>> This mode,
as we know, has the flatted second,
which is its strength and
also a big pitfall if you're
trying to play Western music.
The strength of it is that it's
fantastic for Middle Eastern music.
And I'm going to elaborate
on that a little bit more.
And also get some microtonal pitches.
Which basically means,
you're not playing the bend in
tune with the Western scale.
[LAUGH] Because in Middle Eastern music,
they have all of these pitches
that are in the cracks.
Between where the notes are.
In European-based harmony,
European-based music system.
a Middle Eastern musician might play.
All these notes that are in
between the F and
the F sharp and the G and
the G sharp because they divide,
instead of into half steps, they divide
their scales up into quarter tones and
even more into an eight of a tone.
Because they don't have
chords in their music and
they have a very elaborate system.
Of what's called microtonal intervals.
So if you are playing Middle Eastern
music, if you're an oud player for
example, which is a fretless instrument,
you can slide around anywhere on that.
Or playing Middle Eastern music on
the violin where you can slide anywhere,
you know what I'm talking about.
And on the harmonica, we're more limited
because we do have set pitches on here.
But certain ones of
these bends that we have
allow us to play these
And there's a few of them in the fridgian
mode that are extremely valuable.
That one that hits halfway between
a major second and a flatted second.
Is the main one.
So, you could experiment with that and,
you can play in other positions
using your out of tune bends
to correspond to the microtonal tunings
of Middle Eastern music as well.