Using Modes to Write Songs

Modes are your secret weapon as a songwriter -- because they take a plain chord progression and make it better. And there are different ways you can do this, as we explore using a couple of song examples....

0:00 Welcome
1:35 What the H are modes?
2:05 Type #1: Relative modes
3:46 Type #2: Parallel modes
6:40 This is all Part 5 stuff
8:16 Think of modes as different emotions (emoji visual)
9:40 When I'm 64 ... looking back at Intro & Verse 1, 2 real quick
12:00 ... on piano
14:35 Parallel modes is what most people mean when they refer to "modal mixutre"
16:20 Runaway Intro-- Bb Aeolian (sad) to Bb Ionian (happy), then Verse
20:45 Looking at the ChordMap
26:38 Q: WWHWWWH for all the modes?
28:57 Q: WWH W WWH for major, WHWW HWWW for minor? Natural minor is just Major starting on 6th degree?
30:56 Q: PDFs at Locals are blurry. Help!
31:34 C: Aeolian/Ionian pairings are common, so get overlooked often
34:19 C: I need to better understand C major and A minor interchange since no enharmonic chords in these keys
35:12 C: Andalusian sequence
35:56 Q: So parallel modes are always next to each other?
38:52 C: Tetra-chord = four tones
40:58 Q: Will you discuss Phrygian with a raised third? (It comes up in flamenco)
43:33 C: Lots of symmetry with Dorian
44:52 Q: Hotel California uses Andalusian cadence?
45:34 Q: Am is sixth to C as a tonic... how does Am become tonic as relative minor?
47:44 C: Would love to hear your thoughts on lament bass sometime
48:05 Q: Could you think of all diatonic music as Ionian, just with a different home notes emphasized?
50:40 Wrap up

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[VirtuousHereticKristin]

0:00 Welcome
1:35 What the H are modes?
2:05 Type #1: Relative modes
3:46 Type #2: Parallel modes
6:40 This is all Part 5 stuff
8:16 Think of modes as different emotions (emoji visual)
9:40 When I'm 64 ... looking back at Intro & Verse 1, 2 real quick
12:00 ... on piano
14:35 Parallel modes is what most people mean when they refer to "modal mixutre"
16:20 Runaway Intro-- Bb Aeolian (sad) to Bb Ionian (happy), then Verse
20:45 Looking at the ChordMap
26:38 Q: WWHWWWH for all the modes?
28:57 Q: WWH W WWH for major, WHWW HWWW for minor? Natural minor is just Major starting on 6th degree?
30:56 Q: PDFs at Locals are blurry. Help!
31:34 C: Aeolian/Ionian pairings are common, so get overlooked often
34:19 C: I need to better understand C major and A minor interchange since no enharmonic chords in these keys
35:12 C: Andalusian sequence
35:56 Q: So parallel modes are always next to each other?
38:52 C: Tetra-chord = four tones
40:58 Q: Will you discuss Phrygian with a raised third? (It comes up in flamenco)
43:33 C: Lots of symmetry with Dorian
44:52 Q: Hotel California uses Andalusian cadence?
45:34 Q: Am is sixth to C as a tonic... how does Am become tonic as relative minor?
47:44 C: Would love to hear your thoughts on lament bass sometime
48:05 Q: Could you think of all diatonic music as Ionian, just with a different home notes emphasized?
50:40 Wrap up

[abhijnaatman]

What makes the modal system mindful is when you know the 3rd, 5th, and 7th notes for each mode. Then if you need to play ii-V-I, you can play for I - Ionian R, 3, 5, 7, R, then for II - Aeolian R, 3, 5, 7, then for V Mixo R, 3, 5, 7. Only then can you feel the chord changes and melody lines coming from the same scale of I major. Replace 5 or 7 with 6, have fun :)

[SeanHelm]

This seems like the first time i had to take Algebra. Totally lost. Where do i start to even comprehend this?