 Hi everyone, this is Jason here from Nathaniel, welcome back if you are a subscriber and if you are not, hi there for the first time I guess. So in this lesson I want to talk about what I call as hybrid scales. So what you heard in the beginning in that performance video had basically these hybrid scales or many scales put together in order to showcase not just one of the sixths or not just one of the thirds or so on and so forth. I am trying to toggle, I am trying to interact between the intervals. I am not just saying I will play my music on a major third because it's a major scale. I could also look at a minor third or I don't have to look at a major seventh all the time. I can look at a minor seventh. So that's the concept of hybrid scales. If you haven't already it will be great if you can consider subscribing to our channel and hitting on that bell icon for notifications that will be very very helpful for our channel to grow. So let's get cracking with hybrid scales. So if I take the key of A and I am very clear when I say the key of A that means A is the root of the scale but I didn't say the scale of A because there are many scales from A but there is only one key which is which is the A key. Well there are actually 12 keys but you can build many scales with respect to the A key and by many in you take karnatic music you have 72 mellakartaragas which are a lot to deal with. Okay I am going to build a scale now A major. Now A major well it has a root, a major second, a major third, perfect fourth, perfect fifth, major sixth, major seventh, octave. Now you could also do basically you have two kinds of sevenths available in music right at least western music which is major seventh and the minor seventh. So people use that from time to time. It's also called as the mixo or the mixolidian scale. So if you develop a lick, so phrase one has that major seventh, phrase two that's like more of a brave answer it's almost like two people are talking to each other right two characters or two personalities just built by the interaction of a major seventh and the more stronger or the more powerful dominant seventh, minor seventh another way we can call it. Let me try and explain that again that's your flat seventh major seventh you will find the Beatles doing it in a few of their songs section one of the Beatles song you have that flat seven at the second part of the of A jude with a little help is again major in the beginning mixolidian or flat seven at the at the chorus so another thing I like to talk about when it comes to hybrid scales is how you can even mess around with the third as absurd as that may seem you know how can you you know play a major and a minor scale in the same song well sounds quite beautiful actually so if you take the A key the C sharp becomes the major third the C becomes the minor third so you have if you begin a phrase like so you're kind of ascending an end on the root minor third if you observe I'm even playing around with the sixth I'm doing like my minor sixth minor third in my right hand and minor sixth in my left hand make some hope now major sixth right you can play minor sixth and major sixth together minor little little bit more on the gloomier side or the the more I guess sadder side serious side now hopeful that's the other sixth in the A major major sixth F sharp minor sixth should be a bit more weighty grander lot more epic the major sixth so if I start in my right hand with a minor third and play around with the sixth in my left hand get some nice color very pensive very melancholic I guess lot of a struggle going on with that minor six some hope now end on major in fact we call this the the Picardi cadence in an otherwise minor song and on a one major and just brightens up suddenly so in this piece which I've composed called onward bound I've done the major third with the major sixth and then immediately playing with the two sixths major sixth minor sixth sticking with the major third major now I'm coming slipping to minor base changes there we have it with the flat seven major seventh back to the flat seven so with this entire production you should probably hear the actual song we'll put it up in the description of the video I'm playing with the major seven the minor seventh playing with the major third minor third I'm playing with the major sixth minor sixth so this is what I in essence call as a hybrid scale yeah it's not major it's not minor it's not mixolydian it's all of them right so that's what I mean by hybrid so in my mind the flat three normal three major third minor third as simple as that the major sixth minor sixth the major seventh minor seventh emotionally major thirds very positive minor thirds a bit darker and a bit more sadder gloomier major sixth grander epic minor sixth very mysterious very James Bond like very you know sneaky also major seventh lot of tension in there like waiting to resolve dominant seventh lot of weight very brave very epic again so why not play with all of them in one song like how people make well a story or a movie right we have all the changing emotions so if the third the sixth and the seventh color up the sound so much why not just use all of them if your song demands it so that's about the hybrid scales I'd like to conclude my study of the my discussion rather on the hybrid scales by just giving you a little bit on what I call as the hybrid minor I would love to talk about that in detail in another lesson but for now the hybrid minor is where you have minor third always but then you have four minor scales which you can play around from the top end of the scale the sixth and the seventh can permute themselves in various ways so you could do natural minor which is a flat six and a flat seven then you can have what we could call as the harmonic minor which is a flat six and raised or major seventh all with a home base being a minor third or a minor home card natural aeolian harmonic then you could even have Dorian what I call it what we all call as Dorian so Sarigamappa remains the same major sixth minor seventh obviously octave Dorian and you have one more minor part of the whole hybrid combo and this merging of minors has happened you all heard this song here it's the melodic minor where he's climbing his melody then he's coming down which is pretty much how the classical interpretation of the melodic minor is in the first place you go up with a raise six raise seven and when you go down you go down the natural minor so there are four hybrid minor scales to deal with natural harmonic Dorian and lastly melodic all having different flavors right you've done some stuff with the three the six and the seven in this lesson what about the other stuff what's what is the other stuff well you have the root which you can't change you have to be in the key of something for the most part and you need the fifth the generally to create stability and to make you understand what's going on so root and fifth in most cultures east and west don't change at all that leaves us with the two and the four now that I don't call them as hybrid scales I call them as exotic scales so whenever you have your two and the four altered in other words you do not have the major two instead you have the minor two so if you take major and add the flat two instead of the major two this feels to me I just give it that word exotic an exotic place or an exotic fruit or a vegetable if you are into that stuff so flat two I'd consider exotic or a sharp four which is a raise four or you could call it augmented four or it's just a tritone really with the five so very dreamy very surreal so that's why I like to give it an exotic name so in my book when I'm combining scales I tag them primarily as hybrid scales which mess with the three major third minor third the sixth major six minor six the seventh major seven minor seven and the exotic stuff or the flavor comes from the flat two instead of the major two and the sharp four instead of the perfect fourth normal exotic I've used this concept in so many of my riffs that when I broke it down and when we classified it with some amazing students as well who helped us put it out in one unified website so the website is called riffs.jsonzackmusic.com you should head over there we've basically cataloged all of my riffs and used some very interesting musical tags to it not just the genre well there is genre there's emotion which I think is quite interesting you should check that out you could filter by genre emotion and musically you can filter by scale by key by time signature by time feel which is another interesting character rhythmically but when you go over to the melodic stuff you can filter by scale or key and forget about key if you go there with scale what you will find is you will have an array of scales to choose from and there is some things which even I brand as the hybrid minor or hybrid in general or exotic you'll find those words there so do check it out tell me what you think try and learn some of those riffs I'm always available on instagram if you'd like to tag me or if you'd like to record a youtube video and send it to us it'll be awesome so all the best with this a lot of you have had this question about you know how to I mean how do you make your riffs well this is one of the concepts which I think I use which are which is fairly unique to me there are a lot of rhythmic concepts as well so I will try and talk about it but for the most part this lesson covered this whole idea of hybrid scales there's a link on word bound in the description do check that out you'll find all of this has some an amazing Veena player Radhika Bhaskar playing on the track so do check out that song as well by my band and that's about it guys if you haven't already do consider hitting that subscribe button there's a bell button as well hit that please for notifications and whenever we put out a lesson you'll get it you could also consider joining a course a very regular kind of course which we conduct at our music school either in person you can learn with me and the other faculty depending on which instrument 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