Thanks for watching. Here's the playlist: ruclips.net/p/PL2So5opWVIat244wTSr_L08GzaVNwaHGK This will help you see how the same scale sounds completely different in different contexts, and how the root note changes in each case 👍.
I pretty much learned this method many years ago. basing scales on relative maj / min (Ionian / Aeolian) Modes exist within the scale. "I DON'T PLAY LIKE MARY AND LARRY" (Ionian/Dorian/Phrygian/Lydian/Mixolydian/Aeolian/Locrian) you change mode by centering on a particular note within the scale.
For years am I busy to Learn and try to play modes effectively. But this 4 lessons on Modes are the best ever. I am very clad to find this you and I look forward to order in the nearby feature. Love it..
EffectiveMusicPractice: yes it help a lot. All those years if practice and now in 15-30 minutes I understand the concept and can also play them very easy. 😂😂😂
Exactly! The modes only come to life when played over a chord. If you play a D chord, you can play any of the notes in the C Major scale, for example, and it will sound Dorian. You don't have to start on the D note either, any note in the C Major scale.
Yes! Sometimes (mostly in Jazz tunes where you have harmonies changing very quickly) it is consider "safer" to start on the root note (in this case D), or the chord tones (D-F-A), but it's not necessary. You can use your ears to make any note work as a starting point.
@@Effectivemusicpractice Ok, more than fair enough, but just to add, we should know the location of all the notes on the fretboard, so it shouldn't be too difficult to just go directly to the root note of whatever mode you want to play within your Major scale and just play that? Forgive me if I'm still missing the point. Thanks so much!
@@jeffrey3498 Good question. That could work if you are already playing in that major scale. But imagine that you directly want to play for example F Mixolydian. To do it that way would mean that you have to think: - "F is the 5th mode of what major scale? - Bb". - "Where is the Bb major shape in the area that I want to play? - Here" - "Where's the F in this scale - Here". - Start playing. Whereas if you know the root notes for the modes inside the major scale SFS, it just becomes: - "Where's the F in the area that I want to play?" - Start playing. You see, the steps in the first example can become a bit faster with practice, but they cannot be automated, and they are not addressing the musical target directly. You go through the major scale dependence which is a theoretically imposed connection, and not really needed in practical application. You see, when modes started to be used in ancient Greece and then European music and church music, they were all equal. The habit of making the major scale the center of everything is just a "recent" fashion that started in the baroque/classical era. And it still does make sense when analyzing a lot of today's music. But it is not the best way to think about improvisation. It's like when you speak a language. You can never be a natural speaker if you think in another language and keep translating all the time. Hope this makes sense :-)
@@Effectivemusicpractice Thanks for the generous reply! Yes, this makes perfect sense especially if you're jazz improviser having to change on the fly. Plus jazz pieces are known to have numerous key changes. For me, I'm a solo acoustic guitar singer/ songwriter fingerplaying type, so I have all the time in the world to locate my notes while I'm composing a song 😁. Once I complete a song it's pretty much set in stone. I don't even own an electric guitar, and I don't use a pick. Think Nick Drake, Elliott Smith, James Taylor. I guess, and please correct me if I'm wrong, the approach depends on what you're trying to do with music, and the type of music you play. Music is so vast, and time is finite, so a musician needs to allocate his time learning the stuff he actually needs to function. For example, I've never spent a lot of time learning how to read music since my interest lies in composing original songs. Anyway, I think your methods are absolutely brilliant, and I'm grateful you took the time to talk to me. So as always, thank you so much! 👍👍.
I tried to learn playing guitar when I was 15, then again at 27... always failed. Now at 52 I am finally succeding. Reasons why? 1. Passion. I am fascinated by music structure and theory. (harmony rules our universe and lives) 2. Motivation. Time to learn and practice is everywhere if you feel you dont want to pass over without having experienced playing music. 3. Internet. I remember having tried self teaching with audio cassettes. No way. Theachers on RUclips (Youteachers) are the solution. Many of them are good but Prokopis is outstanding. He shows the effectiveness of understanding insteadnof memorizing. Nature is simple when understood, guitar fretboard too.
Hey Marco. It's great to hear that you are succeeding with your guitar learning, and I'm glad to be a part of it. Thanks for the positive feedback, and I wish you even more progress in 2018!
I wish that too lol! Even though I was taught this concept in college, my understanding was superficial, and it took me a while to really figure it out. Sometimes the words used to explain some things just don't "click" to all people, so I needed to express this in a different way. Hopefully my version helps as many people as possible to understand this concept, because it's definitely useful.
Very interesting, modes have always been a mystery to me but your vid and sfs kinda turned the light on in a dark room for me and I can see the potential so thankyou!!
This was very, very interesting ... I look forward to watching all your videos on this, and similar guitar topics. Thanks for your time and effort for our benefit!!!
Thanks for watching! I hope to release the complete crash course by the end of the month. Hey, I recognized your name from the SFS Pentatonics Crash Course. Thank you for signing up. That one is already completed, and the mailing system will send you a new lesson every 3 days or so. I have been getting a lot of positive feedback on that one, so I think you will enjoy it as well.
Yeah, I like this guitar a lot. It's a Godin "Montreal". It's a carved hollow body and I have it set-up with flatwound 012s which gives me many nice fat jazzy sounds. Godin guitars are Canadian and are great value for money. I also have the LGXT (it's the one I use in the intro demo).
I LIKE THAT IDEA TO NOT MEMORIZE SCALES, BROTHER, I AM BAD ON THAT, SO YOU GOT ME SUBSCRIBE TO YOUR LESSONS WHICH SEEMS I MIGHT GONNA LEARN SOMETHING WITH YOU. THANK YOU!
excellent video. you explain the concepts very clearly. is that any videos on avoid notes coming? why are some notes avoided in certain modes and etc thanks
Thank you! I don't really use the term 'avoid notes" any more, because I think it's not very accurate :-) People actually use them all the time. It's just that they need a little extra care, and usually need to be resolved to neighboring notes. I prefer to call them "high tension" notes. And yes, I will definitely do a video on this at some point 👍
Thanks for watching! The playlist was embedded below when I published this on the website. Here's the RUclips version: ruclips.net/video/iEHQCpOmwqg/видео.html
You can play the Dorian in the C major. Because you are in the key of C. You don't have to play in the D minor. Here is the whole confusion of the modes. You can play any mode in the key of C dorian which the D and so on. People don't get it. You don't have to resolve to D minor you can resolve to the C major and still be in the D dorian. Get it ?
Here's the link to one of the most popular SFS videos. I think it will help you get the big picture: ruclips.net/video/H3DCpJlGQFA/видео.html Have a great new year :-)
One question: is there any problem if I use numbers to name the modes of the major scale instead of memorizing the names (i.e. 1 for ionian, 2 for dorian, 3 for phrygian etc)? Or is it a bad idea for some reason? For instance I don't know if I will have to learn also all modes of the minor scale in the future, maybe then these names will help with that, I don't know.
Maybe it's ok to use numbers for now, but if you plan to keep going deeper in understanding these things, you will have to learn the mode names at some point. You see, for more advanced players, the modal name communicates much more information than a number. For example, when someone hears Dorian #4 (that's the 4th mode of the Harmonic Minor), they would understand the complete structure (12b3#456b7) because they already know what Dorian means. With numbers you would need a statement like "mode 4 of harmonic minor sounds like mode 2 of major, but with a #4" which is not very practical. There are many examples like this where using the correct terminology makes your life easier in the long run. On the other hand, if you find that the numbers make it much easier to learn right now, then you can use them, and you can learn the mode names later, as needed. One great thing about music is that you can be free to experiment with different ways of learning. It's not surgery or something. It's not a tragedy if you learn something the wrong way. You can re-learn something differently if needed. It's not as hard as people think, I do it all the time. I think that re-learning the same thing at a higher level is a normal part of effective learning. From experience as a teacher and a learner, I know that people who try to get everything perfect the first time, just get frustrated and actually learn slower! Hope this helps :-)
Thank you for your answer!!! It helped a lot. It was an excellent orientation because I'm starting now to discover the modes (other than ionian and aeolian) and I'm not sure yet what else I will have or want to learn in the future, e.g. in terms of minor modes. Btw the way I'm learning these things best is with the shapes you show. Learning visually (and then playing a lot) is the easiest for me
Hi EffectiveMusicPRactice, I tried to sign up for your crash course however the site is giving me this error: Too many subscribe attempts for this email address. Please try again in about 5 minutes. (#8949) I've never signed up for this service before so this must be a problem with the site. How do I sign up for the course? Thanks and great videos!
Hello, and thanks for your interest in my lessons. The sign up process is handled by a service called Mailchimp, and it usually works fine. Maybe there was a temporary glitch with their servers. Please try again (maybe from a different browser?), and if it still doesn't work, just email me and I will send you the lessons manually. Sorry for the inconvenience, and thanks again for watching!
To play the D major, I would have to move the entire shape 2 frets up, so that the 1st finger is on the D on the 6th string. By not moving the shape, and instead staying there and making the D my root, I turned it into a D Dorian. If you look at the exact notes, by moving 2 frets up to play D major, I would have DEF#GABC#. By staying in the same position I got DEFGABC (= D Dorian). I hope this helps :-)
Structuring a solo (improvised or composed) is a very interesting subject that touches on many aspects of our playing. I will definitely get into that sometime in future lessons, but I can't promise when, because right now I have a lot of other things lined up :-)
EffectiveMusicPractice Ok Bro looking forward to that. Nobody in the internet dare to debunk that. BTW Im planning to be member of your emp.com. Just scrolling around else so ill pick the best onlime course i will join.
So far your the best. Honestly few months ago i came accross same pattern as you do but i did not continue because its seems nobody doing it, everybody is doing BOX. Until i come to you channel and see you actually discovered it. Very interesting indeed.
Hello! Here's the link to the next lesson. It's part of the playlist, so you'll be able to watch all of them if you like: ruclips.net/video/7lr_FlFS14s/видео.html Thanks for watching!
hi, to me this seems, somewhat wrong.. you explain it as a key to the improvised piece.. the modes has different intervals.. therefore different fingerings.. which characterizes the sonic outcome.. what scales and modes have in common is that they are governed by a key in practice.. but yea really the key is a knot end of the scale approach.. and the modes rly has a closed end.. so arguing that they are different whilst improvising over a key is somewhat misleading i think.. modal playing is playing those intervals that is either larger or smaller or the same in all 7 steps of the major scale.. it is to be abstract, when it is put together with the modern music understanding, where everything is related to the major scale. that's how I've come to think of it, from my study's.. hope this will start a nice discussion..
to clarify, the modes are not directly dependant on a root note but is a sound that can interchange with it's characterized intervals in the key progression.. and as with everything it is to be avoided that it clashes with the sharps or flats..
Hello Nick, I think maybe we are saying the same thing in a different way. The modes have different intervals only if you measure from their modal root note. But the intervals in between the notes are the same. For example C Ionian is CDEFGAB and D Dorian is DEFGABC. Same notes, same intervals, same fingerings on the fretboard, different root note. And to the ears of the listener, it's the background music that decides the root note. I think you are referring to comparing parallel modes. For example C Ionian (CDEFGAB) to C Dorian (CDEbFGAB). And if we relate everything to the major degree structure, C Ionian is 1234567 and C Dorian is 12b34567. But still, the in-between intervals are the same, and so are the fingerings, just at different positions. Hope this helps to clarify things :-)
It's a great tutorial, but with all due respect, at some point you have to break out of constant diatonic runs, regardless of the mode, and work out phrasing which skip, or breaks-up, the repetitive pattern of ascending and descending modal tones. I'm getting there, but I think my problem is the lack of experience with arpeggios. Arpeggio practice, I think, would be the next phase of learning to help break out of the constant attempt to make all 8 notes, ascending and descending, build a melody within a progression, which is why I don't understand the title/name of this tutorial (scales vs modes), all modes; Ionian, Dorian, Phrygian, Lydian, Mixo-Lydian, Aeolian, and Locrian are still regarded as scales. With that being said, once you have a fair understanding of them (modes), Arpeggios would be the logical "next step" in order to start learning how to create consonance and dissonance within your phrasings to build greater tension and resolution to the progression...some teach arpeggios before modes when teaching chord theory, but now that I finally have the time to synthesize how modes work, arpeggio practice would be the better accompaniment to breaking outside the box once the modes are understood but taught following modal theory. All new players, once they have a grasp on how the modes physically work over the fret board, spend far too much time trying to work out melodies that are too inclusive of every note within the scale/mode, based on the progression, and, continuously try to build melodies in an "all inclusive" ascending or descending order. Learning arpeggios before grasping the understanding of modes leaves players stuck in a box similar to that of Pentatonic scale practice... from what I hear during your improvisation with the backing tracks...the melody is still too "All Inclusive" of the notes within the mode, ascending and descending, which fails to build tension and resolution for the progression because you can predict exactly where the scale/improvisation is going from start to finish....it's just an observation...I could be completely wrong in my understanding as well. ;) Regards, Chris
Thanks for watching! You are absolutely right that arpeggios is a great way to enrich one's playing. This crash course, and my example improvisations, concentrate on learning the modes, but that doesn't mean I consider them more important, or that I recommend using them exclusively. We just focus on one thing at a time to make the learning more effective. Scalar playing may be more or less important, depending on the style of music one is trying to play. Btw, Modes are scales in terms of note selection and intervallic structure. They are all actually the same scale (they are modes of the major scale). But the point of the lesson is that the term "mode" goes beyond the basic structure of the scale, and gives us information about wha's happening harmonically. For example, C Ionian (CDEFGAB) and F Lydian (FGABCDE) have the same notes, they are the same scale, they can even be played with the same exact fingering, but the two modal descriptions tell us that the underlying harmony centers around a C major chord in one case, and an F major in the other. This also affects our note choices within that scale, when improvising. I totally agree with you that arpeggios is a great way to manipulate tension / release, or consonance / dissonance within a solo. But it's not what we learn in this particular course. Here we are focusing on just one particular "tool", which is scalar / modal improvisation.
Where is the backing track that you mention @9:50 ???
Thanks for watching. Here's the playlist:
ruclips.net/p/PL2So5opWVIat244wTSr_L08GzaVNwaHGK
This will help you see how the same scale sounds completely different in different contexts, and how the root note changes in each case 👍.
Thank you !
I pretty much learned this method many years ago. basing scales on relative maj / min (Ionian / Aeolian) Modes exist within the scale. "I DON'T PLAY LIKE MARY AND LARRY" (Ionian/Dorian/Phrygian/Lydian/Mixolydian/Aeolian/Locrian) you change mode by centering on a particular note within the scale.
Wow, I didn't know this information. Great I think I will join your program.
Suddenly I'm starting to 'get it'! It's now starting to make sense. Nice one :)
Good to hear, thanks for the comment 👍
For years am I busy to Learn and try to play modes effectively. But this 4 lessons on Modes are the best ever. I am very clad to find this you and I look forward to order in the nearby feature. Love it..
Thank you Mike. I'm happy to hear my lessons helped you 👍
EffectiveMusicPractice: yes it help a lot. All those years if practice and now in 15-30 minutes I understand the concept and can also play them very easy. 😂😂😂
Mike Allen $5
Mike Allen ;)7
Exactly! The modes only come to life when played over a chord. If you play a D chord, you can play any of the notes in the C Major scale, for example, and it will sound Dorian. You don't have to start on the D note either, any note in the C Major scale.
Yes! Sometimes (mostly in Jazz tunes where you have harmonies changing very quickly) it is consider "safer" to start on the root note (in this case D), or the chord tones (D-F-A), but it's not necessary. You can use your ears to make any note work as a starting point.
@@Effectivemusicpractice Ok, more than fair enough, but just to add, we should know the location of all the notes on the fretboard, so it shouldn't be too difficult to just go directly to the root note of whatever mode you want to play within your Major scale and just play that? Forgive me if I'm still missing the point. Thanks so much!
@@jeffrey3498 Good question. That could work if you are already playing in that major scale. But imagine that you directly want to play for example F Mixolydian. To do it that way would mean that you have to think:
- "F is the 5th mode of what major scale? - Bb".
- "Where is the Bb major shape in the area that I want to play? - Here"
- "Where's the F in this scale - Here".
- Start playing.
Whereas if you know the root notes for the modes inside the major scale SFS, it just becomes:
- "Where's the F in the area that I want to play?"
- Start playing.
You see, the steps in the first example can become a bit faster with practice, but they cannot be automated, and they are not addressing the musical target directly. You go through the major scale dependence which is a theoretically imposed connection, and not really needed in practical application.
You see, when modes started to be used in ancient Greece and then European music and church music, they were all equal. The habit of making the major scale the center of everything is just a "recent" fashion that started in the baroque/classical era. And it still does make sense when analyzing a lot of today's music. But it is not the best way to think about improvisation. It's like when you speak a language. You can never be a natural speaker if you think in another language and keep translating all the time.
Hope this makes sense :-)
@@Effectivemusicpractice Thanks for the generous reply!
Yes, this makes perfect sense especially if you're jazz improviser having to change on the fly. Plus jazz pieces are known to have numerous key changes.
For me, I'm a solo acoustic guitar singer/ songwriter fingerplaying type, so I have all the time in the world to locate my notes while I'm composing a song 😁. Once I complete a song it's pretty much set in stone. I don't even own an electric guitar, and I don't use a pick. Think Nick Drake, Elliott Smith, James Taylor.
I guess, and please correct me if I'm wrong, the approach depends on what you're trying to do with music, and the type of music you play. Music is so vast, and time is finite, so a musician needs to allocate his time learning the stuff he actually needs to function. For example, I've never spent a lot of time learning how to read music since my interest lies in composing original songs.
Anyway, I think your methods are absolutely brilliant, and I'm grateful you took the time to talk to me. So as always, thank you so much! 👍👍.
I tried to learn playing guitar when I was 15, then again at 27... always failed.
Now at 52 I am finally succeding. Reasons why?
1. Passion. I am fascinated by music structure and theory. (harmony rules our universe and lives)
2. Motivation. Time to learn and practice is everywhere if you feel you dont want to pass over without having experienced playing music.
3. Internet. I remember having tried self teaching with audio cassettes. No way. Theachers on RUclips (Youteachers) are the solution. Many of them are good but Prokopis is outstanding.
He shows the effectiveness of understanding insteadnof memorizing. Nature is simple when understood, guitar fretboard too.
Hey Marco. It's great to hear that you are succeeding with your guitar learning, and I'm glad to be a part of it. Thanks for the positive feedback, and I wish you even more progress in 2018!
I am a 58 year old guy, so tough to learn new tricks. This material I must say is immediately usable. excellent stuff..
Thanks Tim!
Nice job! You made a daunting subject extremely accessible! I wish I would have had this presented to me when I first started playing.
I wish that too lol! Even though I was taught this concept in college, my understanding was superficial, and it took me a while to really figure it out. Sometimes the words used to explain some things just don't "click" to all people, so I needed to express this in a different way. Hopefully my version helps as many people as possible to understand this concept, because it's definitely useful.
Very interesting, modes have always been a mystery to me but your vid and sfs kinda turned the light on in a dark room for me and I can see the potential so thankyou!!
You're welcome Rob. Thanks for watching!
This is so helpful, wow. Thank you!!
You're welcome. Thanks for watching!
definitly sharing very great video looking forward to this series
Thank you!
This was very, very interesting ... I look forward to watching all your videos on this, and similar guitar topics. Thanks for your time and effort for our benefit!!!
Thanks for watching! I hope to release the complete crash course by the end of the month. Hey, I recognized your name from the SFS Pentatonics Crash Course. Thank you for signing up. That one is already completed, and the mailing system will send you a new lesson every 3 days or so. I have been getting a lot of positive feedback on that one, so I think you will enjoy it as well.
Thank-you ... and take care of yourself!! By the way, that is a beautiful guitar you have there....
Yeah, I like this guitar a lot. It's a Godin "Montreal". It's a carved hollow body and I have it set-up with flatwound 012s which gives me many nice fat jazzy sounds. Godin guitars are Canadian and are great value for money. I also have the LGXT (it's the one I use in the intro demo).
Excellent presentation
Thank you :-)
Excellent explanation my Master!!!!! 😊
Thank you sir!
Best explanation on the RUclips! Thanks a lot.
Thanks for watching!
you got another subscriber to RUclips and your website !
after watching many guitar lesson this program makes me easy to understand...this is lit.
Thanks for the feedback Niel, glad to hear that you find my lessons helpful!
godbless sir...keep it up..
I have used this system for memorising the natural, harmonic and melodic minor scales. This system is awesome and extremely effective.
Thanks for the feedback Nagesh. It's good to hear that you are putting SFS to good use!
What are the harmonic & melodic scales ?
(Beginner)
Your way of showcasing and viewing the guitar has changed my perception to peruse it rather. You are kick ass , thanks a lot.
You're welcome. Thanks for the positive feedback! Btw, I just answered your message 👍
Great lesson on how to simplify music understanding and open up all variations. Thank you
You're welcome, thanks for watching :-)
Amazing approach, thank you
Glad to be of help. Thanks for watching!
Thanks a lot! Very good method, I am using it right know :)
You're welcome!
I LIKE THAT IDEA TO NOT MEMORIZE SCALES, BROTHER, I AM BAD ON THAT, SO YOU GOT ME SUBSCRIBE TO YOUR LESSONS WHICH SEEMS I MIGHT GONNA LEARN SOMETHING WITH YOU. THANK YOU!
Hey Robert, thanks for signing up! Enjoy the rest of the lessons 👍
excellent video. you explain the concepts very clearly.
is that any videos on avoid notes coming?
why are some notes avoided in certain modes and etc
thanks
Thank you! I don't really use the term 'avoid notes" any more, because I think it's not very accurate :-) People actually use them all the time. It's just that they need a little extra care, and usually need to be resolved to neighboring notes. I prefer to call them "high tension" notes. And yes, I will definitely do a video on this at some point 👍
thanks!
great lesson.Really looking forward to trying it out- but I cant find the backing track links to practice with. bro H
Thanks for watching! The playlist was embedded below when I published this on the website. Here's the RUclips version:
ruclips.net/video/iEHQCpOmwqg/видео.html
Very helpful lesson ! Thanks
You're welcome! Thanks for the feedback!
hey; I love u man... thanks a lot
You're welcome, thanks for watching!
You can play the Dorian in the C major. Because you are in the key of C. You don't have to play in the D minor. Here is the whole confusion of the modes. You can play any mode in the key of C dorian which the D and so on. People don't get it. You don't have to resolve to D minor you can resolve to the C major and still be in the D dorian. Get it ?
Thank you very much !
You're welcome :-)
Please provide to me the EXACT title of the RUclips video which INTRODUCES the SFS concept.
Many thanks and happy New Year!
Here's the link to one of the most popular SFS videos. I think it will help you get the big picture: ruclips.net/video/H3DCpJlGQFA/видео.html
Have a great new year :-)
What kind of guitar is that? Really beautiful
It's a Godin Montreal :-)
One question: is there any problem if I use numbers to name the modes of the major scale instead of memorizing the names (i.e. 1 for ionian, 2 for dorian, 3 for phrygian etc)? Or is it a bad idea for some reason? For instance I don't know if I will have to learn also all modes of the minor scale in the future, maybe then these names will help with that, I don't know.
Maybe it's ok to use numbers for now, but if you plan to keep going deeper in understanding these things, you will have to learn the mode names at some point. You see, for more advanced players, the modal name communicates much more information than a number. For example, when someone hears Dorian #4 (that's the 4th mode of the Harmonic Minor), they would understand the complete structure (12b3#456b7) because they already know what Dorian means. With numbers you would need a statement like "mode 4 of harmonic minor sounds like mode 2 of major, but with a #4" which is not very practical. There are many examples like this where using the correct terminology makes your life easier in the long run.
On the other hand, if you find that the numbers make it much easier to learn right now, then you can use them, and you can learn the mode names later, as needed. One great thing about music is that you can be free to experiment with different ways of learning. It's not surgery or something. It's not a tragedy if you learn something the wrong way. You can re-learn something differently if needed. It's not as hard as people think, I do it all the time. I think that re-learning the same thing at a higher level is a normal part of effective learning. From experience as a teacher and a learner, I know that people who try to get everything perfect the first time, just get frustrated and actually learn slower!
Hope this helps :-)
Thank you for your answer!!! It helped a lot. It was an excellent orientation because I'm starting now to discover the modes (other than ionian and aeolian) and I'm not sure yet what else I will have or want to learn in the future, e.g. in terms of minor modes. Btw the way I'm learning these things best is with the shapes you show. Learning visually (and then playing a lot) is the easiest for me
Can anyone explain me about pentatonic scale ???
Hi EffectiveMusicPRactice,
I tried to sign up for your crash course however the site is giving me this error: Too many subscribe attempts for this email address. Please try again in about 5 minutes. (#8949)
I've never signed up for this service before so this must be a problem with the site. How do I sign up for the course?
Thanks and great videos!
Hello, and thanks for your interest in my lessons. The sign up process is handled by a service called Mailchimp, and it usually works fine. Maybe there was a temporary glitch with their servers. Please try again (maybe from a different browser?), and if it still doesn't work, just email me and I will send you the lessons manually. Sorry for the inconvenience, and thanks again for watching!
But whats the difference if you played the D major scale?
To play the D major, I would have to move the entire shape 2 frets up, so that the 1st finger is on the D on the 6th string. By not moving the shape, and instead staying there and making the D my root, I turned it into a D Dorian. If you look at the exact notes, by moving 2 frets up to play D major, I would have DEF#GABC#. By staying in the same position I got DEFGABC (= D Dorian). I hope this helps :-)
@@Effectivemusicpractice thank you
hello Bro is it possible for you to make video how such an artist make his solo. For example solo of Hillsongs song. for who you are. cheers
Structuring a solo (improvised or composed) is a very interesting subject that touches on many aspects of our playing. I will definitely get into that sometime in future lessons, but I can't promise when, because right now I have a lot of other things lined up :-)
EffectiveMusicPractice Ok Bro looking forward to that. Nobody in the internet dare to debunk that. BTW Im planning to be member of your emp.com. Just scrolling around else so ill pick the best onlime course i will join.
So far your the best. Honestly few months ago i came accross same pattern as you do but i did not continue because its seems nobody doing it, everybody is doing BOX. Until i come to you channel and see you actually discovered it. Very interesting indeed.
thankyou sir for lesson.pleas wouldyou mine making chord progression on jaming track on dorain mode..???
I already have one. The chord sheet is in the video. Enjoy :-)
ruclips.net/video/wr580UHWzLg/видео.html
Where is the next lesson??
Plz reply
Hello! Here's the link to the next lesson. It's part of the playlist, so you'll be able to watch all of them if you like: ruclips.net/video/7lr_FlFS14s/видео.html
Thanks for watching!
@@Effectivemusicpractice i do like your channel but we need your word to make us master in guitar ;)
hi, to me this seems, somewhat wrong.. you explain it as a key to the improvised piece.. the modes has different intervals.. therefore different fingerings.. which characterizes the sonic outcome..
what scales and modes have in common is that they are governed by a key in practice.. but yea really the key is a knot end of the scale approach.. and the modes rly has a closed end.. so arguing that they are different whilst improvising over a key is somewhat misleading i think.. modal playing is playing those intervals that is either larger or smaller or the same in all 7 steps of the major scale.. it is to be abstract, when it is put together with the modern music understanding, where everything is related to the major scale.
that's how I've come to think of it, from my study's..
hope this will start a nice discussion..
to clarify, the modes are not directly dependant on a root note but is a sound that can interchange with it's characterized intervals in the key progression..
and as with everything it is to be avoided that it clashes with the sharps or flats..
Hello Nick, I think maybe we are saying the same thing in a different way. The modes have different intervals only if you measure from their modal root note. But the intervals in between the notes are the same. For example C Ionian is CDEFGAB and D Dorian is DEFGABC. Same notes, same intervals, same fingerings on the fretboard, different root note. And to the ears of the listener, it's the background music that decides the root note.
I think you are referring to comparing parallel modes. For example C Ionian (CDEFGAB) to C Dorian (CDEbFGAB). And if we relate everything to the major degree structure, C Ionian is 1234567 and C Dorian is 12b34567. But still, the in-between intervals are the same, and so are the fingerings, just at different positions. Hope this helps to clarify things :-)
It's a great tutorial, but with all due respect, at some point you have to break out of constant diatonic runs, regardless of the mode, and work out phrasing which skip, or breaks-up, the repetitive pattern of ascending and descending modal tones.
I'm getting there, but I think my problem is the lack of experience with arpeggios.
Arpeggio practice, I think, would be the next phase of learning to help break out of the constant attempt to make all 8 notes, ascending and descending, build a melody within a progression, which is why I don't understand the title/name of this tutorial (scales vs modes), all modes; Ionian, Dorian, Phrygian, Lydian, Mixo-Lydian, Aeolian, and Locrian are still regarded as scales.
With that being said, once you have a fair understanding of them (modes), Arpeggios would be the logical "next step" in order to start learning how to create consonance and dissonance within your phrasings to build greater tension and resolution to the progression...some teach arpeggios before modes when teaching chord theory, but now that I finally have the time to synthesize how modes work, arpeggio practice would be the better accompaniment to breaking outside the box once the modes are understood but taught following modal theory.
All new players, once they have a grasp on how the modes physically work over the fret board, spend far too much time trying to work out melodies that are too inclusive of every note within the scale/mode, based on the progression, and, continuously try to build melodies in an "all inclusive" ascending or descending order.
Learning arpeggios before grasping the understanding of modes leaves players stuck in a box similar to that of Pentatonic scale practice... from what I hear during your improvisation with the backing tracks...the melody is still too "All Inclusive" of the notes within the mode, ascending and descending, which fails to build tension and resolution for the progression because you can predict exactly where the scale/improvisation is going from start to finish....it's just an observation...I could be completely wrong in my understanding as well. ;)
Regards,
Chris
Thanks for watching! You are absolutely right that arpeggios is a great way to enrich one's playing. This crash course, and my example improvisations, concentrate on learning the modes, but that doesn't mean I consider them more important, or that I recommend using them exclusively. We just focus on one thing at a time to make the learning more effective. Scalar playing may be more or less important, depending on the style of music one is trying to play.
Btw, Modes are scales in terms of note selection and intervallic structure. They are all actually the same scale (they are modes of the major scale). But the point of the lesson is that the term "mode" goes beyond the basic structure of the scale, and gives us information about wha's happening harmonically. For example, C Ionian (CDEFGAB) and F Lydian (FGABCDE) have the same notes, they are the same scale, they can even be played with the same exact fingering, but the two modal descriptions tell us that the underlying harmony centers around a C major chord in one case, and an F major in the other. This also affects our note choices within that scale, when improvising.
I totally agree with you that arpeggios is a great way to manipulate tension / release, or consonance / dissonance within a solo. But it's not what we learn in this particular course. Here we are focusing on just one particular "tool", which is scalar / modal improvisation.
Tallk too much!
3 minutes in and you're still gassing about irrelevant stuff. Not good.