Transcripts
1. Introduction: Welcome to the
extensive guide with modes and how to use it in your solely over specific
chord progressions and ports within the scales. This course will benefit
your life because these things are core
concepts of jazz music. You should learn the ethics of skills most and courts
within the skills, I have explained these things
very carefully so you can understand the
whole concept using formulas and simple
explanations. So you do not need to
twist your brain a lot. Just use math and logic along the learning process
and you're good to go. I'll see you guys inside.
2. Complete Theory of Modes in Jazz for Piano, How to Solo and Improvise: Hello and welcome to
the extensive guy about moments and how
to actually use them. So we need to start off by
explaining how this works. Basically, what we have here
is a typical major scale, for example, C major. And then we will
learn how these modes are formed and their
actual formulas. So we don't have any troubles playing them in
different tonalities. So first off, we start
with C major scale, which has the following doses. We already explained. The B and C, okay? And as we already know the
formula for the major scales, which is 0 plus two. So 012, once again plus 2012. And then the slash
sign means we need to place our thumb underneath. So the formula says 101. Now the formula says two. So 012, once again it's a two. So 012, once again, two, so 012, and the formula says
one Indian, which means 01. So this is the formula for all, for all major scales. So 0 to 11. This way, we're gonna be
able to locate all of the modes by playing only
notes of C major scale. And let's see how
we're gonna do this. The first scale we already
know is Ionian mode, which is often called
the natural major scale. We count this scale with the following formula already
explained previously, the case of 0 to one. What this means, r 0
is our starting point. Now, as we already
explained this procedure, now, you shouldn't have any issues with these
heels and all right, so as well as being able to use this formula for any
other personality, for example, E major
or Aeolian mode. So 012. So this is e Aeolian
mode or E major scale. Now, how to play the scale? What you want to do here is
to play over the first chord, which is going to be a C major seventh chord in
the example of C major, okay, like this, we have
the root major third, we have the perfect fifth, and we have the major seventh. Now the main difference
between a scale and a chord is you play or scale
all the way through. So for example, C major. Without skipping any nodes. And the courts, you
are going to play them in thirds like this. So C is 1 third, regarding to the
C-major scale, okay? Now, g is another third, but this is the integral
of a minor third now, So from E to G is a minor third. C to E is one major third. So 01234 half-steps is a
difference from E to C, and the G is a difference
around three half-steps case. So 0123 major third minor, third major third months again. So from G to B is
01234 half-steps. And once you transfer the domes, which are not played here. And these are, We
don't have a d, we don't have, we
don't have a here. So once we transfer
these three tones, you're going to get the
whole C major scale, or C Aeolian mode. So they go one octave lower. And we have all those
in C major scale. So to conclude things, you'll want to play
the first mode over the C major seventh chord. The second mode is
called Dorian mode, and it reminds us
onto melodic minor. But the main difference is
that melodic minor has both the sixth and the seventh
degree raised by one semitone, and Dorian mode has only the
sixth degree raise by one. Okay? So denotes R is following. The formula is 01212, okay, Next, the typical
two phi one jazz standard is something you want to
familiarize yourself with. There we have the
perfect opportunity to play this mode on
that exact two. In the 251 progression. Example would be, let's
say a D minor seven. The phi would be G. One
would be major seventh. Okay? So you can play this small
over D minor seventh chord. Let's play, let's
play this anymore. Also, you can use Dorian mode to play minor seventh chords, which don't have their
function within the scale. For example, Let's say
E-flat minor seven, or F sharp minor seven. I don't know, but the
main purpose is to play the Dorian mode over
minor seventh chords. The third mode sounds like Oriental music due to
the following formula, we have the following 01212122. And the only difference between this and irregular minor
scale is this second degree, which is a minor second
in terms of minerals. So basically you just
played a minor scale, but the second degree
is A-flat to like this. You'll want to play the scale on the third chord
in a major scale, regardless of the fact we
previously spoke about minor seventh chords being
used only for during more. This is an exception
for the third degree. We've got ourselves
to the fourth mode called the Lydian mode. We're going to build this
on the fourth degree in C major scale along
with the formula. So 0 to one. Now this mode
sounds happier than the regular major scale because of the fourth degree being
grazed by one half-step. Okay, It sounds
really bright and often it's used in
movies where you need to point out
the true happiness or similar good things. Okay, So this is on the fourth. The fourth coordinate in the C major scale would
be F major seven. So everything is exactly
the same as major scale, but the main difference is
this sharpened degree, okay? Use it over the fourth
major seventh chord, as I already
explained right here. Okay? And in this case,
that's gonna be F-major seventh in the
tonality of C major. Also, what we need to point out here is you can use
this mode over to first-degree as well
in exchange for the Aeolian mode to sound a little bit more
exotic, for example. But in this case where we
played the seal videos skill, which goes like this. The fifth mode is called
the Mixolydian mode, which has the following formula. It says 0112. We played over the
dominant chord in the major scale and in this
case is going to be G7. The main difference between the Mixolydian and
irregular eolian, or major scale, is the
dominant seventh degree. I here, instead of
a major seventh. So we have the note
F is F sharp, okay? Also we can play this mold over the G7 chord in the scale
of C Major like this. This is actually the
natural minor scale, which we are mostly
familiar with. And the formula
is the following. We have 0 to one to one. And you're going to exclusively
need to play this over the sixth chord or the minor seventh chord
on the sixth degree. And in our case, this is going to be the
a minor seventh chord. Also, another important
thing to mention is that the Dorian mode is related
to the minor seventh chords, but it should not
be played over the third and the sixth scale
degree. In a major scale. So in our example, we would want to avoid the Dorian mode over
the E minor seventh. Minor seventh. So you'll want to
keep this in mind. We have an interesting
urban legend about the Locrian mode that in
the times of middle age, this scale is
strictly forbidden. And the composers who would play this mode would be
beheaded for their sin. As the mode itself sounds really creepy and haunting like coming from the
devil itself. Okay? The formula 012 to one. In most situations,
you'd play this mode over the seventh degree
in a major scale, or on the second degree
in the minor scale. And the minor scale
parallel to our example of C major is a minor, which means we played over the B half diminished
chord like this. Why are these actually, well, as they might sound, they actually are not
that what you mean. But in general, you
would want to avoid them as the stopping points is specific situations when it
comes to doing the soul over some chord progressions because they might sound dissonant. Also, when we're
building chord voicings, we should not include
these stones into the core structure either
each of the modes of the previous explain here it has its own combination of avoid tones and let's get
through them quickly. So the union mode, we have C major seven
in our left hand and we have dangerous 913 available, because nine sounds decent. 13th also sounds decent, but the 11th, which is node F. This is not available here
because it sounds dissonant. And also it's going to build an interval of flat nine
with the actual third, which is a node E.
So we have this, but it also builds
an interval of augmented fourth along
with the major seventh. So this is, this is, we want to skip this interval, which is the devil itself, like we explained previously, that sounds very, very unstable. So this sounds really
unstable. Okay? But when it comes
to improvising, for example, there is no restrictions to avoid
claim that node F. All. The main effect
here is just not to stop the freezer
playing on that note. So doorstop on node, you're going to want to
avoid this dissonance. Ok? So what you'd want to do here
is just play that note too, but and a freeze on either. A 13579 ordered 13th instead. I just previously
explained here. Next we have the Dorian mode. We are on our D minor seven, and we have the night, and we have the 11th
available here. But the 13th should be avoided. As it builds the dissonance. We don't need. This, okay? 11 is also
key, but the 13th. This is the business
we actually do. But also the one unique
thing in jazz concept 51 is if you're playing
the D minor 74 here, It's not a good choice
to play the 13th, which is node B. As this is actually the third in the upcoming chord of G7 in the progression
of two Phi one. And to explain this
in layman's terms, that means we're selling
the sound early, too early. And the D minor
seven chord cannot give its full potential in
the existing progression. And a D minor seventh
chord cannot give its full potential in the
existing progression, right? This is where we sold
our sound way to locate. This is something
you want to avoid. So do not stop on the 13th. You can stop on any
other interval instead. For example. The next mode is Phrygian mode. And here we're going
to avoid intervals, and these are ninth
and the 13th. So F and C avoided. And we only have the
11th available, which is the next mode is Lydian mode. This is the mode
where we can play all nodes and there's
nothing to avoid it. Even augmented fourth,
which is a node. Okay, so Lydian mode. The next mode is
Mixolydian mode, and everything is the same
as for the Union mode, where we have tangent ninth
and the 13th available. So the ninth and
the 13th is node E. Okay? But 11th is what makes
that dissonance, which we need to
eliminate like this. So this is unavailable because the B right here is
just 1.5 step away. This 11th, we're
going to want to avoid this Aeolian mode. Everything is the same as in the Dorian mode where
we avoid the 13th, but the ninth 11th
are available. Okay? So the ninth 11th are available. And the 30th, which is a node F, This should be avoided. And finally, Indiana,
we have lock-in mode, which is the ninth is not available, but aren't available. Domain difference
between the melodic minor and a regular
major scale is we have the third-degree
flattened by 1.5 step. So in this case we
don't have the note, but rather it's a flat cake. And the scale formula
is like this. 0 to one. You can improvise just
by randomly playing nose through the skill
of c melodic minor. For example, if there's the first-quarter
would be like this. C, E-flat, G, C minor
major seventh chord. The formula for this mode
goes like this, 012. And it looks exactly the same
as the regular Dorian mode, but with the flat seven. And it's pretty rare in music, and it's mostly in modern music like Maria Schneider to Korea, etc, for example, I don't know. This mode has the fourth and the fifth sharpened
with the formula. So we have to do once again. And this can be played over a regular major
chord, for example, in C major, if we want to add some augmentation to the
existing Lydian scale like this. This mode is widely used
on dominant chords, which do not have a function
of the fifth degree. And it has a sharp four. And the flat seventh degree
with the following formula. 0 to one. Okay? You literally need
to use this mode only on dominant seventh chords, which do not belong to
a standard progression, but rather they are outside
of it being stand-alone. For example, you have a
dominant seventh chord on the position five in the C
major scale, which is G7. Want to make a quick passage
to make it sound more spicy? You would play the
following formula. 0 to one to one. This means the sixth
is flat, okay? So 123456, this is
the flat one. Okay? But when it comes to courts, you would want to play
G7 with a sharp five. This is G7 sharp file, as we're using the toes from
a seat melodic minor scale. So c melodic minor
is this is E-flat, and instead of playing
the regular d node, we're going to play
the augmented fifth, or within the Mixolydian
with a flat 13th. We're going to play
the following. Right now we have a half-diminished
chord on node a, okay? This is half-diminished,
so flat and G, which means this is a minor
seventh, would apply. In the scale of c melodic minor. The formula for the Locrian, natural ninth mode, the
following, 0 to one. Okay? Now, once again,
doo, doo, doo, doo. Let's, once again, the regular Locrian mode
would have the minor second. This would be the
dope beat flat. But in the melodic minor scale, we do not have
that B-flat notes. So instead of this node, we're gonna play the beat, sorry, the beans, which makes
this Locrian mode altered. And we need to play
a major second here. As I already explained, it also sounds more
modeling this, but you always have a
choice whether you play the irregular luxury or an altered version like
this, for example. Or the dangerous in this mode are all altered. One, flat nine sharp,
nine sharp 11. It has no five. Okay? The next is flat 13th. We have a flat seven and
we have one once again. So the actual formula, 012122. Okay? Also one thing is
for sure you can play the altered mode
over a dominant chord, which makes us another
option available to play instead of the Mixolydian
mode on the fifth degree. So we have the G7 dominant chord and the node starts falling. G, a flat sharp, B,
C-sharp, D-sharp. Probably a question
yourself. What are they? Avoid tones in each of these? Well, actually, in a
melodic minor modes, there are no avoid tones. And that's a good thing because we have more possibilities. Express ourselves, even
though there are chances that sometimes something will sound more fun and more sophisticated, and sometimes something
will not sound hokey. So it's up to you to decide
what should go with. This is something that actually use over dominant
seventh chords. And the formula is like this. But you would probably
want to play this over a dominant seventh chord with
a flight fight with this. Now we have this C7
with a flat five. It actually sounds kinda dreamy, almost heavily if you're
into these things. So make sure you practice the correct finger positions depending on the tonality
you'll be using. Because this is one of the
oddest sounding scales. The diminished scale
is also known as up to tonic scale since it has
eight different tones. The formula is like this. 212121. Once again, 1211. What is interesting with
this skill type is that the symmetry of the intervals
are all minor thirds, and that's how the
scale was built. So C, E-flat. The next we have
then E flat, a flat. The next one is a. No. We have to be able to see, okay. If you count this
scale in another way, you'll get the
following formula. For example. Step, step, step, step, step, half step, whole step, half step. And you can place so overdue diminished chords
with this skill. Okay? Another way is to inverse this. So you would get, for
example, like this. Half step, whole step, half step, whole step, half step, whole
step, half step, whole step. So 01111. And also you can use
this as another option to solo over the dominant
seventh chords as well, okay? 0. Next we counted three, so 0123, okay, Next we have one. Once again, it's a 30123. And once again one. And finally once again. So 0131. You can solo over
any amended cord, or even a major seventh, as well as minor, major seventh chord stool. It has a wide usage
and sounds very exotic and same as
the diminished scale. Next we have the major
and minor blues scale. The major goals skill
formula goes like this. We have 0113. Once again. One, the Minor Blues
scale formula, those like this. One. Once again. Many jazz beginners
will learn this skill before learning modes and other different types of skills, because the usage of
this scale is very wide, it can sound good
by playing the soul over any chord in
the progression. For example, if we have
a C minor seventh, let's say, and
then we'll replace the F minor seven along with it. And let's get back to
C minor. Once again. The next section is major
and minor pentatonic. The major pentatonic scale
formula goes like this. We have, we have two. Next we have, do, we have a 33? Okay, once again, the next is minor
pentatonic scale, and the formula goes like this. 0. We have a two. Once again, we have
a two on a two. So this is the minor pentatonic scale is often used in combination
with the blue scale types. And it's widely
used in jazz music. And also considered one of the oldest skilled
types which was found in many cultures among piano players
since the old times. Another thing worth
mentioning is that there are other combination
types of these scales, but we will discuss
that matter in the future as I will give my
best to make another course dedicated to these things on synthetic scales can be built by using tetra
chords. But what are these? So the tetra chords are the first four notes of any
type of scale or molar. For example, let's play
the first four toes of the natural minor scale
and see the notes. And now in-between,
we're going to connect these by adding either
a minor second, major second, or a
minor third in-between. And then we're going to build
another type of tetrachord. For example, let's say a major scale, for
example, let's play. So let's add a major second. A major second from note, F is not G. And this G, we're going to
build a major scale, okay? So detector chord
of major scale, of G major scale is G, B, and C. Now we have the following. This is basically a seat
melodic minor, but for example, let's add a minor third to this scale, to
this type of work. So flat F and a minor
third from f is G-sharp. Okay? Now let's build, for example, let's build augmented scale. So G sharp, a sharp, B, C, and D. Now we have that. This sounds oddly weird, but this is still
interesting, right? So we can make any
combinations you want just by knowing the first four
terms of any scale type. Or let's say I'm okay. So I'm going to let you here to improvise a little
bit by yourself. And if you want, let me know. Once you came up with, it may sound weird as
I already explained, but it still can be quite
interesting, right? Thank you for watching this
course and I hope you learn some new things which
will help you to practice solving in a
more effective way. Whatever type of
music you're into. As you might have seen, these are scale types which you can mostly use for jazz
music, for example. But do not limit yourself
to self exploring our, let me know if you have any issues with the
content you just saw. Okay? Also there are exercises
included here, so make sure you do these. And once you've finished them, check if your
answers are correct as I have added these as
well for your reference. So thank you once again guys for watching and I'll see
you in the next course. Bye.
Goran Amadeus, Unique piano teaching methods :)
