What You Should Know About Chord Families and Their Modes

okay today we're going to have a lecture with some demonstration – I'm actually going to be moving between the two rooms I'm going to start it here and go through talking about cord families and their modes this is a very frequent question I get I've been doing a series on my YouTube channel from YouTube or watch me on YouTube you'll know that I've been going through a series of videos on all the modes of the major scale the melodic minor scale the harmonic minor scale and then auxilary scales like the whole tone scale tonic diminished dominant diminished augmented scale so on and so forth but today's lecture I want to talk about the differences between modes I touch upon it during each video but this is really going to get down to real specifics on what gives a mode its sound and how do you use them in improvising and in composing you always think of things scales and modes and I use the term mode and scale interchangeably a mode is a subset of a scale if you take a C major scale from c d e f g a b c then you start on d and use those same notes as d Dorian if you start on e at C Phrygians you start on F it's F Lydian that's all modes work they are a subset of a scale now the parent mode in for the major scale is called the Ionian mode I'm going to start out this lecture today by talking about what are the major type modes we're going to go through major type minor type dominant type and half diminished type modes okay I want to look at the differences between them and we're always going to reference the major scale in its numbering so the intervals that are in a major scale we're going to talk about what do you do to a major scale to get any of these modes this is typically how it's talked about the major scale is kind of the bar in which all scales are measured or all scales are analyzed let's say okay so we have the Ionian mode here to start and like I said we're going to call it one through seven if we're in C major we have cdefg be and we know that between enf is a half step in between B and C which would be number eight or number one again is a half step that's where they has to fall so the second mode on here is the Lydian mode so just to show you there is only one note that is different between Lydian and Ionian now this may be rudimentary to some of you but some of you may not know that and that is the sharp four meaning the fourth scale degree in this case cdef would become F sharp so F sharp is added to that C major scale to make it a Lydian scale the fourth is raised and it would become AC Lydian scale now all these notes with the C major scale with an added F sharp to it is really from the key of G okay so C Lydian is the fourth mode in the key of G okay that's that's confusing but that's actually not important right now because I want to focus on a few things what makes a chord a major type chord that's the first thing that I want to define you have to have a 1 we have the root right and we have the 3rd and we have a 5th now we can have or not have a 7th ok but typically major type chords have major sevenths in them meaning that I'm talking if you expand a chord beyond the triad and you go to a 7th chord all these major type chords you see the 7 there that's because they all have 7s in them they don't have flatted 7th if they in flatted 7th they would be in the dominant category all of these modes share 1 3 some type of 5 and a 7 except for the major pentatonic which is a 5 note scale which uses the 1 2 3 5 and 6 of the major scale so very simply put this is what you do to a major scale to get these scales now we have next Lydian augmented which is a mode from the melodic minor scale it's the 3rd mode ok so just like it says it says Lydian so as a sharp 4 that's what Lydian means essentially Lydian implies something has raised 4th ok and if we're talking about C we'd have an F sharp here instead of F and we'd have a g-sharp instead of a G because as a raised v that's what augmented augmented means raised v or sharp v an augmented chord is one three sharp five but the sharp five is still a type of major chord we're going to still hold it in that category so they call this a linear Augmented chord could also be called if I take one three sharp five seven a major seven sharp five chord that's the other name for it and but using Lydian augmented and major seven sharp five is interchangeable then next we have Ionian augmented this is a scale that most people don't know about because it's part of the harmonic minor scale and it's feature is that it has a natural fourth like a major scale but it has a sharp fifth which is where this augment and second interval happens that really gives a harmonic minor scale it's sound now just because it's from the harmonic minor scale doesn't mean it needs to sound like it's from the harmonic minor scale and your inve Malmsteen playing on it or something or just something you know that is your typical thing you would hear i did a video called the Lydian sharp 9 mode okay that's that's another mode of the harmonic minor scale and i encourage you to go watch that because not only do I explain the mode but I also do a little composition based only in the scale and on these modal videos that I've made all my compositions are based only on the notes in the mode there are no extra modes when I do this the video on Ionian augmented I will only use these if it were in the key of C a b c d e f G sharp a B and I will only use those notes if I do in the key of C which I probably won't um anyways so Ionian augmented is another scale choice that you can use to play on a major chord or that is a major chord that you could use as a tonic chord but if you look at it 1 3 sharp 5 major 7 it appears if you spell it just in thirds it's the same as augmented okay because we're not in the in building Accord in thirds root third fifth seventh we're not incorporating the fourth that's an upper extension that doesn't come in till the next octave so but there is a difference obviously between those scales the next scale I have here is the major pentatonic most of you know what that is I said it before it's one two three five and six of a major scale okay then we have a major blue scale a major blue scales like what you hear the Allman Brothers player you're here on country blues you know that is a it's not the minor blue scale which would be something different I don't have a minor blues scale on here even though you can use the minor blues scale over a major chord and it sounded great it's called blues but the major blues scale is more of like a contra fide blue scale and you'll hear people mix it you'll hear Wes Montgomery Pat Metheny you know plenty of people John Coltrane will use the major blues scale you'll hear you know Jerry Garcia what used to use it tons of people use the major blues scale it's 1 2 flat 3 3 5 & 6 this is where you get that bluesy sound is between the 2nd and 3rd having that half-step there and the last chord I have on here that's part of the major chord family is the Augmented scale okay it's not the Augmented mode is the Augmented scale one sharp 2 or flat 3rd but sharp 2 3 5 so we have 1 3 5 & we have major 7 but we also have a sharp 5 and I did a very cool video on the Augmented scale also where I did a composition that's on my youtube page and I encourage you to go check that one out as well all of these scales have slightly different sounds and they are all flavors that can be used in improvisation or in composition as tonic chords as passing chords but this is your palette that you're dropped that you're drawing from that are related to major chords or major 7th the next thing we're going to talk about our minor scales now I'll take these off here minor scales are tricky because there's a lot more of them so I probably need to write a lot smaller the first one I'm going to put down is going to be the Dorian mode the Dorian mode now is 1 2 flat 3 ok to be a minor a scale you have to have a flat 3 4 5 6 flat 7 the Dorian mode is not the natural minor scale the natural minor scale is called Aeolian but the Dorian mode is the most harmonious scale I believe over a over a minor chord and it's you frequently hear it in jazz because there's a lot of two chords you play a Dorian it's the second mode of the major scale and you play it over the two chord when I say the two chord that means the minor two chords so in the key of C you played over D minor D minor 7 the next modal I'll talk about here is Aeolian all of these have their own flavors 1 2 flat 3 4 5 here's the tricky part flat 6 flat 7 ok now as you can see the difference between Aeolian and Dorian is that a Olin has a flatted 6th which naturally because of having this half-step there creates this gives it its melancholy feel this 6th is it has to be from the 7th here ok and that leads you to that flat 7 okay that would be a b-flat in the key of C so if I do C Dorian C D e-flat F G a b-flat here we have C D e-flat F G a flat right half-step b-flat you don't have a stronger pull you have a stronger pull down to the fifth because of the half-step then you do from here and six to the seventh which is really where that flavor comes in okay the next scale would be Phrygian these are all modes for the major scale so far 1 flat 2 flat 3 4 5 flat 6 flat 7 okay so Phrygian kind of like Aeolian except for this it has a flat 2 and that flat 2 wants to pull down to the 1 this is what gives you that Spanish flavor is some people have commented and I have a Phrygian mode I actually have episodes for all of these modes you can really hear them and you can hear the difference between them so Phrygian as you can see we're adding an extra accidental each time ok then the next one I'm going to do will be melodic minor 1 2 flat 3 4 5 6 7 now I decided to group these three scales together because these are the 3 minor scales that are that come from the major scale those 3 notes the one built on the second scale degree the 6th scale degree and the 3rd scale degree melodic minor well it has less accidentals than some of these other ones right if you look at it compared to a major scale it only has one accidental except for the fact that it has a major 7th ok this is what gives it its characteristic flavor it's simply you can say a melodic minor scale is a major scale with a flat 3rd ok but it has a very different feel to it because of the because you have this 5th – 6 so if we're in C C D E flat F G a B so right here we have F G a B which is the beginnings of a whole tone scale okay that's like tetrachord there for those 4 notes this is the beginning of a whole tone scale so those are 4 whole steps in a row which gives it a more ambiguous quality because of the lack of a half-step like there is here between five and six or between six and seven there's a definite ambiguity to the top part of the scale which gives the melodic minor in its modes its beautiful flavor okay the next one I'm going to talk about is the harmonic minor the harmonic minor is 1 2 flat 3 4 5 flat 6 major 7 okay so you look at you say well that's that too different than the maloik minor scale except for this right here between the flat 6 and the major 7 you have the Augmented 2nd that's the characteristic sound of the harmonic minor you've got the half-step here that's similar to Aeolian that gives you that pull so if you get 2 you get a few areas that pull against each other the 6th pulls to the 5th the flat 3rd pulls to the second and the 7th pulls back to the tonic ok so there are 3 points where you have half steps in the scale they've given it's particular flavor so that autumn nted 2nd year between these two tones is very very important so all these modes are flavors but what do they all share one flat 3 5 and some type of 7th could be a major or flat 7 but they all share one flat 3 and 5 they don't have flatted fifth so that's a different category that's our half diminished category that we'll talk about the next one let's say we do the minor pentatonic scale you don't care if I abbreviate you minor pentatonic many of you know this scale because you played it plenty of times there are certain types of pentatonic scales that do not have half steps so just to clarify there are two types of pentatonic scales there's the Hema tonic type which contains one or more half steps and there's a an Hema tonic which contains no half steps that's the kind of pentatonic scales that we're talking about the pentatonic would be that and Hema tonic scale because it has no half steps now the blues scale has a half step in it but that blue scale is different than a pentatonic scale because a blues scale has six notes now this shares the same notes as Aon it shares the same notes as Dorian it shares the same notes as Phrygian if you leave out the two you leave out the six you don't have any of those color colorful sounds to them and this is a scale that works over a lot of different things basically because it's omitting any half steps where you can get into trouble and you're improvising for example and this is used more it's not like I do you know pentatonic lines are more used in a linear function than in then if you're doing pentatonic chords because those chords would come out of the same any of these scales have the same notes in them so the minor pentatonic scale is related to the minor blues scale but we'll see how minor blues one flat three four here's the tricky part sharp 4 5 flat 7 that sharp 4 or flatted fifth however you want to look at it it's the same note is the tritone and it's your blue note okay you can say the third is a blue note – there's a lot of blue notes and blue in blues it all depends on how you play them the tonic can be a Blue Note but that sharp four is what gives it its characteristic sound it's also what differentiates it from a minor minor pentatonic so blue scales a six note scale a pentatonic pent meaning five is a five note scale now there are other modes that are related to the melodic minor scale into the harmonic minor scale like dorian flat 2 and dorian sharp 4 now durian flat 2 is a mode of the melodic minor scale Dorian sharp 4 is a mode of the harmonic minor scale well what do you do how do you compose these well if you know what a Dorian scale is you write it down so this is a dorian flat 2 scale well what's interesting here is this half step between the root at the 2nd it's like Phrygian does not have that flat 6 and because it has this half step between the 6th and flat 7 it gives it a very different flavor so it has half steps in really interesting spots ok and if you go watch my dorian flat 2 video you'll hear it there's some really cool sounds with that Dorian sharp for we're going to do the same thing we're going to write a Dorian scale 2 3 flat 3 4 5 6 flat 7 and we're going to do what it tells you to do we're going to sharp the 4th ok once again it retains this minor feel because we have 1 flat 3 and 5 every scale that I've gone over so far has 1 flat 3 5 which is a minor triad these are your choices your palette of scales to improvise with of scales to write melodies out of of scales to derive chords out of all of them have triads in them all of them have 7th chords in them they have suspended chords they have Lydian chords they have Phrygian chords if or triads they have all these different types of things we'll talk about that if you go watch my youtube channel and for those of you that haven't signed up you should subscribe to my youtube channel um anyway so these are your minor chords that go with a minor that are part of the minor chord family next we're going to talk about dominant chords the dominant chords are ones that go on 7th chords ok dominant 7th chords that means they were major triads with a flat 7 or augmented triads with a flat 7 I'm going to put dominant your first obvious one is going to be mixolydian that's the one that's the one core a scale that is part of the the modes of the major scale it's the fifth mode and it's played over the dominant chord okay and it's constructed one two three four starts out like a major scale five six just like a major scale but boom flat seven dominant chords at minimum have a one three and a flat seven v can be a sharp fifth it could be a flatted fifth we'll talk about that as we look at the next group of scales but the important notes here are one three and flat seven if it had a flat three it could be a sharp nine but it's going to have a natural third also okay when jazz piano players are voicing or comping they use these things called shells and they'll typically play just the 3rd and the 7th of the chord in their left hand as they start to punctuate their melodies with their right hand in their solos okay so those thirds and seventh are incredibly important because they define the quality of the chord if a piano player is going to play a major shell they'll play the third in the major seventh the next scale we're going to talk about is mixolydian sharp eleven I'm just going to abbreviate for you guys you can call it mixture for you can call it Lydian dominant I call it mixolydian sharp eleven one two three sharp eleven means sharp four because the four and eleven are synonymous you have to know to is the nine four is the eleven six is the 13 okay those are just remnants of flat seven so this is a mixolydian scale with a sharp four boom okay this is a mode of the melodic minor scale so if you are playing a C mixolydian sharp eleven it would be c d e f sharp G b-flat okay um this has a really particular color in it because once again you have that sharp 4 and fifth half-step there and then which you don't have beat here you have that step between the 3rd and the 4th here you have the half step between the 4th and the 5th so you have a stronger pull because of that Lydian sound to the 5th whereas here the 4 wants to pull down to the 3rd that's why we call it a sus 4 in court so if the 3rd is not included in the chord it'll become it can be a dominant seven sus 4 which would be 1 4 5 flat 7 whereas a regular straight dominant chord would be 1 3 5 flat 7 that makes sense ok now there's other scale choices for dominant chords one of them is the dominant diminished scale dominant diminish is the half whole diminished scale this is a scale that you would use on a Donna seven flat nine chord a dominant 7 sharp nine chord sharp nine sharp five but it has a natural v in it as you will see and this is an octa tonic scale so it has eight notes it has 1 flat 2 flat 3 just get in between 3 then it has sharp 4 5 6 flat 7 this a little tricky 1 2 3 4 5 6 7 8 octatonic acht means 8 this flat 2 is really flat 9 okay this flat 3 really 8 sharp 9 and the sharp 4 can be a short 4 or it could be a flat 5 so if you see a chord that says C 13 flat 9 that's coming from the dominant diminished scale because that is that it has a natural v in it which the ultra dominant scale which we're going to talk about next does not have so the altered dominant scale altered dominant now the reason it's called altered dominant is because it has all the alterations that you find on a dominant chord it has the flat nine the sharp nine flat five and the sharp five okay as you will see one and I'm just going to call them that because this is a flat two but I'm going to call it a flat nine sharp nine third so it's the same as it diminished so far the other name for the scale there's two other names one is all done one of the names is diminished whole tone that's the old school name that you say back in the 70s or super Locrian but this is part of a diminished scale as you can see it's the same notes and then we get to the AA flat five sharp five you can also call this a sharp four I'm calling it a flat five because I want you to see what the difference between these are and flat seven this six I'm going to replace with a thirteen the sixth and the thirteenth are the same notes okay so a an altered dominant scale does not have a thirteenth so if you have a thirteenth chord and has a flat nine it's coming from the dominant diminished scale it's not coming from the ultra dominant scale the ultra dominant scale has a sharp five where is the dominant diminished scale half-step whole-step scale has a natural fifth okay these are the differences between them and these are the things that when you play voicings or when you're using of your compositions that you have to make note of very different sounds in them very very different sounds and you need to be aware so if you think about this here if I were to write this down I like this one flat two flat 3 flat 4 flat 5 flat 6 flat 7 oops 7 this is really theoretically how the scale would be categorized but it's not practical this is not for practical use ok it's not practical to say a flat for a flat 4 is 1/3 if I plan to see 7 chord with a sharp 9 and a sharp 5 and somebody plays in an E I'm not going to say oh that's enough flat on that chord right well of course it's not an F flat it's an E so I'm back here sorry about that I like to use real world terms for these for these scales the people so that people can actually learn from them the next scale that we have would be the whole tone scale which is 1 1 2 3 sharp 5 flat 7 the whole tone scale that means there's all whole steps between each note it's very ambiguous because of that the sharp 4 and sharp 5 so you will typically a lot of people will call this a flat 5 I like to think of the whole tone scale as having flat 5 sharp 5 ah because it makes you it functions in a different way if I had an Augmented chord that I'm improvising over and I want to have use the whole tone scale I'm going to think of in my head of the flat 5 and sharp 5 this is kind of how people interpret things but this is a very common scale used in the impressionistic era because there are no half steps in it it's completely ambiguous sounding has no grounding principles other than when you plop down a root if you look at the notes let's say we do C D E let's say we go F sharp I'm making a sharp 4 g sharp 4 sharp 5 and B flat you've got c e g sharp which is an augmented triad right there boom-boom-boom then you have D F sharp let's call this a sharp because b flat and a sharp same name and harmonic a sharp D F sharp a sharp is a D augmented triad so we have to augment two triads in the whole tone scale a whole step apart so you take an augment two triad you can go watch my whole tone scale video I'm YouTube and I explain this but if you take a Seahawk minted cord and a d-flat augmented chord you play them at the same time that's a whole tone scale not quite in the same order that you would have them but that will give you a whole tone voicing okay these are your your more standard scales for improvisation and for composing over dominant chords now there's a few that we've left out one of them is mixolydian flat six felt mixed flat six which is a mode the fifth mode of the melodic minor scale 1 2 3 4 5 flat 6 right flat 7 that is mixolydian flat 6 that is a I want to say a little known scale of the melodic minor it's probably the least used jazz players don't use it that much I haven't done a video on it but I will do a video and I will make a cool sounding piece out of it another one is Phrygian major now this is Phrygian major is a mode of the harmonic minor scale it's the 5 mode of harmonic minor okay 1 flat 2 Phrygian right and then you get major what's major mean major means it's got a major 3rd okay now to be Phrygian if we go for 5 but six flat seven this is a Phrygian major scale okay this flat two is really a flat nine this flat six is really a short five although it acts like a flat six so if we do C D flat E f G a flat B flat between the D flat and the E is your Augmented second so let's say that we've got a harmonic minor the thing about Phrygian major is that it's a it can be played over an entire minor two five one progression if you don't know what to play let's say you're playing G minor seven flat five to a c7 flat nine to an F minor progression F minor seven or F minor major seven you can use this scale over the whole thing and then it would have the notes F G a flat a flat B flat C D flat E natural okay now if you could count the two the fifth mode one two three four five this is the five chord here starting on C that's your Phrygian major mode it's on the fifth chord so C Phrygian major comes out of the F harmonic minor scale it is the fifth mode so you have C which would be one D flat which would be two e right we're in a C chord would be three F is for G is the fifth a flat is the flat 6 and B flat is the flat seven okay um for those of you that haven't purchased my book the Beato book here's a shameless plug all of this material is in there in the Beato book it's a 300 page PDF that I sell if you want you can write me Rick Beato number one edge I'll calm already at the end of this anyways Phrygian major is a really cool mode because it can get you by soloing over an entire minor two five one progression okay and the one chord it gives you the major seven will give you an F minor major seven in that key which is totally cool this concludes part 1 of chord families and their scales in part two I'm going to talk about half diminished chords meaning scales that are played over half diminished or scales that have a 1 flat 3 flat 5 in flat seven scale along with some of the auxiliary scales that we have not talked about I'll also be showing you musically how they sound compared to one another a Dorian sounds compared to a Olien how Aeolian sounds compared to Phrygian and so on and so forth and I'll go through all the scales what their sounds are like anyways if you haven't subscribed to my everything music YouTube channel please subscribe here now and tell your friends about it also once again the Beato book write me a trick Beato number one at gmail.com and i'll tell you how to get it that's all for now i'm rick viado thanks for watching

49 thoughts on “What You Should Know About Chord Families and Their Modes

  1. Hello Rick! Great videos! I started watching you when you had about 40k subs. Your theory videos are about the only theory videos I watch; they are very helpful. I have a question: Do you still sell your Beato Book? All I can find is your PDF version. It seemed like you used to sell the your book in a spiral style. One more question! Do you know of any scale books that teach all 12 major key mode fingerings for piano? Or do you know of someone I could ask that has a youtube channel or something? Thank you! I'm a big fan!

  2. more morr moar! hah thanks Rick cannot say enough to how amazing each and every video contains invaluable content mostly unfound anywhere else I would be a humbler servant just to learn from someone such as yourself, music is my passion and I am a street lurker at heart and have lived outside since I was 15. I managed to acquire a home for the last 6 months now and have ben goin deep into theory after playing guitar on the street for over four years, I have never has instruction minus a few good folk out there willing to share a lick or small piece of lucrative information. thus I have learned more this last 6 months than the last 12 years easily, I do not have money often but when I do I will buy your book and set others onto it as well thank you from the furthest cosmos, we look on to inputting this knowledge as many ways possible cheers from a not so far away appreciater / onlooker 🙂 <3

  3. What I don't understand is that if all the modes are, are just starting the major scale from different notes, then aren't you just playing the same scale and then emphasizing the note of the chord you are playing? When you say to play G mixolydian over G while in the key of C, isn't it just easier to say play C major scale and emphasize G here and there? Maybe I'm missing something, but modes seem like a complicated way of basically just playing the same exact notes in the key, and emphasizing what chord tones are being played. Somebody please enlighten me.

  4. This is a highly powerful theory video and I am totally greatful for its specificity! This one is packed with what I call extended theory.
    Will you please do a series of extended videos using all the theory in this awesome video musically at the piano and give us the opportunity to play along with you and apply the theory that you are teaching us?
    Do you know if Debussy and Satie utilized whole Tone Scales?
    I will listen to your Whole Tone Scale video.

    Thank you with extreme appreciation:)

  5. Rick..as I went along and pieced it together in my mind. So learning some of this new and some refreshed. The Dorian mode uses
    the notes of Bb ..so I visualized the piano in C. C D Eb F G A G A Bb C.. and just changed where it has a sharp..like sharp 2. Enjoying video.

  6. Rick ..playing around one day. I did the Lester flat bluegrass G run on my guitar.. G A Bb B D E .I realized it was a rearranged E blues scale. Been doing it for 40+ year's Duh.

  7. mix b6 (melodic major) is not so rare. For me it's an obvious choice to play over VII7 (major) when moving to i (minor). Some guys use altered all the time.

  8. contemporary music could be a bit more confusing. For example altered scale is often played over major dom.7 chord. Which means we use 1st, 4th*, *6th and 7th degrees.

  9. Rick,
    You are easily the clearest and most logical music theory teacher I have experienced. You are highly knowledgeable and a master at expressing your knowledge. Please kept releasing these videos. My family and I are learning a great deal from you.

  10. We're doing good if this video only went over 25 people's heads LOL. this is seriously one of the best music lecture videos on YouTube and has pretty much everything you need to learn to take yourself from a beginner to an advanced player it's just super thick going to have to rewatch it probably take some notes.

  11. Hi rick , great lesson, :@29:00 you are saying C aug and Db aug to play,,instead of Caug and D aug, sincere greetings from Belgium.

  12. About the whole tone scale, shouldn't it be Gb rather than F#? C to F# is augmented 4th and the formula you've written says it's a flat 5 which should be a Gb. I know you can respell any note enharmonically but considering the formula you selected it can be confusing to some. Nevertheless thank you for making this content, it's absolutely great.

  13. Great class – you were a classical guitar major and must have done the Segovia scales – Melodic Minor went up b3, #6, #7 but went down pure Aeolian (remember Bach's Bourrée in E minor?) – is that not how Melodic Minor is thought of now?

  14. PLease make a video on how those modes / chords actually have an impact on the quality and the mood of the music with examples. Too abstract.

  15. Mr.Beato …. Thank you so much for all the hard work you've put into teaching the ((World)) more about the Music we love to play….

  16. I don't use harmonica minor mode family because of its augmented second. I don't use a lot of scale because they're just too many of them.

  17. Thank you so much for all you do Rick! As a young musician studying Jazz at university your videos are the most excellent supplement to my learning "diet". Amazing videos to watch while drilling in scale shapes in all positions!

  18. Thank you so much, Rick, for putting all the modes in an order that makes sense! This is a great addition to my own theoretical studies.

  19. Thank you so much, Rick, for putting all the modes in an order that makes sense! This is a great addition to my own theoretical studies.

  20. Awesome content Rick! I 'm buying your book and getting stuck in. This is such an amazing education, we 're so lucky to have all this information presented in such a cool way👍

  21. You remind me on my professor in primary music school, she taught us these modes, I thought there are useless, so I learned them without much understanding.

  22. You have seriously helped me to understand music theory and how it apllies to my playing. Ive been watching your videos for weeks now. Its like all the pieces are fitting together with each lesson u teach. Thank u so much Rick!!

  23. Just wanted to say thanks for sharing your wealth of knowledge. I just enrolled in The Beato Academy, and look forward to exploring and utilizing your lessons and resources!

  24. Rick is up there with ted Greene, who is my hero at theory, but Rick is a master at piano producing, mixing, etc-pure genius !!! Not trying to compare, just have great respect for both and their wealth of knowledge RIP Ted, thank god we have Rick

  25. Hi Rick, why isnt an Altered Dominant and Dominant diminished scale considered a minor scale then? Is it the ambiguity (has both flatted third and natural third)?

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