Multam, Alex! Cine s’ar fi gandit la toate lucrurile din viitor cand ne jucam cu surprize de la Kinder in banca in clasa 2-a? 🎸💪🥳

:)))) That's all you get! :D :D :D

Thank you!!!

Happy you like it, man!

To make it even worse, I even played guitar in a hip hop band when I was 20 🤣🤣🤣

@@CosminLupuMMGG Obviously there was no permanent damage - your playing is fantastic!

@@mikesekula3949 Thank you, man!

Thanks, man! I super happy to know it helped!

Hey, James - thank you for your feedback and I am glad that you learned something from this video - I think that is the most important thing :) All the best and keep rocking!

Hey there! It's not a stupid question at all, but a very often encountered one! The principle is the following: when you think D Dorian for instance, all the notes that normally make up the C major scale (the parent scale of D Dorian), are being judged in relationship to a new tonal center which is D. From a derivative perspective, which is the one I have dissected in this video, the chord progressions are also built in respect to having D as 1, instead of C. So whenever you have a Dm Gmaj progression - this provides the right kind of harmonic environment for the Dorian mode. Now, if you start improvising in D minor pentatonic over this - it will sound great, because D minor pentatonic is the skeleton of the D Dorian mode. If you wanna make things sound truly Dorian, add a B note to the D minor pentatonic (that being the major 6th interval). Now both the harmonic and the melodic contexts match. It is a matter of establishing a new tonal center FROM AMONG the notes in the mother scale and relate all the other notes to that new tonal center and then exploit the harmonic and melodic possibilities that arise. Please let me know if this is clear and if I can help further. All the best!

@@CosminLupuMMGG Ahhh now I'm starting to get it. This part was completely new to me, and it changes the perspective. Thank you for such a detail answer! And for your videos as well, they are very instructive

@@8w6good8 Happy to have helped! Also, check out my latest vids, as they are oriented towards framing the minor pentatonic as the skeleton for minor modes. Cheers!

Este in al doilea link din descrierea text de mai sus

Multumesc frumos pentru gandul bun!

Thanks!

Hey there - it's a beatboxing sample I found on a stock sfx site (I'll try to remember where and I'll link you) which I have played around with, a bit by adding some delays.

@@CosminLupuMMGG Lovely, thank you!

Multumesc frumos si ma bucur daca iti e de folos ce ai gasit aici!

@@CosminLupuMMGG prima dată când algoritmul de la youtube a fost util. M-am uitat puțin la tine pe canal și chiar depui efort și faci treabă bună, m-ai câștigat ca subscriber și dau vorba mai departe!

@@cojonez9520 Iti multumesc frumos, promit sa continui si sa evoluez! Spor maxim!

Thank you for your input, @WolfgangRP ! Also, glad you liked it! I'm a bit on the outside in respect to the other modes of the harmonic minor and the melodic minor, as well, for the mere fact that I haven't yet used them extensively, so I am looking forward to making some time to explore and experiment! Rock n roll!

@@CosminLupuMMGG Yeah since I started composing a couple of years back I purposefully avoid Aeolian and Ionian and looked at the more obscure scales for inspiration. Current faves are Messaien 3 and Bebop Dominant. Look forward to seeing your takes on those

@@WolfgangRP Haha! That's very nice, man! I have NEVER tried those and honestly, barely heard about them :D But hey, sure, I'll do my best in a future video! Thank you for the inspiration!

Hey there! Are you referring to these modes in particular?

Hey buddy, I'm afraid I don't understand the question - can you please be more specific? Thank you!

​@@CosminLupuMMGGhe's jokingly praising the video's duration. I don't actually get the joke though, maybe he's saying it's a reference to a prog time signature (13/12)

@@bigspice4419 hahaha, thanks! I haven't thought of it like that, especially since time signatures are usually written by having common denominators of 2 ex: /2 /4 /8 /16 . I've just researched though and found out about irrational time signatures which might be something in the lines of the example above :)) One learns every day!

Haha! I never looked at it like that - thanks for the perspective, man!

Literally the best and most accurate comment I have yet to see in all of my years on KZfaq.

@@coltonpugh9669 :)))

Thank you!

I'll actually try that today :)))))))))))))))

@@CosminLupuMMGG I guess by your name you're Romanian, so you probably are familiar with it, phrygian it for the americans :p we have something similar but better over here in the "east". Greetings from greece

Si eu multumesc si sper sa fie cu folos!

Thank you!!

Thank you very much!

Yep, it's the go to tool for that sort of sound!

The only people that say this are those who don't really listen to 'middle eastern' music. A more accurate statement is it sounds like whay westerners are led to believe middle eastern music sounds like based on media/Hollywood portrayal.

@@adamguitar1498 I do believe you are right to an extent - I've been following an amazing guitarist called Gabriel Akhmad Nur Marin, who plays all sorts of middle eastern traditional instruments besides electric guitar and him alongside a lot of other players, seasoned in the middle eastern culture, are using other scales as well as microtonal guitars or non fretted instruments which allow THOSE sounds to shine, in a way in which the phrygian dominant can't :)

@@CosminLupuMMGG I think the other thing to mention is that scales are only a small part of achieving a sound. Rhythm has a huge role in this, as well as other things like melodic development, phrasing/articulation and timbre. It's like saying the pentatonic scale has some heavy rock vibes. It absolutely can, but it's also shown itself to be able to capture and create many other feelings and styles.

@@adamguitar1498 Yeps, definitely! I agree with you and thank you for the inspiration :) I plan on making some videos around these topics and aspects soon! Keep rocking!

Thanks for the input! The thing is that while you are indeed using the same bunch of notes like the ones in the harmonic minor, which is the parent scale of the phrygian dominant, all those notes answer to a different tonal center and thus, other possibilities are born. That's why modes actually exist, otherwise we'd just stick to the major scale, the harmonic minor and the melodic minor, completely neglecting the other 18 modes that are born out of these 3 parent scales. It's a matter of perspective and possibilities, even though, technically you are right :D My two cents: As long as we have access to the tools to explore and develop what we create as far as we can, why not use them?

@@CosminLupuMMGG Yes, you can argue that it's important to memorize the same shapes as something new. I just prefer to understand that A harmonic minor is just harmonic minor in one particular position of the 12 possible spots and same for the other keys. Like, if someone said hey, let's jam in E lydian. I don't really need to memorize what lydian is so much as understand where to shift my major scale so I AM playing lydian. Then part 2 of this would be to understand that we are implying a tonal root of E yet playing the notes of B major. So, you can play in B major with an EAR for the chords that are going to be happening and not feel like oh, I'm playing a NEW scale or mode. Same intervals, then no need to rename it is all I'm saying. ? if the structure is different from major scale, then yeah, you have a new scale and 7 modes of it. So, I guess the end result might be the same or not. I would just know that I can play in a major key for any of the standard modes IF I position myself to that spot. Good thing I'm only doing music for myself! hahaha No need to write it down or try to communicate anything to anyone else. Thanks and good luck with everything!!!

@@TruthSurge Whatever gets the job done, as I like to say :D Each person has their own subjective experience in respect to anything in this world - our own inner map of reality. The way we choose to augment it and expand it in the time given to us in this life is a constant choice. I like to share my map and if you guys find it useful, it only makes me happy! Thank you for your thoughts and enjoy the music!!!!

@@CosminLupuMMGG thx! Have a good one and thanks for your info.

Thanks for the analysis! I usually like to use the derivative approach for understanding modal chord progressions and the parallel approach in respect to becoming able to discriminate between the sound of each mode. I have met a lot of people who use the derivative approach in all that regards modes and tend to want to relate to any mode as it is its mother scale which does not help in understanding those differences one bit. Still, I think it's an exploratory endeavour and being able to listen and tell the differences by picking up on the sounds of each mode is the way to go. Keep rocking!!

Sir, I believe you are now ready for double harmonic major.

@@M2Mil7er Or double harmonic, aka Phrygian Natural 7 Phrygian chord for you. Esus4(add b9) or 023200

Thank you!

Happy you like it and find it useful!

Multumesc, Alin! Sper sa ti fie de folos!

Multumesc si ma bucur tare ca e de folos! Spor si inspiratie maxima la scris!

Salutare si multumesc pentru ganduri! E foarte posibil ca sunetul intervalului de sexta sa fie potrvit, mai ales daca ai intentia de a obtine o stare melancolica, in piesa respectiva. Ca prim pas, te incurajez sa te rezumi la a gasi o linie cu note putine si care mai degraba sa contribuie la constructia ambientului, decat sa iasa in fata. Canta linia respectiva in context si apoi adauga sextele notelor respective, ca sa auzi daca se potrivesc cu contextul. E un punct de pornire :) Spor maxim sa ai si astept orice intrebare ai avea!

Happy to know I could help out! Thank you!

Hey there! I am happy you found it useful and the fact that my work helps people, keeps me at it! Thank you!

Multumesc! Sper sa iti fie de folos!

Ma bucur ca iti place? :))

Haha, thanks for you kind thoughts, man! 日本のフリギアモード :D :D :D

Indeed!

Could call that song being in phrygian dominant. It uses every note on the guitar

The bridge maybe could be called double harmonic? The main riff is definitely Phrygian but the bridge used the major third and the major 7th. The verse also uses a flat 5th like essentially every Metallica song lol. Ultimately it ends up using every single note lol.

@@ryangreene50 I should've been more specific and restricted the discussion to the main riff :D

Haha! I love this! I haven't thought of it :D Thank you!

Salutare si multumesc pentru gandurile bune! Ma bucur sa aflu ca video-urile sunt de folos. Te incurajez sa incepi cu o chitara obisnuita, pt simplul fapt ca ai un numar mai mic de optiuni legate de ceea ce poti face cu ea, prin contrast cu una microtonala. E doar un gand pe care ti-l transmit cu cele mai bune intentii! Spor si multumesc pentru sustinere!

@@CosminLupuMMGG Da, O să încep cu una normală de începători ! Pentru că știu că asta este cea mai eficientă cale de a începe călătoria mea in lumea chitări (: Mulțumesc mult pentru răspuns să ai o zi fantastică !

@@originalname7176 Succes maxim si la fel si tie!

Thanks! To this solo? I guess Misha and the guys would be stoked to hear me butchering it with a kalimba :)))

@@CosminLupuMMGGyea i just think kalimba is very entertaining. and funny! haha

@@CyberGoons Aye, yes it is!