Grab a notebook and wrote it done. Practice it watching videos don't help

Maybe the Phrygian mode is down-voting it!

dumb people who don't even know what a triad is

@Jefferson Sales Please do not use the word "dumb" when referring to people who don't understand concepts. "Dumb" is a microaggression against people who cannot speak and should not be used since it perpetuates negative connotations against these people that are no longer referred to as "dumb," but use medical terms. Please consider who you are harming when you use derogatory terms.

run along to your safe space quick.

Constant Change Media for some reason I still can't understand , no matter how good a video is, there is always going to be some guy downvoting

This may quite possibly be the signal most profound suggestion I've ever stumbled across.

exactly !

I think the point is the listen more than see...

not trying to sound like a dick but i think it is best if listen and figure it out yourself it would help your ears trust me. also he gives you each chords name around the starting of the video

I understand the wanting to watch, but ears improve 10 fold if you force yourself to listen to the notes.

A lot of Native Navajo/Hopi music I've heard uses dorian primarily. Native music is hard to find a genuine example of though.

or as I call it, the NAF

just a general YES for jazz harp. go you

"E diminised with lowered second" chord

He also had a "Bb Lydian" chord where he played the 1, 4 and 5 of Bb lydian (Bb-E-F) so I think he's talking about E-A-Bb when he says E locrian and E-G-Bb when he says E diminished. So basically a sus4 chord, but with the diminished fith from the locrian mode

Sus chords open you up the world of quartal voicing, sus 2s as well. When you start to think of every 1-3-5 boxed voicing as one grip. Then you can sus that by bringing the middle note up or down. A variation of the first grip, then you take that and spread it out into fourths! And you have another "grip" at this point you are connecting your ears to your hand grip of the chord in piano and you only think of the root note of the chord in right hand. Also stop playing octaves in left hand and start playing 1-7 or 1-5-7. This opens up your playing to vast dimensions of sounds. Your harmony is deep and com p lex yet your approach is simple and mechanical. I know i didn't answer your question exactly. But in my experience with theory and paino playing. Using sus2 and sus4 chords and then opening them up into quartal voicings (4rths instead of 3rds) linking grip of chord to the sound and not thinking of individual notes. I can play a beautiful hip voicing of any chord in any key without needing to be able to spell out the individual notes. And as an added bonus. Whe. You are suspending like this, you are always one note away from the perfect resolve of the chord. It goes deep but I hope I could shed a little light on some of the things that have transformed my playong from beginner sound to a more advanced sound. Its all because of suspended chords and stacking them in fourths.

Sus chords fill in the little holes the right hand note can leave

Try Sus2 😀

I promise I will break out the guitar on one of these videos :) These type of lines do work on the guitar but are a bit harder to play if you don't use the right fingerings.

Neil I meant to get back to you from your comment on the last video. Regarding chords, there's actually a tuning I found that can play quite a lot of piano voicings on the guitar that can't be played in standard tuning, unfortunately you can't play whole 7 note mode voicings as there's only 6 strings but it's feels pretty cool once you get the shapes down for the ones that are possible. Explaining how to play all the different chords and shapes over text here is kind of difficult. I've been meaning to make a video on it for years now but never got around to getting a mic for the acoustic, and using OBS has its own problems too for some reason.. I'll figure something out eventually. If you're interested let me know.

Would also love this perspective as a guitar player!

Does your book cover the dorian voice'ings? These chords sound so cool on the keyboard, but like Noisynell, I would like to explore them on the guitar as well. Love the progressions on this vid, very cool sounding!

things will get nutty if Rick ever hits up the Gambale tuning lol!!!

Owen- I totally spaced! Sorry! :)

Tim Johnson you too:)

Yes it happened.... Same to you man

I think I got corona virus today. Will keep you updated. Don't worry.

False alarm, it was just a fever. So grateful.

Thank you my friend, Blessings. to you I sincereely hope that you hold on, i need you too

@@unknownkingdom I know

Em7b5 = E-G-Bb-D And I think by Bb Lydian Major he means the Major triad over B with the sharp 4th added (otherwise Major and Lydian are identical, so I think that is the only way this chord name makes sense) So with the E in the bass, that would be E-Bb-D-E-F

E Locrian = E - F - G - Bb - D (or in other words, min7/b5/b9) Bb Dorian = Bb - Db - F - G (or in other words, min7 w/maj 6th) But didn't he play Bb Lydian (not Dorian)? Bb Lydian = Major w/#11 (Bb - D - E - F - A) I hope that helps. I'm no expert. Hope to learn a lot from Rick. :)

oh sorry, thank you for correcting me, yes, i meant lydian, not dorian. i think my brain was being error lol. thank you so much for answering my question, Stacey. though i still don't understand how these lydian, dorian, etc chord are shaped.. why is E Locrian different with E half-dim (Em7b5)? why should E locrian has F in it?. and why is Bb lydian different with Bmaj7. is C ionian chord different with C maj?

So the notes on a G sus4 chord - G C D the notes for g minor triad - G Bb D C would be the suspended 4th

Hi Joskun- You are very welcome! I will do more etudes with the other modes. Rick

Did I leave those out? It must have been an editing error. Sorry!

No problem! Thanks again!

Rick Beato I was wondering the same thing. Luckily I found this comment. Thank you for your videos, Rick. They are very helpful!

Cosmos Log wut?

@@tolstoy8124 lol. Right.........

I"m also looking to get some clarification on this

It took me a bit but for what ever reason he is adding chords in there where you sharp the Third. I know you figured that out already. It just seemed like stating the obvious was a good place to start ( for myself). But when he gets to the b-flat chord, if you sharp the third the same as the rest of them (half step), then your D would become an Eb . However the scale doesn't have an E flat in it ( I suppose were sticking with common practice theory still). Therefore it goes to an E. So instead of the cord being Bb-D-F, it is Bb-E-F. Don't even know if any of that answered your question. Also if this somehow insulted your intelligence please ignore me. It's more so me just processing it than it is trying to explain it to you because I don't completely get it myself. I mean, I get what he's doing mechanically speaking. I just don't understand why it needs to be done or what the point is

Just think of the seventh note from each triad in the G-Dorian scale. If a triad starts on G, the seventh note will be F (G A Bb C D E and F) leaving you with a Gminor7 or a G7sus4 depending on witch triad you play. If a triad starts on Bb, the seventh note will be A (Bb C D E F G and A), and a triad starting on F will have an E as the seventh note and so on.

all the notes in a sus4 chord are still within the scale of G dorian. the chord has just substituted the 3rd for the 4th

Can you do that without changing the scale?

Yea there's no change in the scale. Think about the scale of C major. C D E F G A B. Csus4 triad is C F G. In this suspended triad the F has replaced the E (that would be the major third in C major); all the notes I've just been talking about have been from the scale of C major.

sus4 is essentially an extension to a chord, but the major 3rd is (usually) omitted because of the semitonal clash between the major 3rd and 4th.

What about the E locrian and E dim chords?

Did he play chords that don't exist in f major, diatoniclly? I'd have to rewatch