I already knew what you were talking about, scales, chords, modes, etc. However, some of the ways you explained things are just Genius. 3 notes, Root, 3rd, 5th, then add 2 more, and 2 more again. I understand the logic inside and out, but you have a gift for simplicity in understanding. I always took the long complicated way round. CHEERS...
Although this is a very good concept seeing the modes are essentially the pentatonic with two more notes. To me it was just an expansion on pattern/box/shapes. What got me out of that rut and into the world of Melody/harmony was something practically no UA-cam video explains “intervals”. Just learning the intervals at the major scale alone opened up a landscape of the front board. Then something totally unexpected, which was learning the notes on the neck of the guitar. INTERVALS, BABY
This was a great start on modes. But to really hammer home the sound and what's cool and sounds great I hope you can make a follow up where you improvise over a backing track and show us visually what notes you targeted. Maybe a couple of chord progressions. And to hit a home run, do it for multiple genres, like blues, rock and pop.
Hi there, I really enjoy your videos and teaching style. I’m learning my major triads and I’m trying to use them over a 1,4&5 chords. How do I make them should melodic? I understand that you would use some notes of a major pentatonic scale, but I just have trouble doing it. Do you have any videos that can help me out? Cheers Gary
I'm 65 and only started playing 2 years ago. The first thing I taught myself was all five Pentatonic shapes and rhen all seven Diatonic. I could not wrap my head around modes but just knowing that there are seven chords, and seven modes, and each cord has its own mode, it's a huge step for me. Thank you. You play beautifully. ❤️🙏🕊️
There is never a 3 note semi-tone run! That's a constant for every mode and scale you've mentioned. That helps find those semi-tones that get added to pentatonics.
after Playing since 15 (now 63 and developing Arthritis uugh) this is a great lesson, How ever I'd like to see some backing tracks over Progressions focusing on these Modes, Many Videos just claim we don't need to know Modes, because yes it stems off the Triads of the Progressions being played, even after 48 years I struggle even knowing the concept, I feel if their was some backing tracks 2-3-4 chord songs in slow tempo's would be good training framework to practice... yeah yeah ... all you 8 year old virtuoso's make me queasy and want to make me sell all 21 of my guitars ! lol
This all makes sense when you are talking about practicing scales by themselves, because you are hearing the intervals in relationship to the scales tonic. As an improvisational device however over music and chords, the application becomes quite limited. If for example you are improvising over an A Minor chord, your ear doesn’t allow you to re-establish the tonic from A to C by playing the C major scale. In other words, playing a C major scale over A minor doesn’t sound major, it sounds just like A minor. This is because C Major and A minor (aeolian, or minor pentatonic) contain the same notes, you can play either “scale” over an A minor and it was all sound like A minor. If the chord suddenly changes from A minor to C major, then suddenly your A minor and C major scales will sound major. This is because the music you are playing over establishes the tonal center. In other words, playing diatonic modes over a diatonic chord does not give you the modal sound. Now learning these mode shapes will give you more command over the fretboard and help you to identify new phrases and ideas, but it won’t be because that stuff is modal, it’s just broader. And there is nothing wrong with that. To do the modal thing you can start with a tonic, say A minor again, and then play modal ideas over that. So, if you play A Dorian for a few measures and then switch A Aeolian, you will get a shift in that “tonality”, or those modal sounds and intervals. This works well with static chords, or tonics where there isn’t a strong diatonic pull towards a particular key, so it has its applications, but those aren’t universal.
"Now learning these mode shapes will give you more command over the fretboard and help you to identify new phrases and ideas, but it won’t be because that stuff is modal, it’s just broader. And there is nothing wrong with that.". Brilliant and key observation and why the concept of 'learning modes' usually twists folks into a pretzel . You don't have to get to the true essence of mode theory ( unless u want to ) to get great benefit . The R 3 5 skeleton plus 2 notes is so helpful. Excellent content!
@@mediumdun18 - Agreed. I think the mode shapes are a great starting point, but learning chord-tone arpeggios goes a long way toward offering content that is less linear and more interesting, because it allows you to be more intentional with the changes, even when the chords are in same key (diatonic).
I found this lesson to be quite useful but I still have some questions around practical application. You illustrated how the modes work within the key, but what I would like to know is. If we have a progression in C Major so for example C Major, E Minor and G Major if we were to apply this concept would we play the C major Ionian scales over the C major chord, then the E Minor Phrygian over the next chord in the progression E minor and then finally G Major Mixolydian over the G Major chord. I’m assuming that’s correct but could you please clarify? Thanks
Yes, this is the correct way of thinking about it. The more you highlight the root notes and individual modal notes of each chord, the stronger the mode is going to sound
I don't think Em Phygian is necessary on chord #2.. Tim Pierce talks about this..maybe a Penta scale, maybe a mixolydian, maybe a harmonic minor blues scale on this chord..we need to use only 3 of 'em..Tim's take on the song Dreams by Allman Bros..check it..(also the caged in sufficed by A,C,E (gce, same shapes) Alohoho
Hands down the best lesson on modes for us intermediate guitarists
I already knew what you were talking about, scales, chords, modes, etc. However, some of the ways you explained things are just Genius. 3 notes, Root, 3rd, 5th, then add 2 more, and 2 more again. I understand the logic inside and out, but you have a gift for simplicity in understanding. I always took the long complicated way round. CHEERS...
What I like about this vid is the explanation of the tension notes. That’s often overlooked in other vids.
Fantastic explanation of a concept that is really hard to understand. Thank you very much!
Thanks Bro, I have to go over everything you presented slowly - especially at the end of your lesson, but most definitely VERY helpful.....
Man you’re so good and you give great tips! Wish you the best 👍🏻
Thank you, I appreciate that
Well deserved man, keep on Youtubing, your channel will surely become very successful!
Great video on modes. Have you got one on spotting/creating modal progressions?
Although this is a very good concept seeing the modes are essentially the pentatonic with two more notes. To me it was just an expansion on pattern/box/shapes.
What got me out of that rut and into the world of Melody/harmony was something practically no UA-cam video explains “intervals”. Just learning the intervals at the major scale alone opened up a landscape of the front board. Then something totally unexpected, which was learning the notes on the neck of the guitar.
INTERVALS, BABY
This was a great start on modes. But to really hammer home the sound and what's cool and sounds great I hope you can make a follow up where you improvise over a backing track and show us visually what notes you targeted. Maybe a couple of chord progressions. And to hit a home run, do it for multiple genres, like blues, rock and pop.
Simply and clearly explained modes. Thanks for sharing hepls a lot!
Hi there,
I really enjoy your videos and teaching style.
I’m learning my major triads and I’m trying to use them over a 1,4&5 chords. How do I make them should melodic?
I understand that you would use some notes of a major pentatonic scale, but I just have trouble doing it.
Do you have any videos that can help me out?
Cheers
Gary
*Awesome!* 🙌🏽
I'm 65 and only started playing 2 years ago. The first thing I taught myself was all five Pentatonic shapes and rhen all seven Diatonic.
I could not wrap my head around modes but just knowing that there are seven chords, and seven modes, and each cord has its own mode, it's a huge step for me. Thank you.
You play beautifully.
❤️🙏🕊️
Great explanation.
There is never a 3 note semi-tone run! That's a constant for every mode and scale you've mentioned. That helps find those semi-tones that get added to pentatonics.
after Playing since 15 (now 63 and developing Arthritis uugh) this is a great lesson, How ever I'd like to see some backing tracks over Progressions focusing on these Modes, Many Videos just claim we don't need to know Modes, because yes it stems off the Triads of the Progressions being played, even after 48 years I struggle even knowing the concept, I feel if their was some backing tracks 2-3-4 chord songs in slow tempo's would be good training framework to practice... yeah yeah ... all you 8 year old virtuoso's make me queasy and want to make me sell all 21 of my guitars ! lol
This all makes sense when you are talking about practicing scales by themselves, because you are hearing the intervals in relationship to the scales tonic. As an improvisational device however over music and chords, the application becomes quite limited. If for example you are improvising over an A Minor chord, your ear doesn’t allow you to re-establish the tonic from A to C by playing the C major scale. In other words, playing a C major scale over A minor doesn’t sound major, it sounds just like A minor. This is because C Major and A minor (aeolian, or minor pentatonic) contain the same notes, you can play either “scale” over an A minor and it was all sound like A minor. If the chord suddenly changes from A minor to C major, then suddenly your A minor and C major scales will sound major. This is because the music you are playing over establishes the tonal center.
In other words, playing diatonic modes over a diatonic chord does not give you the modal sound. Now learning these mode shapes will give you more command over the fretboard and help you to identify new phrases and ideas, but it won’t be because that stuff is modal, it’s just broader. And there is nothing wrong with that.
To do the modal thing you can start with a tonic, say A minor again, and then play modal ideas over that. So, if you play A Dorian for a few measures and then switch A Aeolian, you will get a shift in that “tonality”, or those modal sounds and intervals. This works well with static chords, or tonics where there isn’t a strong diatonic pull towards a particular key, so it has its applications, but those aren’t universal.
"Now learning these mode shapes will give you more command over the fretboard and help you to identify new phrases and ideas, but it won’t be because that stuff is modal, it’s just broader. And there is nothing wrong with that.". Brilliant and key observation and why the concept of 'learning modes' usually twists folks into a pretzel . You don't have to get to the true essence of mode theory ( unless u want to ) to get great benefit . The R 3 5 skeleton plus 2 notes is so helpful. Excellent content!
@@mediumdun18 - Agreed. I think the mode shapes are a great starting point, but learning chord-tone arpeggios goes a long way toward offering content that is less linear and more interesting, because it allows you to be more intentional with the changes, even when the chords are in same key (diatonic).
Great video, I joined your community. Would love to apply your teachings to my tools
Thanks!
This was very helpful
cool if you now Frank Gambale he can show you this
Thanks
Thanks, I really appreciate that. I’m gonna keep working hard for you guys
I found this lesson to be quite useful but I still have some questions around practical application. You illustrated how the modes work within the key, but what I would like to know is. If we have a progression in C Major so for example C Major, E Minor and G Major if we were to apply this concept would we play the C major Ionian scales over the C major chord, then the E Minor Phrygian over the next chord in the progression E minor and then finally G Major Mixolydian over the G Major chord. I’m assuming that’s correct but could you please clarify? Thanks
Yes, this is the correct way of thinking about it.
The more you highlight the root notes and individual modal notes of each chord, the stronger the mode is going to sound
I don't think Em Phygian is necessary on chord #2..
Tim Pierce talks about this..maybe a Penta scale, maybe a mixolydian, maybe a harmonic minor blues scale on this chord..we need to use only 3 of 'em..Tim's take on the song Dreams by Allman Bros..check it..(also the caged in sufficed by A,C,E
(gce, same shapes) Alohoho
W0W!