Western Music Theory is an Absolute Sh*t Show...Here's Why

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Lesson Referenced in Video:
➢ The Fundamental Misunderstanding in Music Theory: • The Fundamental Misund...
➢ Intervals 101: • Understanding the Impo...
➢ Modes of Harmonic Minor: • Modes of the Harmonic ...
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Timestamps:
0:00 - Lesson Intro
5:17 - Conflict #1: Numbering "Minor" Chord Progressions
18:32 - Conflict #2: The Great Modes Debate
27:25 - Conflict #3: The Perfect Cadence
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Enjoy!

[@zombieguitar]

At 23:55 the chart says "Key of A Dorian"...I should have put quotes around that. No, Dorian (aka. 2nd perspective) is not really a "key" according to the 12-key model. However Aeolian (6th perspective) gets the privilege of getting to be called a "minor key" in Western music...so for the sake of pointing out this inequality, I labeled the chart as "Key of A Dorian" because Dorian is just as much of a "key" as Aeolian. Aeolian = mode = "minor key" Dorian = mode = ?? This is the bottleneck 😀

[@firstboyonthemoon]

Neither Dorian nor Aeolian are keys because scales aren't keys. Keys transcend scales.

[@zombieguitar]

@@firstboyonthemoon modes aren't just scales either. If they were then we wouldn't need to have the term "mode" at all 😁

[@demcandybars]

Correct, however, I like calling my scales after the modes according to the note they start on, because that lets me derive the extensions for chords (that is, including finger positions) rooted there off the top of my head when I memorize the pattern of the scale. Because this is quite practical, I believe that there are teachers who do the same and some may not clearly enough point out that you can actually play in any mode using whatever scale you like, and that if you really want to feel a mode, you instead gotta make its first note the gravitational center of your harmony (playing over a chord rooted there and starting and repeatedly coming back, resolving to that note in your melody should get you there), in this case causing above confusion.

[@zombieguitar]

@@demcandybars I agree with everything you said. This video here explains the difference between scale and mode (for anyone reading these comments): kzbin.info/www/bejne/kHK8mISaiNiamZYsi=mwcJz8EiboZVQ0lX

[@voronOsphere]

I'm 100% in the 12 Key Camp.

[@mykneeshurt8393]

12 keys has always made more sense to me. I just want to play music, not argue with people about what we are playing...

[@yourguitarist]

👏👏👏 Thank you for this . I was taught the "12 Key Model" and never even heard of the "24 Key Model". I'm getting ready to start teaching again after a long hiatus and would have been baffled if someone came at me with this 24 Key thing. 🙂

[@demcandybars]

He might be coining that term here, in order to refer to all the confused teaching out there, based on incomplete understanding of Tonalities (which I prefer over the use of Scale or Key Signature to mean the same thing) and Modes (thinking in Major and Minor Keys too much while Major or Major Scale can also just mean the Natural, Non-Altered Tonality, as opposed to Harmonic and Melodic Variants, which were once defined as the Major or Minor Scales implying mode, but today are happily being played over in any Mode, their names then referring to Tonality Alteration rather than Mode, but what in classical sense they are, making things worse, the words Major and Minor still being needed for Harmonic Minor and Harmonic Major having different Tonalities) and/or the difficulty of explaining these terms properly, which admittedly is challenging for they're ambiguously overloaded, sometimes with three or more meanings depending on context. Oh, I bet this is super confusing already. The topic is completely right, things are messed up quite royally. Although I mostly see the historically grown terminology as the cause, rather than a certain teaching model,, as long as it's making enough sense for me to see through it. To me off key is off key - no judgment, it may sound cool or crap, be deliberate or an accident, whether I care improvising or not - to me there is absolutely no doubt about when this is happening. I think that's what Brian means with "mathematically accurate" - so he's making sense to me. Let me try to sketch out bit of a glossary: Tonality = the set of notes you consider "in key", regardless of where your harmony is centered. Mode = which of the notes in whatever Tonality is the gravitational center of your harmony (Ionian, Dorian, Phrygian, Lydian, Mixo~, Aeolian, Locrian - for the most - I'm not sure we should still call them that in very much Altered Tonalities such as Double Harmonic, and in some, even more exotic ones like the Whole-Tone Scales, the set degenerates to fewer modes, none in this particular example - but that Tonality is kind-of an extreme example of an harmonic wasteland). Key = Tonality + Mode Major and Minor Keys = synonym for Keys in respective Ionian and Aeolian Modes However, based on the Triads at their root you may consider Dorian and Phrygian Minor-ish Modes (but Phrygian or both become Major-ish using the Tonality of Harmonic and Melodic Minor, respectively, and in case of the former, as an interpretation of a Major Dominant in Aeolian being common, potentially adding a confusing little detail). and Lydian and Mixo~ Major-ish (but again, this only holds in Natural Tonality a.k.a. that of the Major Scale, the latter or both go Minor-ish in respective above Tonality variations) which then, for completeness, also gives us a "Diminished (kind-of) Key" as synonym for stuff rooted in Locrian (becoming Minor-ish and more useful in the Tonality of Melodic Minor), which we don't see all too often (in the Natural Tonality). Scale = here I like Brian's distinction between general Music and Guitar Theory. In case of the former, I'd say it's often a synonym for Tonality, but might also mean Key if a note name comes with it. In case of the latter, it means a sequence of physical locations on the fret board. Key Signature = Natural basis of your Tonality, as you *notate* it. That is the Sharps and Flats that come after the Clef. Some may define it as a synonym for Tonality (which I find very bad, because Tonality Variations are often notated as Accidentals, see below). Accidentals = Sharps and Flats notated before individual notes as opposed to after the clef, but I also like to, potentially sloppily use it to refer to notes that get played and are outside the Tonality or "off Key", I bet others may do the same. I hope I could cover some ground here.

[@illuminotme4261]

Wow this explains allot. I'm self taught, from early 90s No internet just magazines and books for instruction. Happy to learn this. You make it so clear well spoken, ,thanks..

[@GaryBook]

Music Theory is critical, I committed to studying it over years. When I finally got it, it was similar to when Watson and Crick figured out DNA, after that point, everything made sense. It was similar to when, as a kid, I learned to ride a bike and swim. There was a time when I couldn’t do it, then when I crossed the bridge, it was second nature. Keep teaching it.

[@fixedgear37]

Like any "theories" in life, music theory is just made up to explain something that exists.. hence the name. Humans have this need to have everything explained.

[@Rorre65]

I love how clear and explicit you are!

[@paulclarke4099]

I think this is the clearest explanation ever. I'm 100% in to 12 Key camp now too. Thanks so much for all the great videos and the information you provide Brian 💯😃👍

[@mikegaurnier]

This is simply an awesome presentation of the non-sense regarding keys and modes. Thanks so much. I've shared your video with my online guitar community. 😎

[@zombieguitar]

Thanks Mike! Much appreciated 😀

[@GNA2511]

"More Theory!" Just like "More Cowbell" should be on a T Shirt. Theory is the foundational blueprint of Music. Understanding it allows you to create music beyond just learning songs by tabs. Interesting side note is that while looking at your pic for the Key of C Major Chord Chart I discovered that starting with the C chord going down, the thirds of the chords follow in order starting with E of CEG. Next is F of DFA and so on . The same follows with the 5ths starting with the G of CEG then A of DFA. I have no clue if this is significant or not but it's an interesting pattern. Great Lesson Brian. Keep em coming!!

[@TimsGuitarWorldwithTimFeskorn]

This is a very enlightening video. Thanks Brian. Love your style. 😎T

[@willd127]

This has completely changed how I approach my playing. Thanks for clarifying it. It’s been a game changer!

[@user-xx3rv7bv5f]

Although I’m interested in knowing how and why about the guitar, at this point I don’t plan to try to write music. I want to be able to play other people’s music and to play some solos within the available space in the song. I’m enjoying learning how the music is written. There’s lots to this than I ever imagined. Thanks Brian!!!!

[@drgnslyr1962]

And we also have the 30 Key model. In the end, it is just a different way of saying the same thing. The 12 key model is the simplest.

[@zombieguitar]

Yup, when I say "24 key model" that is equivalent to "30 key model"...I just didn't want to get into all of those technicalities. I have in previous videos though!

[@CalvinLimSH-ld5le]

Thanks for sharing music theory, the 12 keys are sufficient for learning the 12 musical notes (enharmonic included) plus all the related scales based on the starting interval and the type of musical note to play. The major[3], minor[3b] and mode[beginning interval] shows us the mood of the music e.g. major - bright / minor - sad / modes - the mood behaviour of the played music.

[@mikenighbor4524]

What's the teaching method where i send gift cards. I'm not learning much there

[@TomVanSchoor]

Very interesting! I agree that this is a much more consistent way to look at chords and formulas. Funny note (no pun intended) though is that originally, the minor key (6th mode - aeolian) was ground zero. That is why A is the first key on a piano and why the note was given the first letter of the alphabet... ABCDEFG The big 24key vs 12key stems from classical vs modern music that has its origin in blues and Jazz. It is fun to think about these concepts, thanks for the reminder!

[@Cherodar]

It's very natural to think that that's the reason why A is called A, but it isn't actually why--the Aeolian mode was never the "basic mode" in Western music, nor was A the "basic tonic." As for the piano, it didn't get extended down to that low A until very recently (in Mozart's time, for instance, the lowest note on the piano was an F). The reason why A is called A is because, in the theoretical system that medieval Western Europeans imported from the ancient Greeks, the lowest note of that theoretical system was equivalent to what they decided to call A. It wasn't a modal centre of any importance (it actually didn't gain that status until about 500 years later--Aeolian is a latecomer!), but was just the conceptually lowest note in the schema they'd long thought with (you could think of it as their mental piano I guess, but it wasn't reflected as such on any instrument).

[@scottjones6624]

Terrific to hear this again!

[@bladezstudio666]

Thanks for this. It's beginning to make a lot more sense to me

[@martynspooner5822]

I am with the 12 key side personally but I could well be biased as every single thing I understand about theory has been taught to me by Brian. Thanks as always.

[@SWDFGX]

A very intelligent assessment of this subject. I am not that intelligent but this has helped me to understand why I was confused about the subject previously. On another note, wasn't it John Lennon who was amused by some music expert's comment about his song "Not a Second Time" having an Aeolian Cadence. He seemed to have been equally confused.

[@crescendo5594]

I had no clue the 24 key model was, but I like that one. If I’m playing in a minor sound, key, or whatever you call it, I don’t care how it relates to its relative major. I want to think about the tonic and how the chords relate to IT, not its third degree. The math is meaningless to me. Relating everything to the major scale is what makes it confusing, I promise you. This is what makes numbering systems confusing, and it’s what makes modes confusing. You get a billion questions about modes because you’re adding an extra step when you have to think about the scale you’re in _and_ its relative major scale. What about Phrygian dominant? Now we have to think about the scale, its parent scale and its parent’s parent scale? Why not just think of it in terms of what’s home, how far the notes are apart from home, how the chords in that scale are built because of these distances, and and how the chords in that scale relate to home? One model applied the same way, no matter what scale you’re in without having to do scale Inception in your head.

[@crescendo5594]

All that said, you describe things very well, and you’ve been instrumental in these concepts making sense in my little pea brain.

[@zombieguitar]

The thing is...I don't actually get a billion questions about modes. I don't get any, because the 12-key thing provides a solution. I'm just referring to the never-ending argument on the internet in guitar groups that is going on 24/7...that is where all of the arguing about modes happens. And that is a direct result of the 24-key model! The questions that I get a lot of are ones that indicate that people are unaware of the fact that there are 2 different models being taught!

[@crescendo5594]

@@zombieguitar I also didn’t know these were two schools of thought. But, honestly, you explained concepts I struggled with in ways I understood. So it’s the model, and the vehicle for the information working in tandem. Good teachers can articulate things in ways that make sense to the listener, and you are definitely one of those people. This transcends the model through which they’re teaching. I may disagree on the model, but my objection is proportional to areas that I’ve struggled in, and only once I figured them out, I know what the sticking point was. For me, it was the major scale as the reference point for everything else, and the language. Now that I know why one note has two names, it makes me even more dislike the basis of sheet music. I’m convinced there’s a way for a note to function in multiple contexts while always having the same name or numerical value. Something more intuitive. Maybe I was being a bit speculative in terms of what questions you receive haha But on guitar theory Facebook pages or other similar things, I see so many questions about modes, and most people answer those questions in a manner I think you might approve of, which is to tell these people how everything relates to a parent major scale.

[@gr637]

Music is a language. Western music theory may be imperfect, but there is no perfect language. In fact, what does perfection in languages even mean? The point is, western music provides us with a set of concepts that are commonly understood, so that we can speak the same language when we want to communicate our thoughts.

[@j.frankparnell]

Brian, thanks and keep it up. I ve seen many of your videos but never noticed these. I searched "there is no minor key" lol. After watching some mode videos of others. I struggled with understanding modes for so long like many guitarists. I always questioned how C and Am had same notes, same key signature but were different and any explanation didnt make sense. Once i figured it out i was very angry at anyone who would talk minor keys . Because calling two modes of one scale, Keys was the most deceptive thing to learning theory and why so many people have trouble understanding modes. I learned the major scale on guitar and learned how chords are built off scales so when jamming, the singer would say its in Am i would play the Cmaj scale and not even realize i was playing modal. I thought i was playing in C and was told I was playing Am. And i didnt understand. I would play off the A and not the C, but i didnt know what i was doing i just new it sounded better to play around the Am chord instead of the C chord. I always thought in 12 keys because i learned a little organ we i was a little kid and sheet music had 12 keys, so , i always had trouble when i was taught things in the 24 key model . I understand the 24 key model now, the two mainly used modes are all most people need for the first year or years so they are taught as different things. But it hampers further understanding so severely that im fully behind the 12 key method. Modes are all about different intervalic relationships within one key signature, not two keys or 7 keys. Thank you.. Also, if you dont have harmonies how can you justify 24 keys. A melody line has one key signature. Now you could examine the notes and possibly determine the mode but to determine another key is actually quite ludicrous.

[@zombieguitar]

I love this comment!! I'm glad to hear that there are other people that have come to the same realizations that I have. Thanks for sharing your insights 😀

[@slickwillie3376]

Immo see if I can modify other modes, the way they modified major and minor, to get, say, harmonic dorian, phrygian, etc, scales, that can be borrowed from...

[@zombieguitar]

If you start with the major scale, then all 7 its modes will have the same 7 notes and the same 7 chords. One of those 7 alterations is "natural minor" (aka. Aeolian). If you instead start with a completely different scale, with a different interval chain...such as the harmonic minor scale...then you get a whole new set of 7 chords and 7 modes. I did a 2 part series about that here, where I started with the harmonic minor scale. Check it out! Part1-kzbin.info/www/bejne/mpvXoaasnpqha80si=RfTqJsS8IIjk2zKR Part2-kzbin.info/www/bejne/omfOqGWDfsqSbNEsi=ufvEJW6cKLCwkct4

[@user-pl4xw8ch4r]

Very interesting I've been wanting to understand this stuff for years.

[@garychen483]

There’re 12 keys in music. Minor key is still major key with minor chord played as the tonal center and will still be numbered as 6. It’d be numbered as the 1 chord only when it comes to modal chord progression. The rest is nice to know but not necessary to know because it does nothing but causes confusions. Another great video from zombie guitar!! Love Brian’s teaching!!

[@Arthur_My_Dear]

Think that statement through a little more. What is the equivalent major key to A melodic minor? And what are its modes? Plus there are 3 major keys that have A minor in it, C, G and F. Then there’s the melodic minor and harmonic minor. If the song starts and ends with A minor, it could be in one of 5 different possible keys.

[@DANTHETUBEMAN]

What key is the solo for last dance with Mary jane in, or what key did he relate to that progression in. 😊

[@zombieguitar]

GREAT question!!! The solo is done using mostly the A minor pentatonic scale. However this doesn't necessarily mean that the key is "A minor" though. A minor pentatonic is 5 notes: A C D E G Those 5 notes are found in each of these 3 scales: A Aeolian: A B C D E F G A Dorian: A B C D E F# G A Phrygian: A Bb C D E F G Therefore the A minor pentatonic scale works perfectly for anything in A Aeolian, A Dorian or A Phrygian. In this case, since the chords put us into A Dorian, if we were to add in the 2 "missing notes", then we'd add B and F# to complete the A Dorian scale. In fact, if you listen to the very beginning of the solo, he does include the F# note. The remainder of the solo is all just Am pentatonic though. This F# note is further reinforcement of the fact that this song is in A Dorian (parent key of G major)!

[@DANTHETUBEMAN]

@@zombieguitar using the F# can get you some uniqueness out side of the blues box. jimmy did it in red house beautify incorporating chord notes outside the blues box. it's a very smart creative thing to do.

[@zombieguitar]

@@DANTHETUBEMAN definitely! The Dorian scale combines very nicely with the minor pentatonic scale...much better than Aeolian (for blues at least) 😁

[@DANTHETUBEMAN]

@@zombieguitar Th motor city madam went right in to it in Strangle 🤠 hold solo, seamless integration and hat provided interest. 🔥

[@brendachristopher2693]

WOW! Thank you!

[@scotttalley1274]

keep up the battle...fight the good fight....I hear ya ...and I'm down with you...use the 12 key force luke

[@user-xx3rv7bv5f]

Am I correct in thinking that most of the points in this discussion are mainly important and used more in song composition?

[@zombieguitar]

The differences are all "on paper". It doesn't have any effect on how you may go about composing in a "minor key". It all comes down to how we define things such as "key", "key signature", "mode" and "scale". These are just nuances that you will inevitably run into as you continue to study music theory. The fact that there are multiple different "models", with different ways of defining things definitely seems to slow the learning curve for a lot of people. But ya, it's all just "on paper" stuff 😁

[@jeffearle1687]

Excellent!

[@zombieguitar]

Thank you!

[@chrisgraves4561]

12 Knights of the Round Table, 12 Apostles, 12 Tribes of Israel, 12 Original Olympians, 12 Sons of Odin, 12 Jurors in the box and there are only 12 KEYS IN MUSIC!!! Another excellent video Brian. Zombie Guitar is the best $159 I've spent on my guitar journey. Thanks.

[@sternensegler61]

Whenever I play guitar, I tune the second, third and fourth string to B G and D. As I know, these notes together build a G-Chord. So from my perspective, I understand a guitar as an instrument, that has to be played in the key of G. Which certainly is a doubtless proof that Pettys Last dance with Mary-Jane is in G-major. 😁On the other hand, if you play the first second and third string, it´s an E-minor. I think we should agree, we play guitar in G-major and if nessecary we play some chords out of scale. If someone prefers A-major - no problem, i´ll put a capo on the second fret🤣

[@Arthur_My_Dear]

The only thing I’d question is calling Dorian a key. It’s a mode, as you said elsewhere, the second mode of a major KEY. ‘A’ Dorian has a minor sound and uses all the notes of G major, starting from the note A. That would fit with your twelve key model. Otherwise you’re going to end up talking about 5 different minor keys - Natural, Melodic, Harmonic, Dorian and Phrygian. I don’t think this is confusing or contradicting you either. I know what I mean about modes and keys and I understand what others mean. Another thing I found really helpful about modes is when I first realised that each mode had ONE ‘special’ note that gives it its distinct sound. Like Dorian is a minor sound with a major 6th note and it’s the mode Carlos Santana spent his life playing in 😊. Phrygian with the flat 2nd, Lydian with the #4 etc. I found it really helpful to talk about modes whilst also hearing what it sounds like

[@zombieguitar]

Yes exactly. Dorian (2nd perspective) is just as much of a "key" as Aeolian (6th perspective), which is typically referred to as a "minor key". My stance has always been that if Aeolian gets the privilege of getting to be called a "key", then the other perspectives should get that same privilege as well...but 12 is the way to go for sure 😁

[@Arthur_My_Dear]

@@zombieguitar OK, if you’re saying that there are only 12 keys ie the major ones, then you ought to be calling both Dorian and Aeolian (natural minor) ‘modes’ right? And in saying there are only 12 keys you’d have to say there are NO minor keys and classical musicians and composers the world over would sh*t the bed 😄. And goodness what to do with Harmonic minor and Melodic minor? To be fair, when I’m dealing with songs that are clearly minor in feel I relate them back to the relative major key automatically. Am minor (natural) is always going to be vi in my head even if the song begins and ends on it

[@zombieguitar]

@@Arthur_My_Dear yes exactly. I should have put quotes around "key of A Dorian" to specify that that particular rearrangement of a key signature should have the same rights as the 6th perspective....but yes they are both simply "modes" 😀

[@Arthur_My_Dear]

@@zombieguitar Actually, sometimes keys are a pita to think of at all. Like you can have a song with only the chords C and D in it. Technically the only key with both these chords is G major, even though the chord G major is never played. Then looking at the C you’d have to say well it’s the 4th mode (lydian) and you’ll be playing F# over the C and then you come to the D and you’ll be playing in the mixolydian mode because you’ll use the note C over it. And then you think “just shut up and play” (in G major 😁)

[@zombieguitar]

@@Arthur_My_Dear yup that 2 chord sequence using 2 major chords spaced a whole step apart can sometimes be tricky in determining if the 1st chord is "tonal center" (Lydian) or the 2nd chord is tonal center (Mixolydian). This doesn't violate the 12-key model though. This is just a matter of determining which chord gets the label of "tonal center", which can sometimes be different from one person to the next!

[@johnnorris1983]

You can’t place restrictions on music.. But music theory is a good platform to jump from… Classic doesn’t necessarily have the beat but holds a hosts of the best unrestricted tunes . It’s lacking beats don’t hold the fashion/ youth/ cash/ impressionable / CASH. It’s like We MUST all conform..for rewards..? Timing.. spacing.. it’s about communication.. Beat.. is about the THUG punch.. Monster noises.. But it’s where do YOU stand ??? Where do you need it to go ???

[@zombieguitar]

This is definitely not placing restrictions at all! This is just saying that people seem to be struggling to learn "music theory" (based on the questions that I read around the internet), and it largely stems from this 24-key thing. The 12-key thing seems to un-confuse a lot of people 🤷

[@tamgeof1039]

Can't believe it took me do long to subscribe

[@zombieguitar]

Thank you!

[@ChristofferKeizer]

Well put, sir. This is the way.

[@thoth_amon]

probably just some kind of marketing thing to sell books on the same thing with just different names

[@philjames1019]

It's essentially 12 key thinking for me .... ... although I do also consider the three enharmonic keys, making it a 15 key situation (which I believe you approve of Brian?).

[@zombieguitar]

Yessir...I just didn't talk about the enharmonics here because that would've added an extra 5 minutes to the video...but yes, 15 keys is okay in my book!

[@philjames1019]

@@zombieguitarYou're the man!!

[@alphanumeric1529]

I'm not an advocate for either of these two supposed systems, BUT in the 12 key model, the tonic is not the 1st chord of the key, that is not accurate, not mathematically accurate, it is confusing, and as I understand it, the whole point of having a key, or key signature, whatever you want to call it, is to have a tonic, a tonal center of a series of chords, and all other chords are relative to that tonal center. For example, if you're going to pull off the all important perfect cadence, you cannot in the 12 key system, as the perfect cadence requires a movement from the 5th to the 1st, but in the 12 key system, you'd be moving from the 3rd to the 6th if you were in a minor key, or the minor mode, however the 12 key system calls it. I think this trouble arises, in either of these systems, is from combining two different functions, or mechanisms, into one system, but those two functions are fundamentally irreconcilable to each other. It is akin to attempting to square the circle, it just can't be done, they're fundamentally irreconcilable. Does that mean we shouldn't use circles, no, we can use circles, and when doing so, we use the rules of circles. And when we use squares, we use the rules of squares. We don't try to apply the rules of squares to the circle, and we don't try to apply the rules of circles to the square. To develop one system of rules that equally applies to squaws and circles would be foundationally flawed, it would be in error from the start, from the very notion that there is a need or a purpose in creating one system for two different systems that don't have anything to do with each other. Peace.

[@zombieguitar]

I'm not trying to combine the 12-key model and the 24-key model. I'm simply saying that there are 2 different models that are being taught out there, and they conflict with each other. I think that's what you are also saying too.

[@theelderskatesman4417]

Gittin the shit sorted👍

[@Blumis2000]

I need you as a teacher! If you take a plane to Denmark, I'll take care of you beer wise bro! :D

[@patrickhlavinka6364]

I never even heard of 24 key. Thought you were talking about eastern music. I just call those people blues theory guitarists. Oh it's a minor with a borrowed chord just play pentatonic and pray lol. And they have no though process beyond that lol.That being said though, i feel like as my ears have developed i really do think straight aeolian is pretty bad with the 5 chord not being changed to dominant. Its super boring and uninteresting. Thats just my opinion though. I prefer secondary dominants whenever i can do them.

[@zombieguitar]

Oh ya man for sure. There is nothing that says you have to remain "in key". All of this is just about defining what exactly we are labeling as a "key". Secondary dominants are awesome, but they are "out of key" per the 12-key model. As a teacher, we need to make sure that the information is conveyed correctly!

[@patrickhlavinka6364]

​​@@zombieguitar yea agreed. I think the whole 24 scale thing you were talking about about applies more to classical music that really never has any sort of modal sound. With that logic you could say there's 84 keys cause of modes. Easier your way.

[@bluwng]

I haven’t received your notices in several months.

[@zombieguitar]

If you're talking about the weekly lesson emails that I send out...maybe they are going to your spam folder for some reason 🤷

[@StratsRUs]

Get that Algorithm , Baybee !! 😊

[@phnx4life]

Especially pop-musik ..

[@36on22]

I prefer 12 keys. No ambiguity.

[@edMusic-ve7wn]

I'm glad I took up piano instead of guitar. lol

[@zombieguitar]

I mean...the 12 key argument still applies to the piano as well! 😀

[@edMusic-ve7wn]

@@zombieguitar Well, so far, I've not had to deal with a 24 key argument for the piano. 😁 👍

[@AlexEllwein]

Another proof of 12-key model correctness is the fact, that we use same notation for major and it's parallel minor (number of flats or sharps at the key signature). E.g. no sign implies the same notation for C major and also A minor. There is no "sign" at the key signature to determine major or minor character of the melody, so the 12-key model fits perfectly here.

[@Mrwonson3]

We appreciate your lessons. These guys who question you are nothing but ignorant. Keep us informed and teach us real music

[@cryptotharg7400]

Everything else is a "conspiracy", so why not music theory? 😎

[@zombieguitar]

I like to think everything is a conspiracy theory. It makes life fun 😁

[@ranhold1]

OMG my head hurts...

[@zombieguitar]

Super uber nerd stuff goin on here!

[@ranhold1]

@@zombieguitar 😂😂😂

[@tomtoss2463]

In any key, the major is the Ionian mode, and the minor is the aeolian mode. I’m a music theory show off.

[@voronOsphere]

And those are the two I probably use the least, although I still use them often!

[@michaelbasile6388]

Ahhhh what are modeessss😂😂😂

[@zombieguitar]

🤣🤣🤣

[@mikestroud9969]

👋👋👋👋🎸🎸

[@John-ic6zo]

"How strange the change from Major to minor" ❤ Thanks Brian...12 keys,12 notes in an octave,12 frets to the octave on the open strings..12th fret is half way between the nut and the saddle....

[@MrDoneboy]

24 key model=Chaos! Lol

[@eldjennemo2122]

The truth is in the 12 Keys model ! Thank you for this vidéo.

[@user-pi9dc8qr1j]

It's really so simple: there are 12 keys - that's it....and then you have the 'keys' which are perspectives of the keys or modes of the keys although the keys are also modes from a certain perspective. You just have to be consistent and refer to the 'keys' by making quotation marks in the air or in writing and then refer to the KEYS in a slightly more aggressive manner to suggest who is really in charge here, 'C Major is a KEY' 'C Dorian is a 'key''. Simples.

[@user-pi9dc8qr1j]

So..just to be clear there are mathematically 12 keys but linguistically 56 'keys' or '84' 'keys' depending on your perspective...and then there are the 'keys' of the harmonic minor and melodic minor and the perspectives of those...but it's all quite clear and now you should be able to write a great song.

[@totheleftrightla]

My cousin has 24 toes and is a model. This is and will be the only time the 24 key model made any sense when my snuff chewing grandma talked about it. Thank god I grew up hearing the greats...Fleetwood mac,reo speedwagon, etc. Whew.

[@tomtoss2463]

Let’s cut to the chase. The 24 key model which also includes the 6 enharmonic keys is wrong. It’s inferior to the 12 key model.

[@That.old.mountain]

You are correct. Need a Ancient Greek style philosopher statue of you for your effort 😂

[@runisom48]

There is a group of people who like to keep the rest confused as it enhances their ability to control.

[@kevingronau4946]

If you know your keys, notes. scales and modes it does not matter at all. I have to say you sound silly to me. Taking points of music from no where and saying them out loud....silliness! Maybe you are trying fool people who are beginners. Anyone who knows guitar would found this useless and not worth knowing. There is no confusion but your are trying to make it so.

[@theelderskatesman4417]

He explicitly says he is talking about the process of learning the things you assume everyone akready knows. It's about different labelling systems making learning more confusing. A very important thing for a teacher to make clear.

[@zombieguitar]

Bro beans it's a thing though