I understand modes simply as the relationship of the notes of the scale to the root. It's about intervals, the tension created between the notes and how that resolves to the "home" of the scale.
Yes, Eyes wide open!! started replaying this over and over until I get sleepy almost out my chair with my guitar. Keep going cause your giving this retired old dawg some new life.
David. This is lesson is wonderfully explained. This method of explaining the modes really unlocks the mystery of modes. I remember a Guitar Player magazine in the mid to late 80’s that had Frank Gambale explaining modes this way. It came with one of those plastic record discs that you would have to place a coin on to keep it from sliding on the turntable. It had 7 rhythms playing the same 2 chord (IV V) progression with only the root note changing (to each degree of the parent major scale). You could then play the parent major scale over each progression to hear the character of each mode. Once I realized that 1 scale (multiple boxes) is all I had to learn (to learn all 7 modes) my mind was blown! The light came on when I realized what dictated which mode you are playing in was the rhythm behind the scale and not the scale itself. Of all of your lessons, this is sure to be a gold mine for many players confused by or struggling with modal theory. Well done my friend! 🎸🎸🎸
@@SEILLC : Learn the C Major scale in all 7 positions on the fret board. Then remembering those seven shapes, start them all from the same root note on the low E string (then you know all seven modes). Those 7 shapes encompass all there is to basic music theory. After that it's just dividing those same shapes into triads, pentatonics, chord extensions, passing tones, etc. To change keys, just move everything accordingly.
@@aylbdrmadison1051 Thanks for the reply! I'm right on the cusp of figuring this out, but there are some basic relationship fundamentals that I obviously dont have, and many questions I do have. I just need to sit down with someone and hash it out. I'm googling those positions now...
Love it! I learned guitar by studying modes and put it all together with caged. So thanks for visiting this theory. Brings it all back like I’m 17 years old in my bedroom and feeling like I’m really on to something. Blew my friends away at the next jam. The Jeff beck lesson was killer. Your the man!
Part 2 through 30? Yes please!! By far and away the best demonstration of modes I've ever seen. Very cool David. The relationship to the chord progression and the choice of those chords are most likely to be equally illuminating. Thanks a ton man
David ... There are tons of mode videos, but yours is a mandatory save, share, like and comment video. You have such a clear and understandable teaching style. Please bring on Modal Pockets #2 🎵
Music theory is simply giving names to the sounds, allowing players to communicate those ideas to other musicians, and it helps a musician to understand them far better by breaking down what's happening. One thing I always find annoying is people saying music theory lessens the musicians ability to "feel" the music. Often citing players like Jimi Hendrix (because he said he couldn't read music). But Jimi definitely knew plenty of music theory. Reading music and knowing music theory are two entirely different things. To be clear, I'm not assuming you agree or disagree, just making that clarification for musicians in general who may read this. Most important though is to do your own thing and have fun. Music isn't the best profession to get into if one is simply looking to profit monetarily, so keep it enjoyable! ^-^
What makes this so excellent is how in the context of E major (which REMAINS static), you provided chords that provide tension/resolution for that mode. One of the BEST I’ve ever seen. The pocket application replaces the first typical focal point that drops many of their interest level. Finally your skill as a player brought all the nuances as practical examples LIVE. Kudos.
Wow, that was an eye opener, absolutely amazing how the same notes sound so different based on the underlying chords and the target pocket notes! I'm one of those who have never seen this before .. I would love to see more expansion of these modal pockets. Thank you.
I've understood modes and how they work for a while but can always learn from someone else's perspective and how they approach them.. and thus was probably the most practical explanation I've watched on youtube.. plz do a part 2.. I'd love to see where u go from here
Really great lesson. I think the most difficult element in modal playing is building meaningfull chord progressions that highlight a given mode and building melodies that target certain notes. I can play each mode as scales, but your lesson showed me that I have to practice building backing tracks to practice modes.
Changing the chord context around the pocket pattern is an interesting approach. I would definitely appreciate Part 2. I don't know about the "rash" analogy though - "Ask your doctor if Locian is right for you."
I found learning modes is much easier when you’ve been doing it all along and then you learn the term. 3 note per string full major scale in any key gives you 3 shapes with 6 notes per shape. Then you tackle triads and focus on the beginning 2 notes of a three note triad. Eventually you will slow down and focus on the chord change’s naturally. Great channel bro
Mr. David Brewster! What a fantastic video you just did explaining modal pockets. I would love for you to take the time and explore more on this topic and how to apply it. Thanks again David!
Great lesson as always, a little advice...either rise your loops level or better yet lower your solos level,otherwise they don't interact very well, the solo sound covers everything. 👍
Modes give you so many more soloing options. I think understanding chords that apply to each mode is key. It takes some time to get your head around but mode are so fun to jam to.
awesome! keep going with this, best modal lesson I've seen, and the billiard balls really define and clarify the use of targeting the modal note within the pattern.
I was at this point too for a while but this helped me. 1st : know all of your major scales cold (caged). Be able to play them up and down based on what corresponding shape you are in. Then in my opinion start with Dorian. It is used often in rock and blues and has a interesting but yet familiar sound to it and can immediately spice things up. Say you want to use Dorian in a Jam that is in the key of D. 2nd: So ask yourself D is the 2nd of what? The answer is C major. So while playing your C major scale shapes target D within that shape as your tonal center and even see the d minor pentatonic shape within that c major shape as well. This formula for knowing what notes to choose in a Dorian context will always work. Then explore Phrygian and so on take them on one at a time. Hope this helps
LNL likes to teach these lessons in different keys, rather than the standard teaching key of C Major. I get his reasoning, but it adds another layer of confusion if you don't understand the basics of a concept as challenging as modes is. My best advice is to find a lesson taught in C Major first. Consider the two scales side by side: C Major - C D E F G A B C vs E Major - E F# G# A B C# D# E Just thinking and talking in C Major is quicker. I thought I was too cool to learn C Major though, so if you're like me consider A Minor instead of C Major. Same notes. Think of it like that though, and you now know 2 modes already. Ionian (major), and Aeolian (minor). If you're into metal at all, you likely know E Phrygian -- E F G A B C D E Every Metallica song ever written. That's just the notes of C Major , but starting on the E this time. That's 3 modes. I recommend learning what G Mixolydian is next, and why you would use it intstead of G Major. The mode is defined by the chords, and using the right mode is mandatory. Otherwise you are out of key, and it will be undeniable. If the chords are G C D Em or they are G C Dm Em will determine which mode to use, which notes to play. Only one note will be different though. If this is still confusing (which I don't doubt) look into what diatonic chords are. Good luck!
Awesome I love these kind of lessons. I was using the pentatonic pockets tonight from your previous video that was similar to this. I can't wait to check this one out. I'm sure it will be just as helpful.
2:30 A great line but per Wikipedia, the modes are named after Greek ethnic groups (e.g. Dorian) or kingdoms (e.g. Lydian). Fun video: I enjoy all things "pocket" !
I did find the Ionians, Aeolians, Dorians, Phrygians, and Locrians were all early Greek groups. That only left lydian and mixolydian. The Lydian kingdom was a kingdom from Asia Minor bordering Ionia. Sadly I could only find Myxolydia in reference to something named *after* the mixolydian mode itself. Anyway, thanks for that comment. I've always been a big fan of both music and history, so music history is something I particularly am interested in.
Long live the Locrian mode !! David just won the internet for teaching modes. lols Most simply avoid even dealing with the locrian mode when doing lessons about modes. That literally leaves out 1/7th of the full picture. Sure it's really dissonant, but as someone who grew up in the bay area thrash metal scene, I can assure everyone it does have it's place in music. It even found a home in pop music with Bjorks song _Army Of Me._
Thank you, David 🙏 It's kind of starting to make sense and breaking its way through. I think ag this point I have as much to unlearn (bad habits and preconceived ideas/ bias) as I have to learn. Appreciate the lesson, will be back to revisit. The billiard balls graphic is helpful and makes things easier to relate to and see. I see you have a part 2, too 🙏
Another excellent lesson David, makes the point simply about the relation of chords in a key to the modes, once that lightbulb goes off in a guitar player’s mind you can’t switch it off. I avoided modes for years, sort of knew the Dorian but didn’t understand why it worked. When I realised the link it opened doors.
There's another teacher called Juan Antonio who kind of takes this a step further. He calls it scale weaving. The idea is you take your root note and apply a triad over it, then apply a pentatonic scale over it, then apply a diatonic scale over it. That's a great point for reference but for me I still wanted those blues licks and that pushes you into jazz land. Got the idea from Allen Hinds and Marty Friedman. I call it playing within. My important notes are my blues licks but woven within the lick or filling the lick out is diatonics and arpeggios. With arpeggios you kind of have to get use to the idea of moving or extending the lick to another area. Once you get that under your fingers, you'll have all these colorful sounds to play with that still sounds like cool licks and not just run scales or exercises
To add to the within playing. When you know pentatonics like Joe Bonamassa/EJ or like the Gibbons lesson you showed and can do this "within" thing I'm talking about, you can really play modal blues licks and expand to playing that over changes. You're doing this "jazzy" stuff but you've kind of pulled it back for blues and rock listeners
I bought the Ditto X4 not for the footprint but the 2 tracks! It is a bigger pedal but it has been instrumental to figuring out jamming over more than 2 or 3 chord vamps!
Really awesome stuff. I think to make Ionian sound more interesting, you can briefly play Em pentatonic over E. Meaner out there sound, maybe only works for simple 1 4 5 and maybe best when the chords are power chords without 3rd perhaps. everyone plays major or minor pent over standard 145 blues with 7th chords. The few clashes in there are part of the sound that makes it interesting. rock and roll
I've always been addicted to billiards/pool...way to skew the style to the customer...marketing genius right here...ok now to the guitar stuff...excellent lesson. ty.
Thank you Brewstmeister, for breaking this down like this. It's definitely easier to understand. My mind was blown! Locrian is the asshole of the bunch lol. I say, let's get crazy with it! I'm definitely down to learn some more!
I have no theory knowledge but kinda do this pocket thing by accident myself. What's interesting to me is how to build chords / vamps / progressions with intent, that have the modal flavour I desire. I know the scale shapes for each mode but not the chords that make those tonal signature sounds. The Rush chord for instance, that F#m with the open b and e strings, sounds glorious, how do you expand that to a progression that keeps the same flavour and that chord sounding like 'home'. I'd love to see you dig into that, if that makes any sense at all 🤷♂️
Would not emphasizing the one note that differentiates the mode from the major or minor scale ie the flat 2nd of phrygian as opposed to the major 2nd of minor or Aeolian, or the flat 7th of Mixolydian as opposed to the major 7th of major or Ionian bring out the modal sound also . Love your lessons and your enthusiasm !
It would be nice if you make a cheat sheet list of which types of chords and altered chords to use for relative mode pockets and parallel mode pockets to be posted in your video lesson to know which altered chords to use for relative and parallel modes.
What a great lesson. I have seen this before however this is explained differently than other people. You are very clear and precise. Love the pocket of note to work from. Why did you choose that pocket as apposed to another?
Nopes. You are not wrong at all. In fact that's a pretty damn good definition of what modes are. Just remember, all of this can be moved around to other keys. You can also change things to create your own sounds. Music theory is basically just a way to communicate ideas to other musicians, and to clarify these sounds for ourselves to increase what we are capable of understanding. You're right on track actually! If you were my student, I'd be quite proud.
Truth! That made me lols big time too. Still laughing even as I type this. Edit: So then marinara is like the mixolydian, carbonara is the aeolian, and pesto is the phrygian.
I think biggest problem with understanding modes is that 99.9999% of guitar teachers make it too complicated... The best way to understand modes is to forget about greek gods and shred masters geeking out on long drawn out explanations to make themselves sound intelligent... Learn intervals.. If you learn intervals then you have learned modes.. Apply the key which the song is in to your intervals and walla,,,,, you are now a modal shred master..
Ask and you shall receive…I love this channel
I understand modes simply as the relationship of the notes of the scale to the root. It's about intervals, the tension created between the notes and how that resolves to the "home" of the scale.
The number 1. From Argentina always supporting your great job. Cheers
Yes, Eyes wide open!! started replaying this over and over until I get sleepy almost out my chair with my guitar. Keep going cause your giving this retired old dawg some new life.
David. This is lesson is wonderfully explained. This method of explaining the modes really unlocks the mystery of modes. I remember a Guitar Player magazine in the mid to late 80’s that had Frank Gambale explaining modes this way. It came with one of those plastic record discs that you would have to place a coin on to keep it from sliding on the turntable. It had 7 rhythms playing the same 2 chord (IV V) progression with only the root note changing (to each degree of the parent major scale). You could then play the parent major scale over each progression to hear the character of each mode.
Once I realized that 1 scale (multiple boxes) is all I had to learn (to learn all 7 modes) my mind was blown! The light came on when I realized what dictated which mode you are playing in was the rhythm behind the scale and not the scale itself. Of all of your lessons, this is sure to be a gold mine for many players confused by or struggling with modal theory. Well done my friend! 🎸🎸🎸
After 36 years of playing guitar, this is by far the best lesson I've seen. Eye opening, thank you!!
more please!!
Same boat. I'm still gonna have to watch this 10 times though.
@@SEILLC : Learn the C Major scale in all 7 positions on the fret board. Then remembering those seven shapes, start them all from the same root note on the low E string (then you know all seven modes). Those 7 shapes encompass all there is to basic music theory. After that it's just dividing those same shapes into triads, pentatonics, chord extensions, passing tones, etc. To change keys, just move everything accordingly.
@@aylbdrmadison1051 Thanks for the reply! I'm right on the cusp of figuring this out, but there are some basic relationship fundamentals that I obviously dont have, and many questions I do have. I just need to sit down with someone and hash it out.
I'm googling those positions now...
Love it! I learned guitar by studying modes and put it all together with caged. So thanks for visiting this theory. Brings it all back like I’m 17 years old in my bedroom and feeling like I’m really on to something. Blew my friends away at the next jam. The Jeff beck lesson was killer. Your the man!
Part 2 through 30? Yes please!! By far and away the best demonstration of modes I've ever seen. Very cool David. The relationship to the chord progression and the choice of those chords are most likely to be equally illuminating. Thanks a ton man
Speaking of guitar gods… you are one for sure and a great teacher!
David ... There are tons of mode videos, but yours is a mandatory save, share, like and comment video. You have such a clear and understandable teaching style.
Please bring on Modal Pockets #2 🎵
I think the hands on rather than the theory aspect has been very helpful to me , thanks Dave
Music theory is simply giving names to the sounds, allowing players to communicate those ideas to other musicians, and it helps a musician to understand them far better by breaking down what's happening.
One thing I always find annoying is people saying music theory lessens the musicians ability to "feel" the music. Often citing players like Jimi Hendrix (because he said he couldn't read music). But Jimi definitely knew plenty of music theory. Reading music and knowing music theory are two entirely different things.
To be clear, I'm not assuming you agree or disagree, just making that clarification for musicians in general who may read this. Most important though is to do your own thing and have fun. Music isn't the best profession to get into if one is simply looking to profit monetarily, so keep it enjoyable! ^-^
What makes this so excellent is how in the context of E major (which REMAINS static), you provided chords that provide tension/resolution for that mode.
One of the BEST I’ve ever seen. The pocket application replaces the first typical focal point that drops many of their interest level.
Finally your skill as a player brought all the nuances as practical examples LIVE. Kudos.
Wow, that was an eye opener, absolutely amazing how the same notes sound so different based on the underlying chords and the target pocket notes! I'm one of those who have never seen this before .. I would love to see more expansion of these modal pockets. Thank you.
David, please do a part 2. You really did a great job of explaining this.
Part 2 please. This is very useful into how and what modes feel and sound like
Absolutely a terrific lesson. I would love to see Part 2, or a series on this topic. Great presentation.
Another great lesson Dave !
I've understood modes and how they work for a while but can always learn from someone else's perspective and how they approach them.. and thus was probably the most practical explanation I've watched on youtube.. plz do a part 2.. I'd love to see where u go from here
Definitely do a part 2 David. I've been trying to get my head around Modes and the pentatonic relationship. Really interesting!
So happy you got a lesson in guitar player. We both have had the same past, guitar teaching . Wish id kept it up
Really great lesson. I think the most difficult element in modal playing is building meaningfull chord progressions that highlight a given mode and building melodies that target certain notes. I can play each mode as scales, but your lesson showed me that I have to practice building backing tracks to practice modes.
I always appreciate any Lessons on the Modes! Thanks, David! Excellent Lesson!!!!
Changing the chord context around the pocket pattern is an interesting approach. I would definitely appreciate Part 2. I don't know about the "rash" analogy though - "Ask your doctor if Locian is right for you."
🤯 great lesson! I’m going to work on getting this under the fingers and in the ears. Yes please part 2👍
I’m in the mode for this. Great lesson, thanks.
Awesome lesson!!! Give us more of this!!!
Please!!!
yea do a series please love learning about modes
I found learning modes is much easier when you’ve been doing it all along and then you learn the term. 3 note per string full major scale in any key gives you 3 shapes with 6 notes per shape. Then you tackle triads and focus on the beginning 2 notes of a three note triad. Eventually you will slow down and focus on the chord change’s naturally. Great channel bro
Anything major I always hear Dickie Betts Les Paul blowing like a Summer Breeze! Great Lesson 🍺‘ski.
Mr. David Brewster! What a fantastic video you just did explaining modal pockets. I would love for you to take the time and explore more on this topic and how to apply it. Thanks again David!
Great lesson as always, a little advice...either rise your loops level or better yet lower your solos level,otherwise they don't interact very well, the solo sound covers everything. 👍
You do a great job,just found you a couple weeks ago ,your like my music diary for the last 40 years.thanks kindly
Absolutely great stuff! This helps demystify the modes further. Love seeing the application on guitar.
very helpfull not many channels that explain modes that well.Im a huge fan thanks
Modes give you so many more soloing options. I think understanding chords that apply to each mode is key. It takes some time to get your head around but mode are so fun to jam to.
I have that issue of Guitar Player, David! Awesome!
awesome! keep going with this, best modal lesson I've seen, and the billiard balls really define and clarify the use of targeting the modal note within the pattern.
Great lesson David ... Really enjoy the new content ... Awesome
Well done lesson. Modes seem like the deep end of the pool to me but you've given me a starting point. I appreciate your videos
I was at this point too for a while but this helped me. 1st : know all of your major scales cold (caged). Be able to play them up and down based on what corresponding shape you are in. Then in my opinion start with Dorian. It is used often in rock and blues and has a interesting but yet familiar sound to it and can immediately spice things up. Say you want to use Dorian in a Jam that is in the key of D. 2nd: So ask yourself D is the 2nd of what? The answer is C major. So while playing your C major scale shapes target D within that shape as your tonal center and even see the d minor pentatonic shape within that c major shape as well. This formula for knowing what notes to choose in a Dorian context will always work. Then explore Phrygian and so on take them on one at a time. Hope this helps
@@michaelmunday6808
Thanks for the support, that's the path I'm on. "Late night sessions" is a great asset.
LNL likes to teach these lessons in different keys, rather than the standard teaching key of C Major. I get his reasoning, but it adds another layer of confusion if you don't understand the basics of a concept as challenging as modes is. My best advice is to find a lesson taught in C Major first. Consider the two scales side by side:
C Major - C D E F G A B C
vs
E Major - E F# G# A B C# D# E
Just thinking and talking in C Major is quicker.
I thought I was too cool to learn C Major though, so if you're like me consider A Minor instead of C Major. Same notes. Think of it like that though, and you now know 2 modes already. Ionian (major), and Aeolian (minor).
If you're into metal at all, you likely know E Phrygian -- E F G A B C D E Every Metallica song ever written.
That's just the notes of C Major , but starting on the E this time. That's 3 modes.
I recommend learning what G Mixolydian is next, and why you would use it intstead of G Major. The mode is defined by the chords, and using the right mode is mandatory. Otherwise you are out of key, and it will be undeniable.
If the chords are G C D Em
or they are G C Dm Em will determine which mode to use, which notes to play. Only one note will be different though.
If this is still confusing (which I don't doubt) look into what diatonic chords are. Good luck!
Part 2 please.. love the theory content..
Awesome I love these kind of lessons. I was using the pentatonic pockets tonight from your previous video that was similar to this. I can't wait to check this one out. I'm sure it will be just as helpful.
Another fantastic lesson! I can’t wait to experiment with this! Very inspiring and explained perfectly.
2:30 A great line but per Wikipedia, the modes are named after Greek ethnic groups (e.g. Dorian) or kingdoms (e.g. Lydian). Fun video: I enjoy all things "pocket" !
I did find the Ionians, Aeolians, Dorians, Phrygians, and Locrians were all early Greek groups. That only left lydian and mixolydian. The Lydian kingdom was a kingdom from Asia Minor bordering Ionia. Sadly I could only find Myxolydia in reference to something named *after* the mixolydian mode itself. Anyway, thanks for that comment. I've always been a big fan of both music and history, so music history is something I particularly am interested in.
Thanks for this great lesson. Yes please do more parts
Long live the Locrian mode !! David just won the internet for teaching modes. lols
Most simply avoid even dealing with the locrian mode when doing lessons about modes. That literally leaves out 1/7th of the full picture. Sure it's really dissonant, but as someone who grew up in the bay area thrash metal scene, I can assure everyone it does have it's place in music. It even found a home in pop music with Bjorks song _Army Of Me._
Thank you, David 🙏
It's kind of starting to make sense and breaking its way through.
I think ag this point I have as much to unlearn (bad habits and preconceived ideas/ bias) as I have to learn.
Appreciate the lesson, will be back to revisit. The billiard balls graphic is helpful and makes things easier to relate to and see.
I see you have a part 2, too 🙏
I appreciate your approach to modes. Do more please!
Another excellent lesson David, makes the point simply about the relation of chords in a key to the modes, once that lightbulb goes off in a guitar player’s mind you can’t switch it off. I avoided modes for years, sort of knew the Dorian but didn’t understand why it worked. When I realised the link it opened doors.
There's another teacher called Juan Antonio who kind of takes this a step further. He calls it scale weaving. The idea is you take your root note and apply a triad over it, then apply a pentatonic scale over it, then apply a diatonic scale over it. That's a great point for reference but for me I still wanted those blues licks and that pushes you into jazz land. Got the idea from Allen Hinds and Marty Friedman. I call it playing within. My important notes are my blues licks but woven within the lick or filling the lick out is diatonics and arpeggios. With arpeggios you kind of have to get use to the idea of moving or extending the lick to another area. Once you get that under your fingers, you'll have all these colorful sounds to play with that still sounds like cool licks and not just run scales or exercises
To add to the within playing. When you know pentatonics like Joe Bonamassa/EJ or like the Gibbons lesson you showed and can do this "within" thing I'm talking about, you can really play modal blues licks and expand to playing that over changes. You're doing this "jazzy" stuff but you've kind of pulled it back for blues and rock listeners
Just noticed one of your pics is jeff beck guitar shop album cover great album and cover great content again 🤟
I bought the Ditto X4 not for the footprint but the 2 tracks! It is a bigger pedal but it has been instrumental to figuring out jamming over more than 2 or 3 chord vamps!
thank you for a great lesson with very nice examples!
Really awesome stuff. I think to make Ionian sound more interesting, you can briefly play Em pentatonic over E. Meaner out there sound, maybe only works for simple 1 4 5 and maybe best when the chords are power chords without 3rd perhaps. everyone plays major or minor pent over standard 145 blues with 7th chords. The few clashes in there are part of the sound that makes it interesting. rock and roll
Thanks so much as always David cheerz man!
HELL YES KEEP GOING MAN !!!!
That is excellent,
Loved the locrian solo😎🤘🙏
I've always been addicted to billiards/pool...way to skew the style to the customer...marketing genius right here...ok now to the guitar stuff...excellent lesson. ty.
Thank you Brewstmeister, for breaking this down like this. It's definitely easier to understand. My mind was blown! Locrian is the asshole of the bunch lol. I say, let's get crazy with it! I'm definitely down to learn some more!
Hi David, would be good to have loads more on this & some modal movement involving chords to change modes/keys.
Sounds great my friend! I love that guitar tone!
I have no theory knowledge but kinda do this pocket thing by accident myself. What's interesting to me is how to build chords / vamps / progressions with intent, that have the modal flavour I desire. I know the scale shapes for each mode but not the chords that make those tonal signature sounds. The Rush chord for instance, that F#m with the open b and e strings, sounds glorious, how do you expand that to a progression that keeps the same flavour and that chord sounding like 'home'. I'd love to see you dig into that, if that makes any sense at all 🤷♂️
cool lesson thanks
Would not emphasizing the one note that differentiates the mode from the major or minor scale ie the flat 2nd of phrygian as opposed to the major 2nd of minor or Aeolian, or the flat 7th of Mixolydian as opposed to the major 7th of major or Ionian bring out the modal sound also . Love your lessons and your enthusiasm !
Hopefully part 2 is coming soon to an internet device near you. ^-^
More Genius from Brewster!
You know music sir fantastic lesson
It would be nice if you make a cheat sheet list of which types of chords and altered chords to use for relative mode pockets and parallel mode pockets to be posted in your video lesson to know which altered chords to use for relative and parallel modes.
What a great lesson. I have seen this before however this is explained differently than other people. You are very clear and precise. Love the pocket of note to work from. Why did you choose that pocket as apposed to another?
I'm probably wrong, but are we basically just changing the chords we solo over, and playing E major from different tonics from same scale?
Nopes. You are not wrong at all. In fact that's a pretty damn good definition of what modes are. Just remember, all of this can be moved around to other keys. You can also change things to create your own sounds. Music theory is basically just a way to communicate ideas to other musicians, and to clarify these sounds for ourselves to increase what we are capable of understanding. You're right on track actually! If you were my student, I'd be quite proud.
@@aylbdrmadison1051 Awesome. Thanks for the additional info. I'm gonna practice modes this week. A bunch! 😁
The chord progression sounds like Miracle Legion.
More please
💯
i, kind of, used the 1, 4, 5 from the mode i was playing. so if i played, say, myxolidan from c ionian. i'd be playing g, c, dmin7.
My man said it was gonna spread like a rash 🤣.
Here’s the mnemonic device I use to remember the modes:
I
Don’t
Play
Like
My
Aunt
Lucy
Yes, make a second video...let the "rash" spread.
Not ancient Greek gods but ancient Greek regions (or tribes). Just a detail.
Ionian is like spaghetti with no sauce.
Truth! That made me lols big time too.
Still laughing even as I type this.
Edit: So then marinara is like the mixolydian, carbonara is the aeolian, and pesto is the phrygian.
Why do I suddenly want to play pool after seeing the screen shots eh
please do part 2 3 4
I think biggest problem with understanding modes is that 99.9999% of guitar teachers make it too complicated... The best way to understand modes is to forget about greek gods and shred masters geeking out on long drawn out explanations to make themselves sound intelligent... Learn intervals.. If you learn intervals then you have learned modes.. Apply the key which the song is in to your intervals and walla,,,,, you are now a modal shred master..