"Music theory goes through great lengths to avoid logic" I love this! Edit: I don't know why KZfaq suggested this video out of the blue, but you have a new subscriber 🙂

That eleven and a half minutes was the most enjoyable amount of time I have ever spent watching a mode/scale tut!! You are awesome, and now I'm a new OLD fan!!

D dominant 7 implies the existence of D submissive 7.

You’re awesome,Lindy! First I’m finding you and your channel. What a great job you do of not only making theory enjoyable but making sense of where it all comes from. Thanks very much!! 🙏🏻

That is how a teaching must be done whatever the subject is. Congratulations Sensei.

Just found you Lindy.......so glad that I did! I'm a 70 year old self taught guitar player trying to make sense of music theory. You have a great way of explaining your teachings. Mostly you actually show us how things work in context. Makes it much easier for us old farts to get it. I play in a rock band with my 43 year old son on drums now so I'm always trying to get better. With your help I think I may be able to do that. Thanks for all you do!

As someone else mentioned, I don't know why this was suggested on my home page, but it was quite serendipitous. That D7, Ddom7 thing had been on my mind of late. Now, after 50 years of guitar playing, I think I actually get it. Thanks, Lindy! Fun vid.

Great lesson and terrific presentation. I was intrigued by the title so Decided to check it out. Light bulb lit up immediately. Got to check out your other vids now. Cheers from Australia.

Great video! 😂 and I think farming your students’ questions absolutely should be a great resource for content!

Thanks for that unique insight and entertaining presentation. Love your great sense of humor. I’m a fan, and now a subscriber.

Very funny, very instructive, a great watch, thank you Lindy

I’m loving this. A beautiful young lady actually making the modes interesting😊

This was a badass lesson...Great work !

not sure what black magic algo brought me here, but holy moly am i ever glad it did. Subbed. Educational, demonstrative, entertaining, clever. So good.

Thank you... Lots of good guitar players do it right but might not know the theory and naming... Due to our egos...!! Thanks again Cheers!! It helps communication with other musicians.

As someone who wasn't able to absorb theory in a more concrete way due to trauma thank you for explaining this this way. I've been playing for 20 years and I understand theory but I didn't develop the language behind it till recently.

You are a wonderful teacher! Thank you. Wishing you much success.

Awesome teaching style. Please, carry on!

Another new viewer from a mysterious sudden KZfaq recommendation. Entertaining and fun. Have subscribed. Looking forward to browsing your catalogue. (Also, I don't think I've ever wished I was a vampire as much as I do right now 😜😜)

I love the way you explain this. I'm now a fan.

I really like these explorations into the fine detail of music. Great video.

Holy shit that actually made sense to me!?

Wow! I've been using modes for years and had no idea about this history. Thank you for this lesson! Love your goofy video style. 😅

Just had this pop up, and this is such an amazing lesson! You're such a natural teacher, loved the vampire joke at 3:15, and love the refreshing take on pulling scales from chords! I remember my early days of playing and learning theory reading people arguing for DAYS about different scales lol

The way I learn everything and more from your videos ❤

Informative, entertaining, thorough, thoroughly entertaining

Funny and informative. Earned a sub

Best guitar lesson ever! On many levels!

Where did this channel come from? It fell into my feed, and wow, this is great. I've played guitar for 40 years and never heard this history. Fantastic.

I love, love, LOVE getting more than I bargained for, thinking I was just going to get a quick, straight up guitar thing. Such a pleasant surprise: usable guitar theory, an entertaining Western music history lesson, punctuated throughout with excellent humor! Amazing what you packed into eleven & a half minutes here--this was just brilliant & absolutely made my day--thanks so much!

You're the most entertaining guitar tutor I have come across in all my years trawling this oft-pretentious landscape

Thanks!! What an awesome video. Love the historical context (esp because the theory itself wasn’t new to me). Also love the double entendres! Your humor makes this lesson really fun. 👍👍

Good Lord! Came here for a succinct explanation to give to my students about "why it's called Dominant 7", and got an amazing backstory. Superbly done! For what it's worth, I've been using modal theory and modal shapes on guitar for about 45 years. They're the main reason I'm able to improvise so easily and in tune. Also, for what it's worth, I'm not a vampire.

Well done, Bravo !!

Very well explained and very useful :)

You are one funny lassie. Subbed.

Superb explanation and great humour too. New subscriber.

The algorithm is being kind today - so good to see someone exploring theory without Major-tinted glasses. Major is the great usurper and the evidence is alphabetical: A to G naturally.

Instant sub. You're a blast 😄

Thanks. You make me smile.

Thumbs'ed up! Subscribed! AWESOME!!!!

Thanks for the history lesson; _tres cool_. Now to study the connections between the mixolydian, pentatonic and blues scales...

yeah so i'm going to be learning all my theory from this channel from now on

OK... pretty fun video and editing. Not sure I would explain a D dominant 7 that way, but that's OK too. Thanks Lindy.

Love that guitar snd the art deco truss rod cover!! I remember Mixolydian from my mountain dulcimer days, best mode!!

Interesting stuff!

Thank you for this because I literally have thought I was missing somethin for the longest time 😂thank you thank you

It’s a minor 7th note that makes the chord (as apposed to a major 7th note)

🎷I don't need these music theory lessons, but I ❤ your jokes, so I subscribed ! 🥂😂👍👏

Gee a Great Treat . . . . . Thank you Lindy.

You are unique, thx for the entertainment Lindy and have a great day!

My way of understanding modes is to think of the new note that's flatted, and what role that note plays in the scale. The seventh is sort of the "spice" note: you can mess with it and it just adds a little something something. So songs like Norwegian Wood or the vocal line for You Really Got Me are both major with a flatted seventh, which is mixolydian. Flat sevenths in caps "...or should I say, SHE once had me." and "girl, you really got me GOing. you got me so i don't know what i'm DOing". That's it -- the flat seventh usually only appears once or twice in a melodic line, but it's enough to add some salt to the melody. The opposite of the mixolyidian is the Locrian mode: it's the phyrygian mode with a flat fifth (and the phrygian is a minor scale with a flat 2nd). The Locrian flats the fifth, and the fifth is the anchor note. You can literally mess with any other note in the scale and still have something easily recognizable as musical, but you cannot mess with the fifth: it unbalances the whole scale. Nobody writes music in the Locrian, unless the whole point of the song is "check me out -- I'm using the Locrian", and most of the time it's kind of a cheat anyway -- the easiest way to do it is to use the flat fifth as a percussive element, and then arrange your melody to avoid it, so the song sounds phrygian, but is TECHNICALLY locrian. Let's see: I don't quite _get_ the sixth, but fyi, when you start with the Mixolydian scale and then flat the sixth, you get the Dorian mode, as heard in the part in Mad World where it goes "and I find it kind of funny...." (the rest is just minor). Alls I know is that the Dorian scale is PERFECT there: if you can hit notes with your voice, and you sing the song that part in the minor key, instead of sounding dreary and dark, it sounds very "oompa loompa". The flat sixth is in caps: ...and I find it kind of FUNny, i FIND it kind of sad; the dreams in which i'm DYing are the BEST i've ever had. The third is the major/minor switch note. Your vanilla minor key is the major key with a flat 3rd, 6th, & 7th, but if you just flat the third, that's enough to throw you into a minor key, only it will be a little exotic. The second is.... well if you want something to sound "oriental" -- either Arabic or Japanese, flat the second. You can't flat a fourth. It's just built into the nature of the scale: a flatted fourth is actually a sharp third, which would give you three notes that are all a half step from each other, and now you're in 12-tone space. You can SHARP the fourth, which gives you the Lydian mode, which is even brighter than the major scale (aka the Ionian mode), but to me it sounds harsh. Classical composers use it when they want something to sound Polish. That's my "EZ guide to diatonic modes" (there are bebop scales too, but now you're really leaving "just feel the music, man" territory.)

I love music theory and Lindy, you are the Goddess of Toneality.

Love this. Mixing history, relax simple talk, jokes and actual music theory in a manageable chunk of time motivates me to tune in and add little more to my knowledge. PS: Love your voice, you should also open an ASMR channel 😉

This was a great explanation,,,now I’ll watched it again,,and see if I understand it,,,haha,,,nice job,,

I love the history you included, it gives me a deeper understanding on how things derive from the dark ages! I think it was called dark ages because very little about that era came to light, very little writing about it! India had a 23 note sequence in an octave.

Thank you Lidy, you explained this way better than my theory prof. I think I shall join the ranks of your admirererers. Sorry, couldn't quite work that start button.

Ok. Firstly I thought you were another Lindy, a drummer friend of mine. Which is why I was curious that she would be explaining 7th chords on guitar. After I realised my mistake, I was curious to hear what the explanation was going to be, given it’s kinda a one word answer. But I loved that history stuff. Mixolydian has been my comfort zone before I knew what it was, I just liked the sound of the flattened seventh. Then to discover it was kinda the OG of western formal music was fascinating, and to hear aeolian and Ionian were so much newer! I always assumed the modes were fairly contemporary. Fascinating.

So well done! Love that geetar, too! [btw] Black & Gold 335 style, yes please.

Just found your channel: suscribed!

OMG! You’re incredible!!

Thanks for the clarification. Very interesting lesson. -Count Dracula

great info multi educational we should go on a bleep together .it's nice to use references and humor because i have to keep relearning this theory over and over it is like math in some ways .thank you !

Love your teaching style! I was a music major in college, but I switched my focus due to the stuffy nature of the professors.

LOVED this video, new watcher, but now subscriber, wish i could have found you before my hand surgeries , but loyal now

Dominant seventh chords are often built on the fifth scale degree (or dominant) of a key. For instance, in the C major scale, G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord.

Very simple way to remember Mixolydian is that it simply stars on the very familiar second position (or 3rd depending where you start it) of the Minor Pentatonic scale. There are a couple of more simple notes you can choose to add if you want to. Since it is a Major mode, it will have 7 notes vs. penta is 5. Think of it like this- it's simply the same pentatonic shape you already know, but you are MIXing things up a bit. Start on that second shape (on D in this case) and optionally add 2 more notes on the A and D open strings- you add a G and C which are simply semi-tones up on the A and D strings respectively. It may seem confusing at first but it is actually very, very simple. That is why it seems tricky- it's simplicity makes it elusive.

Subscribed!

I enjoyed this and I was smiling throughout. That is a good sign 🙂 Music and humor. Very good. Thank you. And here ends the niceties. You asked for questions. You´re about to get one that many consider to be bad. It may even be the forbidden question. I don´t know. I have a seriously mixed background. Born in Turkey of Georgian and Greek and Crimean Tartar ascendency, living in Norway the last 50 years. Exposed early to Gregorian music then rock and blues and jazz and pop and Turkish "palace music" that build upon Gregorian, Balkan and middle eastern music. Later also to various folk music styles (Turkish, Balkan, Irish, Norwegian, and country). Here´s the question: Turkish "palace music" builds upon "makam"s, which I believe relates to modes. Do you have any idea what they are and how they can be explained in terms of western music theory? You´re allowed to Google it up before you answer 🙂 You´re also allowed to say "never heard of it" or "I´ll ask the vampire if I find one". Vlad would know. He had this thing with the Ottoman Empire 🤣

As a guitarist and 5th century vampire, I never questioned the D7 chord. I just accepted it. Having now heard the worst blues ever, I can appreciate the simplicity of the pentatonic, though I'm more of a jazzed these days. Don't worry Lindy, we'll find someone to date you, just bone up on your double stops and harmonic tapping. That's what the kids are into today. Great vid!

I already knew most of that, having played blues and modal jazz ever since. But I really enjoyed your fresh, intelligent, hilarious kind of presentation! ⭐️⭐️⭐️⭐️⭐️ Btw: how is music not black & white? Maybe not for a guitarist, but I always have only b&w keys in front of me. 🙃

Enjoying this so far. To really get a taste of "Gregorian modal" styles listen to some Gabrieli Brass music. It's modal, later than the strictly vocal stuff, but strictly based upon certain church modes. The great reason to listen to this stuff is the trumpets and trombones are really clear and hit intervals pretty accurately. When I teach this stuff I start with the DORIAN mode because I want jazz trombone students to use that mode for their minor licks and immediately react when the see ii - V - I progressions. The Rameau thing is pretty insightful, frankly the whole group of strictly "classical" types like Hayden, Rameau, Mozart all reflect this attempt to systematize what would have been the earlier systems like counterpoint and modal music. For jazz they are going to have to go beyond modes and also have PENTATONIC mastery, and understand Blues Scale inserted transition notes. All this will imbue the licks you wind up having in your bag of tricks. I also try to impress upon students to understand the TRITONE portion of dominant chord creation. So, I point out to them an F and a B will outline a G7 really well with the lowered 7 and 3rd. They resolve two ways inward or outward - outward is a straight move to E and C. Inward is a resolution to F# and A#, so this resolves to an F# major chord, and that, too, is a tritone away from C. For playing backing chords on a keyboard the F, B, E (tritone, P4) type set of three is very useful.

You know what I'm thinking? I'm thinking that Lindy has a gorgeous voice :chuckles:

Could you make a video on the modes? I kinda get it, but not really so it would be helpful.

The Dominant 7th of the key of D is A C# E G. In other words, the "A7" chord. Find any classically based scale manual and look up Dominant 7th arpeggios.

Ha I’m persuaded to get all myxolidian again!

Where have you been finding, all these years, Lindy!?

Yes, Lindy.

The difference is.... you don't have to look where to put your fingers when playing D7 but you do playing dominant D7.

Pretty cool, but I have a quibble. Giles Farnaby and Thomas Tallis were using a form of key signature and major and minor scales in the 1500s

The mixolydian scale has always been a party animal

Excellent!🎯🙏✌️🙏🎯

8:10 - 8:11 Nice Save, Flubber!🎯💯🎯

Fascinating! Okay, have a naive question. Toward the end you mentioned a student might ask if the dominant was related to the major scale. I have that same question but I would frame it differently. The progressions you played, aside from the "quality" of the chords, were, in fact, relate to I. The chords were clearly based on the I, IV, and V degrees. And, unless there is some pedantic thing I am missing (please please tell me) then in fact, yes, the "framework" within which we are thinking is still rooted on the I, presumably Ionian, presumably, the MAJOR scale. Is the "root" of this progression a separate concern than the "Major" mode of this progression?

Very, very interesting. So when we play the fifth chord of a scale as dominant 7th we are adding a note that is not in the root scale because we have actually switched from the Ionian mode to the mixalydian mode. Is that correct?

Holy History Lesson ! 😅

I'm struggling to decide which is more irresistible: the black-clad solid-body angel with the beautiful voice or the black-clad hollow-body D'Angelico with the beautiful voice. Which model is the latter?

If Dorian has a minor third, how is it major. Thanks for any feedback.

Ive been alive for thousand years. I never liked parachute pants nor Members only Jackets of the 80's. I'm digging this innerweb thing . I do have that 'G' spot , should I say the G root down for centuries.

Excellent. Very informative and fun along the way. Never knew any of that mixolydian Gregorian stuff. Fascinating. But….the dominant 7th DOES tie into the diatonic major scale doesn’t it? Did I misunderstand that statement.

Love that guitar what make is it?

Found ya. Followed

D Minor scale - would that be the natural minor - aeolian? Or the relative melodic or harmonic scale?

So if I want to Party like it's 1599, I have to play Mixolydian mode?

@ 1:53, very witty logic observation. Then there's Super Tramp's "Logical" song(He-he).

Awesome and hilarious. Instant 😊

Great video...

Self taught. Thank you.

Thanks for clearing that out! That was so well explained and that's something that I've been wondering for years. I just have one tiny comment....when you said that the Dorian scale is a major scale with a flat 3 and flat 7 at 2:53 that made me wince lol. I hear what you are saying by "major scale", as I understand that in this particular context you are referring to the fact that it's the intervals of the C major scale that you just shift to the 2nd degree of the scale (D) to get the Dorian mode..same intervals, just in a different order. However, since the Dorian mode is also a scale itself, it seems incorrect or confusing to say that it's "a major scale with a flat 3rd". It's not. The Dorian mode is a minor scale precisely because it has a flat 3rd, and also because in the major scale, the chord triad for the second degree (D dorian if we're in C Major) is minor (D F A). And, as written on Wikipedia: "The modern Dorian mode is equivalent to the natural minor scale (or the Aeolian mode) but with a major sixth. The modern Dorian mode resembles the Greek Phrygian harmonia in the diatonic genus. It is also equivalent to the ascending melodic minor scale with a minor seventh." - en.wikipedia.org/wiki/Dorian_mode#:~:text=The%20modern%20Dorian%20mode%20is,scale%20with%20a%20minor%20seventh. So I don't think it's correct to say "this is a major scale with a b3, b7". What distinguishes the Dorian mode from other minor scales is the major sixth, not the b3 b7. Now, maybe you have a valid reason to refer to the Dorian mode a "major scale with a b3, b7" that I am not aware of. I am more than happy to be corrected and I'd actually be very interested to learn something new here. It's just that I've always been told that what makes a scale major or minor is the 3rd, and while I've been using and referring to this concept for years, it's the first time I am hearing somebody speaking of a major scale with a b3. :) Nevertheless, your explanation on the dominant chords and the history of the Mixolydian mode were crystal clear and very insightful. Great video. Thanks very much for that ! :)

I didn’t understand any of that but I like the D’Angelico. I’m going to Sweetwater now.