How to Solo Across the Fretboard Using Modes (Part 1) - "Relative Modes"
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- Опубліковано 31 тра 2024
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If you like these lessons, definitely check out www.zombieguitar.com/
It is a one-of-a-kind site dedicated to helping guitarists to understand the fretboard and create their own music. You will love it!!
You have a serious gift for teaching. Maybe it's that you speak in terms that resonate with how I think but I have come to believe that most people will also find your explanations to be clear and well thought out.
Thanks again for another awesome lesson!
Love the way you display diagrams along with your playing. Very helpful for us visual learners.
A great way to really get all the patterns into your head is to physically write them out yourself on blank fret board graphs. I highly advise writing the actual note where it shows the dots though. This is far better because it will teach you every note on the fret board, not *just* the shapes. That makes understanding everything from keys and modes, to chords and harmony much easier.
I've been trying to understand modes for weeks, watched this this morning eating my breakfast. Light bulb moment, all to do with the way it is put across. Brilliant description, great delivery and easy to follow. Top marks. The best on youtube
Doug Mark's Metal Method was the teacher that confused the hell out of me back in the day. You have a teaching gift, my friend.
Thanks Brian ... this lesson was an absolute joy to watch. As I've mentioned within the Zombie FB pages, I love The Modes, and believed that I experienced a light bulb moment on the subject many months ago. After watching this video, that 60 watt light bulb turned into a 100 watt light bulb ... and my knowledge on the subject has increased enormously ... as always, excellent tutorial Professor!!!
Brian, I knew enough about modes to recognize that a lot of people on the Internet had it wrong or were explaining modes in misleading ways. This really helped me to put modes together in my mind. Thanks.
I was missing part of this for so long and this explained it. So playing the G scale over an E minor chord emphasizing E as the center is Aeolian. Play E minor over the D scale emphasizing E and it is a Dorian sound.
And Thank you!
Well shii thanks friend that's a great way to put it in context haha
You nailed it yet again Brian....you know how to convey your knowledge across and drive the point home. Thanks again !
3:40 describes me EXACTLY. I finally was like, “it doesn’t sound any different. It’s all the same notes . . . What’s the point here?” But it did teach me to navigate the fretboard a lot better, so not a total waste. Like he said.
Fantastic Brian, you explain it brilliantly, in a way I can understand it. Thank you. ( Dave., Essex U.K. )
Just payed 20 bucks for 2 classes with a teacher, didn´t understand it. Watched this, you did it for me xxx
Thanks so much for making this video. I’m just getting into modes now and this video really ‘kicked open’ some doors for me. Great job!
I now really understand the practical application of modes over guitar neck.
You are one the best guitar teacher. Thank you for your dedication.
the best teacher ever ..keep doing what your doing
The thing most people seem not to understand is the "interval" changes,so even if I play the very same notes of my relative major scale in another mode,I play the same notes but shift the tonal center AND the intervals in between,that's what makes the "mode's flavour",soundwise.Then there's the other way to use modes wich is keeping the same tonic but using different modes,but that implies a different approach to the chord progression as well. By the way stay home Brian here in Italy we are dealin' with the virus,and it's a hard fight while my wife's sister she lives in California and she's saying people seem not to understand very well "how important" is to not cluster with people,there's really no other way to keep it at bay other than "isolation".keep on doing your stuff! 👍
I took the other comments off, but I honestly don't know what is going to happen with all this craziness that is going on in the world. I wish everyone the best with it.
Keeping calm is most important when things get crazy. I wish you both and everyone else) health and happiness.
great lesson but also KILLER tone. immediately heard the Doors when you started plucking
Thanks Brian again! For very clearly explaining how modes correctly work on the fretboard. I knew that there was only one note difference between each mode, But the way you just explained it, that it is only the tone -root note that is the difference between the modes, was excellent! Thankyou very much for your help and support explaining modes! Your way of teaching guitar and theory of everything you do is A Real Breath of Fresh Air!! Cheers Brian and Happy Days from Australia
Once again, excellent and thank you very much. I spend a lot of time trying to understand and you explained me in your videos about modes that I watched tonight.
A really great lesson, man. I like the use of your tonal center graphics too.
A really good explanation. One of the best, I think.
Perfect explanation of modes, thanks.
You really did it. I get it. The smog has lifted. Thanks. Very glad I signed up with a membership which is phenomenal value.
Thank you Tom! Much appreciated 😀
Wasted three years & learnt nothing. Then found your videos. I did practice and got much better. Yours is the only channel I find as a gem in UA-cam specially for self-learners. I'll suggest your channel and videos to the others too. Thanks a lot. Take love from Bangladesh. ❤️
Thank you! I really appreciate that! 😀
Very well explained thank you!!
Finally a clear and simple lesson combining sound and visual. Thanks, you got me subscribed today.
That was an excellent explanation! That clarified every question I current have regarding modes and how to apply them. Thank you for your time and effort.
Thank you Brian! I finally found detail and accurate video on understanding modes. It removed all the confusion I earlier had...
I have always been interested in modes.
But this explanation here is the only one I understood.Thank you for the great explanation.
Amazing lesson , huge insight into modal playing . You are a gift , a great teacher . Thank You Brian . Thank You .
Finally finally I get it 🙏 Thanks a million Brian you are a legend amongst guitar teachers 👍
Awesome job explaining it, been down a few rabbit holes too but you just cleared it all up 👍👍👍
Brilliant lesson
Very well explained, no more confusion, thanks!
very clear video again! best mode explanation I'v seen, thanks!
Love your content. It just clicks with me. Thanks.
best modes lesson by far
Great instructional video for modes
Your awesome Brian!
Thank you so much Brian. Yes I too had solved the problem by using the 7 different patterns and thinking of them as the modes. The idea of playing all seven modes within the same pattern opens up a whole new horizon. Seems like I have much work to do. Of course being in self isolation MODE gives me plenty of time.
The western diatonic series are just those 7 shapes. What changes the mode is where you place the root note. But even the Major and minor scales are 2 of the seven modes. The Major scale is the ionian mode, and the minor scale is the aeolian mode. So if you already know the Major and minor scales, then you only need to learn 5 more of the 7 modes.
Great explanation. Thanks man!
You're the first guitar teacher I've seen mention using the scale method to improvise.
As a home jammer, that's the approach I've taken naturally.
And to my fellow hobbyists, here's a way to name ALL the notes.
Y Z I O U
C D E F G A B
The Y & Z cover the 2 adjacent 'black keys' and the I - O - U the 3 adjacent 'black keys'.
See how THAT looks on a fret board schematic. (better than A#/Bb crap)
you always deliver & tell like it is
Thx man! I was in that mindset and was frustrated as hell. This really cleared things up and I'll be practicing and playing accordingly.
Glad you found this correct explanation now. Brian definitely is 100% correct here btw. I've been teaching guitar since the 80's myself, and was shocked to find this is even a thing now. It's a damned shame that so many people spread so much misinformation these days. You should never have had to go through that.
Thanks, man! I learned the modes as a way to play in key just like you described back in 1990 (!) in an old warehouse on a sheet of paper. The patterns helped memorize the frets, but I never knew just how things would sound soloing...it was always trial and error. This is great... lightbulb moment for sure! Better late than never.
Great lesson thx
The best lesson so far
I love this @#%$! Thank you for posting, Brian!
Thank you Brian sensei...
Finally.... i get it.
Great lesson, thankyou!
Awesome video IAm finally getting it. Give Thanks again my Teacher
Thank you Brian, I have been struggling to properly understand modes etc, this has in a few short minutes has been a light bulb moment.
Brilliant
thank you sir :)
Thank you! I think I finally got it
Thank you
Nice 👍
You should teach You Tube guitar teachers how to teach guitar theory. By far the best theory channel on YT.
Haha thanks Neil!
Great lesson, thanks. Could you build on this an talk about the scale intervals in each mode that produce each mode's characteristic colour?
I have TONS of lessons about that already. Just search through my past vids 😎
I am feeling that a part 2 to this video may be a good ides though...I'd focus on "parallel modes" like you are suggesting for part 2.
Thankk youu!!!!
Best ratio of Likes to Dislikes I have ever seen... and justifiable! Thanks
Tonal Centre is the key word !
When you are working through improvs, are you seeing the scale shapes in your head? or do you think of which notes are in the scale and just have the fretboard memorized? Trying to figure out what I should be working towards so I can freely improvise without having to think about each shape in the scale, because it takes me a second to think of how to switch into a different shape as it is and so I stay in each "box" for longer than I'd like to.
Just wait until you get into chord tone targeting. That's even tricker. At least the scale remains constant!!
If i have minor I - IV - V chord progession A min/ D min/ E min ... .. . in the key of A minor but i decided i want to go phrygian mode feel Which would be the E note in the C major/ A minor relative scales how should i approach it for my lead playing use the relative or the parrel scale for the phrigian mode? The relative would be focusing E notes within an A minor scale ? then the parallel would be an A phrygian which would i use in this appication ??? ANY BUDDY PLEASE AND THANK YOU !!!!
Yees. even I got the thing. Must look all the theory videos from this channel. :)
Weltklasse
Do the modes only revolve around the G major scale? Or is that just relative to the major scale in general and it doesn’t matter what key you are in?
Evan the modes can be used in any key Brian is just demonstrating in the key of G for example in the key
of C it is D Dorian and G Mixolydian etc and in the key of A it would be B Dorian and E Mixolidian etc.
Hi what is the sound that you are playing over are you using a pedal or something differnt to get the sound thanks
Hey I'm just using a backing track that I made in Reaper. Here is a video about how to do that 😀
www.zombieguitar.com/how-to-make-a-backing-track-in-30-minutes/
Hey Brian if a song uses for example all or most of the diatonic chords in its parent key does one have to
use the appropriate mode for each chord. This is where I am a bit confused because I understand that Robin Ford uses
Mixolydian in general over all the chord changes and Santana likes to use the Dorian mode. The way I am trying to understand this is that the different sounds of the modes if used with each chord change is going to be like making a meal with every flavouring that you have in the cupboard and end up with a strange thing going on. Please help.
The answer you are looking for is NOT modes. It is "chord tones". When you are soloing over a chord progression where all of the chords are part of the same key (very common), then you just play the key-scale over all of the chords. The best-sounding notes to play on a "per chord basis" are going to be the chord tones of the underlying chords. You don't have to worry about modes for what you are trying to do 😎
@@zombieguitar Thank you Brian for your reply and value this immensely I am back into my guitar after years of frustration including the theory and watching your fantastic video's have helped me no end as you make it so clear but I'm in no way out of the woods so will continue watching. Thanks again Brian and please continue sharing your knowledge.
@@darrenbrignell8482 Glad to hear the vids are helping. Thanks for following! 😁
Playing in modes, does the starting note of a Phrase should be a particular note or any note from the scale would be ok if we end the phrase with the target note, for example note E for E Aeolian mode.
It's not so much about the note that you start or end on... Instead, it's more about highlighting the notes of the underlying CHORD that the mode is based on. For example if you're playing E Aeolian mode, which is based on the vi chord in the parent key signature of G major, which is an E minor chord...then you'd want to be highlighting the notes E, G and B...while also utilizing the full 7-note E Aeolian scale (E F# G A B C D).
The whole chord is important. Not just the root note!
How about making your next lesson on the root keynote, and how that works with
Non-root keynotes.
Let's say I'm jamming against a IIm7 - V7, an Am7 and D7.
Where does the root keynote come in, during each chord.
Is the root keynote a G? (as the IIm7 A chord indicates)
If I'm playing an A blues scale, where does the root keynote (of G) come in?
Do I just think of tonal centers instead? (of A, in this case)
If I'm jamming in A blues against the Am7, the tones are related to that scale, BUT
when the D7 comes around those tasty blues notes become different tones.
How do I think of them then, when a b5 of Am7 becomes a b2 of D7?
And where does the G root keynote fit into that, if at all. (G is root keynote of the D7)
Hey, in that example that is a "Dorian progression". You could just use A Dorian as your overall framework and target chord tones of the Am and D chords as those chords are occurring.
As you have already pointed out, you can combine Dorian with minor pentatonic/minor blues and it will work great too. In my opinion, there's no need to even think about 'G' in this example.
Great lesson man! No backing track, no mode sound, just a scale. Will you be covering the other target notes you can use in the modes? Like the flat 6th is signature of aeolian or flat 3 is characteristic of dorian. I enjoy your lessons, great job! Also, what about bass using other notes out of the triad in the chord, does it still work to keep the mode sound? Let's say we're using A-7 over A aeolian, i wanted to ascend with the solo. I could play A then C then E then G. Then move my pattern up and continue to keep the A-7. In this example is just 1 bass and 1 guitar, so does it still work to keep the mode sound?
Hey, I just posted part 2. I think you'll like it. You can view the website version here: www.zombieguitar.com/how-to-solo-across-the-fretboard-using-modes-part-2-parallel-modes/
@@zombieguitar Thanks Brian! Keep up the awesome work dude!
Eureka moment!
This is great stuff! Thank you! Has anyone else ever said its like being taught by Adam Sandler??😄
Haha I only hear that here in the UA-cam comments 🤣
Depending on the chord type whether major, minor, sus 2/4, 7's, 11's etc you can steal or borrow modes from other keys. Thats what I was hoping you'd show people.
You did help to further actual knowledge of theory.
Where have you been all my life?
Thanks Bryan,another ah ha moment,I was in that rabbit hole thinking that a section of the scale was a mode but now makes sense , that was on G , if I play a different scale it will be the same process,now the question is what name is given when you play it : aeolian in the key of G,Aeolian in the key of C, Dorian in the key of D...???????
Definitely watch the full 3 part series! Check out the website version instead of UA-cam too (link in description)...no ads that way and includes written lessons
I heard a lot of Eric Johnson similarities in that opening G major section
This guy named Lydian Tone, he likes to play Phrygian Mode!
🤣
"That person doesn't know what Mozart"
Great explanation as usual, but I still don't understand: what modes are for and how can I use them in real life. And what for. LOL
Dmitry Prokopenko - different flavours of the same scale !
Get on Brian’s site subscribe and all will become clearer ! I promise the best site by far ! Trust me
I didn't get into it in this video because I was trying to keep things as least confusing as possible, but there are 2 ways to use modes - parallel modes and relative modes.
This video talks about "relative modes". Say for instance, the band is playing on an Am chord...they just keep groovin on the one chord (Am is the tonal centre). Now you as the lead guitarist decide that you want to solo using A Dorian... You could always just *think* in terms of G major or E minor scale patterns, which may be familiar to you already.
I also have a bunch of lessons about using "parallel modes", which means that they share the same root note. For instance, you are jamming in the key of A minor and using your basic A minor scales (A minor pent, A minor blues, etc.). You decide that you want to throw in some "Dorian flavor" into your playing, so you opt for using the A Dorian scale in conjunction with whatever you are already playing. This would require you to see how where the extra "Dorian notes" fit in with your A minor pentatonic playing. In this case you may not be *thinking* "use the same scale patterns as G major/E minor" (although you can think of it that way if you choose to). Rather, you be *thinking* "I'm using scales that have the root note 'A', Dorian is one of scales that I'm using".
I do have a ton of other lessons on this stuff if you dig into it 😎
@@zombieguitar Referring to your last paragraph above where you said to add the Dorian notes to the currently played scale, say the pentatonic scale...I did notice David Gilmour doing that in his playing sometimes if I'm not mistaken, and you just explained it to the T. Thanks again !
@@lukather1 Already there, but still... :)
@@zombieguitar Brian, if you could shoot a short and simple video illustrating your words it would be great! No graphics or diagrams, just an auxiliary video to this explanation...
so stop worrying about mode shapes just play the scale and emphasize the root for which mode your working from as all the modes are coming out of one scale ( i think i;m there ) or maybe not
Yes, exactly 😎
It's all about what the root note is. Think of it this way: The C Major scale is the ionian mode of the key of C, and the A minor scale is the aeolian mode in the same key. Both use the same exact notes, with a different root note.
If you use those same notes, but the root note is E, then you're playing the E phrygian mode. And if you use B as the root note, then you are playing the B locrian mode, etc.
These all coincide with a number too. In the key of C, it is: C, D, E, F, G, A, and B, or 1, 2, 3, 4, 5, 6 and 7. But say you're playing in A minor, then it's A, B, C, D, E, F, and G, but those notes are now numbered 1, 2, 3, 4, 5 ,6 and 7 respectively (number 1 is always the root note).
That's basic music theory in a nutshell (other than knowing the whole and half steps in the Major scale of course). By the way, as a guitar instructor myself for nearly 40 years now, Brian knows what he's talking about. Glad you found his channel.
Now intermediate theory in a nutshell: 9, 11, and 13 are all notes above the octave. So since the 8th note is the octave and the same note, everything is named differently basically for the sake of clarity. So an 8 is a 1 (octave and root), a 9 is the same note as a 2, an 11 is the same note as a 4, and a 13 is the same note as a 6.
Simplified, 1 2 3 4 5 6 7 are the same notes as 8 9 10 11 12 13 14. But there's no reason to change the numbers of the 3 5 and 7 because those are the intervals that make up the basic chord. Whereas the 9 11 and 13 are chord extensions.
But how i will solo over G Am C D a rapid progression❤
That progression is 100% in the key of G major. There is no need for "modes" to solo over that. Just use the G major scale to solo over the entire progression, while making sure to target chord tones over each chord (chord tones are all part of the key-scale of G major, so you will never be leaving the key). Make sense?