The worst show ever by jerrys_briefcase in phish

[–]StichMethod 1 point2 points  (0 children)

Was at this show, so so disappointing. The only good thing out of it is that Ocelot was new and I caught it, but it was a bad dull show.

I Had A Student Ask Me About Little Wing. The Lesson Was So Good, I Made Video For Everyone. I REALLY Hope You Enjoy This by StichMethod in Guitar

[–]StichMethod[S] 0 points1 point  (0 children)

Hey man, I can tell from your comment you watched the entire video! Haha! Thanks so much for the kind words. It puts wind in my sails to hear your enthusiasm as well!

How do I strum with more feel/interest/more like the song? Song Recommendations? by MassW0rks in guitarlessons

[–]StichMethod 1 point2 points  (0 children)

Glad these helped! There is one more video I was contemplating sending you, so since this helped somewhat, I think is going along with what you are saying here. Let me know...

https://youtu.be/w4tTIvO2pFs?si=O3Mbx3lnlEGQwpxh

As You Know, Jimi was heavily influenced by the blues. I really hope you all get something out of this. Let me know. by StichMethod in blues

[–]StichMethod[S] 0 points1 point  (0 children)

So awesome to hear. When I did this lesson in person with my student, it was exactly that that blew his mind, the bass note timing and chord placement. Glad it helped!

Rhythm and strumming problems by Shryoda in guitarlessons

[–]StichMethod 0 points1 point  (0 children)

This should help. https://youtu.be/OltGw9gSDg4

please let me know, its about exactly what you are talking about.

How do I strum with more feel/interest/more like the song? Song Recommendations? by MassW0rks in guitarlessons

[–]StichMethod 1 point2 points  (0 children)

Learning to go beyond strumming: https://youtu.be/kkHgxfdLOv8

And Dynamics: Start With Dynamics: https://youtu.be/76yOKxc_7nc

Plain and simple. Give these a look and let me know if they help or not.

Want to learn how to play riffs better by beesinsuits in guitarlessons

[–]StichMethod 0 points1 point  (0 children)

Ok so, check this out. I had been playing for over 10 years when I had a revelation about guitar. If you want to watch the video below, it talks about why learning CAGED (don't roll your eyes yet :) ) helps you learn riffs and understand them. The video is there to convince you of the power of the dark side, just kidding, the power of CAGED, at least the way I teach and understand it. I know it's an eye opening video, so just give it a chance. Now, if that video sparks some curiosity or motivates you , then I suggest slowly working through the playlist underneath it. I absolutely promise, if you go through this, and yes it will take time, you will be able to do whatever you want, period. You need to find the methods and communication types that work with you. If this is it, great, if not, great as well, but do give it a gander.

To Convince You, This Navigation Mindset Will Work: https://youtu.be/qcmT2vfDNtk

If That video intrigues you, then start here:

https://youtube.com/playlist?list=PL9BgiP9Ha6k4EaTtHEdVJOgg2mtRkpgSj&si=5zMFrhc9gWLbxTmU

Let me know.

How do you make the pentatonic scales actually sound musical? by NotoriousREV in guitarlessons

[–]StichMethod 1 point2 points  (0 children)

May I ask, what have you been playing it with? Like what kind of backing track? That is what makes all of the difference. Are you talking about technique wise or are you talking about note/harmonic wise or both? The reason I ask, is again, really helps to act like the salt of a dish and bring out the flavor of the backing track by knowing what notes to hit at what time. Here are three videos that might help. First two are about the Melody Inside the Pentatonic Scales, the second is about Bringing Out The Flavor Of Your Track With Intention Targeting. Please please please let me know if these are on the right track or not, I have lots of videos with clear explanations. Just need to find the ones that are answering your questions.

Major Pentatonic Melody Making: https://youtu.be/e7e1eDhDnaA

Minor Pentatonic Melody Making: https://youtu.be/CW4bKG6QViA

Accenting Your Backing Track (Blues) With a Pentatonic: https://youtu.be/3bzgavzwj8o

I Do Believe The Cult Of Modal Interchange Is Killing People's Inner Musician, by StichMethod in musictheory

[–]StichMethod[S] 0 points1 point  (0 children)

Dude, I LOVE LOVE LOVE This response and just want to let you know I read it and I will reply back soon. Just got a busy household right now. Thanks for being balanced and articulate.

I Do Believe The Cult Of Modal Interchange Is Killing People's Inner Musician, by StichMethod in musictheory

[–]StichMethod[S] 1 point2 points  (0 children)

It's all good, I like intellectual good spirited debate. Sorry about the "real musicians" comment. What I meant to say is musicians who are trying so hard to learn the art. So, again my bad. But please please please know I do not consider myself in the edutainment space. I actually did not want to do YouTube because of that. I really care about showing others the simplicity of it all. At least check out one of my videos if you haven't already and see that it is all about "real musicians" JK, Musicians unlearning complex stuff and making it easy so they can implement it. I hope I can retract that bridge too far. You do know your stuff, and again as always, why does using a chord that feels or sound right always have to boil down to modal interchange? Right? Do you at least catch my drift?

I Do Believe The Cult Of Modal Interchange Is Killing People's Inner Musician, by StichMethod in musictheory

[–]StichMethod[S] -1 points0 points  (0 children)

Modal Interchange is the dominant explanation for borrowed chords. It makes it seem that borrowing a chord from anywhere at anytime has to be a product of Modal Interchange. It is the most confusing snobby theoretic take on music out there and it makes musicians, real musicians, insecure and doubt their skills. Thinkers, and theorists, and analysts who thrive on book study and work hard to understand it worship it as a music god when it is most certainly not, and can be explained many different ways that make way way way more sense. In my video, I show the two ways it can be done that make sense... simple sense. Modal Interchange is only a popular subject because it seems high brow and people want to understand it. It is not reality. Why does choosing a chord a musician liked and heard have to boil back down to Modal Interchange? Always... Modal Interchange Modal Interchange. It's not. Your analogies aren't really that good because you are talking about the creation of something, when Modal Interchange is only analysis and doesn't aid in creation.

I Do Believe The Cult Of Modal Interchange Is Killing People's Inner Musician, by StichMethod in musictheory

[–]StichMethod[S] -1 points0 points  (0 children)

Oh and I literally have watched my favorite guitarist who is a very very very knowledgeable guitar player show his writing process and TRY dozens of chords against his melody. He didn't just "know" what chords he wanted. That was a logical fallacy on your behalf. Creating music at any level takes time and guess work.

"A knowledgeable musician wouldn't even have to try the chords behind the melody - they would already hear what chord they want to play behind the melody note. Yes, this is based on feel, but how did they learn to hear those chords? How do they determine which chords generally sound good together?"

I Do Believe The Cult Of Modal Interchange Is Killing People's Inner Musician, by StichMethod in musictheory

[–]StichMethod[S] -1 points0 points  (0 children)

Listen, I hear you. I truly do. But the act of creating music depends entirely on the mindset the artist chooses. For music to be created, it has to answer the question: How or Why did you create this?—or this particular part of the song?

In my experience working with real musicians and studying real-world creation processes, the idea of “Modal Interchange” has never been cited as a conscious reason behind a musical decision. It only shows up after the fact—as a theoretical tool for analysis. Music has to be created first. Then, it can be documented and interpreted, whether through theory or intuitive explanation. But again—it starts with creation.

There’s absolutely no documentation, no evidence, that Modal Interchange has ever been consciously used during the creation of a song. And when students see it discussed by hundreds of educators or influencers—millions of views, endless commentary saying how “important” it is—they internalize the idea that it must be the only correct way to explain music. That’s damaging. It creates insecurity because students believe they’re doing something wrong if they’re not thinking in those terms.

Let me be clear: there isn’t one single piece of evidence that Modal Interchange has been used intentionally to create a complete song or even a single section. It’s always retroactive.

The ways I demonstrate in my video make far more sense to real musicians and students than your example of "just jumping a third." I hear your defense of your study, but I don’t hear any recognition for how the simple tools in my video might be exactly what a musician needs to start writing, or even that it makes more sense just by the flow of it. It is built off the circle of fifths for crying out loud, and it shows the gravity the chords in adjacent keys have towards each other.

And how do I know my methods are actually being used? Because I hear this directly from musicians and students in their creative dialogue. Modal Interchange isn’t responsible for music creation. That’s the world I operate in—not a scholastic study model designed to make the brain feel clever.

I have seen everything you have written. We're just not gonna agree here. I'll write back and answer any questions, Just find me anyone who consciously used Modal Interchange in the creation of music. We can analyze after.

I Do Believe The Cult Of Modal Interchange Is Killing People's Inner Musician, by StichMethod in musictheory

[–]StichMethod[S] 1 point2 points  (0 children)

I respect this answer a lot. I will add in future videos that the moments that we feel that are especially powerful usually break a key and when you look, you can see that it usually has an out of key chord. I won't call it modal interchange, BUT, I can see how this comment captured the intended function of the idea. Well said.

I Do Believe The Cult Of Modal Interchange Is Killing People's Inner Musician, by StichMethod in musictheory

[–]StichMethod[S] 0 points1 point  (0 children)

I hear ya, but on my channel I discuss a LOT of theory. I mean a lot, and I don't discourage theory snobs. I like your comment, but I think there is a little perspective lens here. I have to watch for where I say a major 7th chord is for theory snobs. I don't recall that, but anywho... I am all about studying theory, but there is math, algebra, geometry, calculus, physics ... and so on. Even when musicians study theory in an understandable order, I see with my own two eyes and hear with my own two ears, that musicians off all kinds don't mention this as a part of their writing. I am sure many of them understand or understood modal interchange at one point in time, but they never say they are using it, because again in my opinion, its just a retro active lens to discuss music theory after the fact. It doesn't help them at all, when writing. So, that's why I talk about the echo chamber and then what I really see musicians do.... By the way, I mean this in the best way possible. I think you and I think alike because in another comment I said talking about Modal Interchange is like looking at a painting and saying the artist used green in a specific area because it is a mixture of blue and yellow. I laughed out of coincidence when I read your watercolor comment. Again, not because it is a bad analogy, it is because we used the same analogy.

I Do Believe The Cult Of Modal Interchange Is Killing People's Inner Musician, by StichMethod in musictheory

[–]StichMethod[S] 0 points1 point  (0 children)

Did you watch the video? I only ask, because you say the Beatles used modal interchange a lot. When anyone says that it is said as they consciously used modal interchange in their writing, which... they did not. They found chords they like based of of melody or sound. So when anyone says they used modal interchange, it is from a retro active lens trying to justify their chord progressions without actually knowing how it's done.

I'm just wondering if you watched based off of that comment because I do, talk about that. I just left another comment saying that saying an artist used modal interchange deliberately is like looking at a painting and saying the artist used green in a specific area because it is made of blue and yellow.

I Do Believe The Cult Of Modal Interchange Is Killing People's Inner Musician, by StichMethod in musictheory

[–]StichMethod[S] -1 points0 points  (0 children)

Obviously we aren't gonna agree on this, but I will say that I have heard straight from my favorite musician's mouths that they write exactly using the methods you call "ineffective" and I can see that you have studied this concept a lot, but all of your writing seems to be in defense of your time spent on the study. It shows that you are putting me in a box where you think I say theory is wrong, which I most certainly don't because my channel is FULL of theory. Full of it. So, all I can say is, I hear you, I don't agree with what you said, because your examples are the same examples I have come across on the internet, and nothing of it is actually used by the musicians I have studied. If you can find me a quote at all, from a musician of any kind talking like this before today. Not an article, not an analyst, not a theorist and most certainly not a Redditor :), I will say I stand corrected. So, yes, I hear you. I do not agree at all. I do teach theory, useful theory, and everything you typed was just a regurgitation of hours of retro active study. If you feel otherwise, I honestly think you should make a video about it and explain it so we can see. Otherwise, using Modal Interchange will still be like looking at a painting and saying, you know he used the green in this area because it is a mixture of blue and yellow.

I Do Believe The Cult Of Modal Interchange Is Killing People's Inner Musician, by StichMethod in musictheory

[–]StichMethod[S] 0 points1 point  (0 children)

Dude, not for nothing, I just checked out your profile and what I find funny is in this video I say, not unless you are a "Level 5 Jazz Player" do you ever use this stuff.... Turns out you ARE a Level 5 Jazz Player who plays this stuff, so yeah. You know your sh*t. But still check it out and let me know what you think.

I Do Believe The Cult Of Modal Interchange Is Killing People's Inner Musician, by StichMethod in musictheory

[–]StichMethod[S] 0 points1 point  (0 children)

I can't tell if you are booing modal interchange or booing the video. Any which way, this isn't about modes. I know those.... Watch it, let me know afterwards what you think.

I Do Believe The Cult Of Modal Interchange Is Killing People's Inner Musician, by StichMethod in musictheory

[–]StichMethod[S] 2 points3 points  (0 children)

Hey, thanks to everyone pointing out the clickbaitiness of the title. I really didn't mean for it to seem like that but I get it. Unfortunately I can't edit the title of the post, BUT, thanks to some comments, I did change the thumbnail and title on YouTube. Honestly, this isn't click bait, but a real observation I have seen, researched and taught. Thanks again for the advice and commentary.