:47] wants to resolve down to five okay

[09:49] that's what gives it its melancholy

[09:51] sound a darkness you hear a lot of metal

[09:53] sounds that use the phrygian mode

[09:56] okay

[09:57] 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