I cannot emphasize enough how important such videos and information are. I've been playing for over 40 years and teaching for a good 30 years. Of course, this is nothing new to me, but I see again and again how such information doesn't just help beginners, as well as advanced players. In fact, such theoretical information opens the door to rediscovering music. And that's what we teach for. Sure, also for the money. But it makes my heart smile when one of my students suddenly rediscovers the music and guitar playing that he loves so much.
I) Ionian, the major scale, Cmaj7/9/6. 4) Lydian #4, Cmaj9#11. 5) Mixolydian b7; C7/9/13. Those 3 work over a Major triad, and different Jazz chords. 2) Dorian b3/b7, Cmin7/9/6. 6) Aolian b3/b6/b7, Cmin7/9. 3) Phrygian b2/b3/b6/b7, Cmin7. Those 3 work over a Minor triad, and different Jazz chords. 7) Locrian b2/b3/b5/b6/b7 works over a Diminished triad, and a Min7b5 chord. - Copy this. Post it where you practice. Memorize it. - Download a free ear training app. Teach yourself to associate a different song with each of the 12 intervals. Work with it until you ALWAYS score 100%. - To hear the difference, you MUST start all 7 modes from THE SAME STARTING NOTE. Otherwise of course they will all sound the same. - Come on now!
@@andy196414 I've tried to post some useful links to help you with learning modes but not sure if you received them. Hope it helps!! If you search for dannypage modes you will probably find them...
This is the best video I've seen on modes. Also the coolest studio background of effects lights. A legendary guitarist sitting in the control room of a music time machine !!!
@@timpierceguitar hello Tim thanks for this very cool video ! how to get the free backing track please ? I don't find it on your web site . thanks have a good day
It's impressive how you remain so humble. Thank you for the lessons, got the same colour guitar but a Lefty Epiphone Sheraton. Glad you're breaking down these modes, things that I already do but glad to have it explained logically. Thank you, Tim.
After playing for 40 + years, and after watching this, I realize I play in "L" which is the Lostonian scale. A session artist on Tims level is an amazing thing to watch.
You let people know secrets that are obvious to only you, Mr. SMILE. THIS helps overall knowledge that can be invaluable in creative endeavors. Your incredible playing incorporates so many important abilities, and you have effective ways to learn,which is the whole point. When a professional player over 70, says this, it's not a 12 year old kid, although they could learn as well from you. You still have the uncontrollable smile, when you do it the way you wanted it. Man, you are a TRIP!
The modes got introduced to me by my comprehensive school guitar teacher. I was only 14 and couldn’t get my head around how to use them together at all. That’s the way it stayed until I watched this video. Thanks Tim!
So grateful for your incredible creativity, talent, experience, and awesome ability to share and inspire others to master their craft. So well done, Maestro!🙌🏻🙌🏻🍎
This lesson was captivating. You have a way of introducing a concept and making us feel like we knew it all along, that it was so obvious. So many lightbulb moments, thank you for this. Definitely going to transform my practice around backing tracks.
@@timpierceguitar I just tried it on a few backing tracks and it opened up the fretboard for me that was indeed transformative. I just never thought to look at it that way, so the concept you put forward expanded my awareness, kinda like teaching us to fish (as opposed to giving us a fish) so instead of having to remember a bunch of patterns and scales (useful of course, and arguably necessary to get from A to B), we remember a concept that we can apply to unlimited examples. So this becomes a purer teaching and really streamlines the process. Thanks again......
Yep! I think of it as 4 modes (in the order of most frequently used): Mixolydian, Dorian, Aeolian, and Ionian. For those very rare occasions that it's one of the other 3, I just think of it as one of the 4 I know but not starting on the root - just like you said. Of course, there is the rare harmonic scale like Joplin's version of Summertime... Good video!! Thumb's up!
Glad I watched this video to be corrected on which note to use in pointing to a specific mode & the key being used. Personally I think sticking with the root of the key would be a lot easier but maybe that's just me...
Thank you! I play about 1,000 hours per year for 35 years now! Self taught from a book called rhythm guitar. I appreciate the tips and wish I could jam some originals with you! I learned drums as a kid, way easier than guitar!
D Dorian - the "Santana mode" or as Frank Zappa observed; "Variations on the Carlos Santana Secret Chord Progression." This explanation of the modes is much easier to digest, or maybe I'm just dense. Thanks once again, Tim!
I’ve always done it this way since i was around 17 its flavours against the diatonic chords that go by if you learn the 5 positions of the pentatonics and then add the additional notes from the major scale plus the blue note i think this sway simplifies it all you get used to the sound/flavor and away your go no need to think about what you actually playing just play what you hear in your head just before you play it kind of thing
Love the way you play, hope that watching your posts, maybe will get this to sink in to my understanding of whats goiing on here, but dude- you can play!😂👍🙏
Pentatonics are handy for improv, because the 2 notes that are struck out of your primary pentatonics are the 2 notes that form the Devil's Interval (Lydian & Lochrian Roots (F & B, respectively, in C Major (or A Minor, D SubDom Minor, E Dom Minor or G Dom Major)).
Good lesson. Your lessons are very good. Especially for “intermediate”/“beginning advanced” musicians. Lol I don’t know what level I am. I had lessons til people stopped taking me. I play for $ & ❤ now. If you want lessons? I really do like Tim Pierce and Rick Beato.
Super important thing Mr. Pierce talks about is how musicians communicate. We don’t talk a lot about modes. They are cool to know. He’s also right about learning rules - then you can break them. Also? The no Beatles album was made by telling John, George, Paul & Ringo to “explore mixolidian mode” 😂 because? They didn’t (and Paul may still not?) know what that means.
As a keyboard player, modes are super easy. Just learn your scales. Once you've got them down, you now can play all of the regular modes. All a mode is, is a scale not starting on the root of the scale.
It's the same on guitar really people just don't want to learn scales starting on the 4th or 3rd string so we come up with extra patterns start on string 1 and 2 and teachers expect us to learn all that for some reason
I started with guitar. But music only really clicked for me when I looked at keys. I know some keys folks who have benefited in the other direction. The more instruments you tackle the better your insight. A cursory look at drumming taught me plenty too!
@@gearoiddom Same here. That's exactly how it worked for me. The watershed moment was when I was doing some side work for someone who happened to be a piano instructor. She had a book of George Gershwin sheet music lying out. I told her how I love Rhapsody in Blue. Her response: "It's in there. It's yours. Take it." So, I did. Jackpot!!! As a bonus, I acquired a whole new appreciation for Def Leppard. Yes .... "Foolin'" from the Pyromania album. It's straight out of Rhapsody in Blue! Good Comment! 🎼TD
Once again Tim takes us on a musical journey that not only makes sense but demonstrates in real time how to apply these concepts to real music which stretches these concepts into magic. Tim if you could recommend a poor man's 335, what would it be? I currently have a Washburn from the 80s, which i love but would love your opinion . As always so grateful for your wisdom also i find secongd hand prs are showing up wondering if you have any recommendations
Mr. Tim Pierce is a fantastic player! Much, much better than me! HOWEVER, he doesn’t properly understand modes. Respectfully, please see my other comments.
Tim, this was a really good lesson. I will learn a lot from this as I watch it and practice several times (say, 75 😎). sw (sub - 63 year old hack... but getting better every day!)
If you're going to say Ionian and Aeolian are the same thing why not extend that logic to every other mode since they're also the same exact scales with a different root?
I love your common-sense practical approach to attacking the guitar neck (that often torments me), thank you Tim! (p.s. your example licks are tasty as cream and shugah!)
Changing the IRs made it pretty usable for me. Bought a few from York, Tonefactor and Eminence. The downside for me is that you can only place one IR at time for each amp model. If I could duplicate the amp modelers, instead of being stuck with the ones I don’t like it would be much more practical.
“Modes”, or what portion of a key signature scale are emphasized, are totally based on chords. A fact that very, very few teachers discuss, including Tim in this video, who I greatly admire and enjoy. (I subscribe to his Masterclass - excellent stuff!) My teacher here in Atlanta made sense of it for me. There are seven chords associated with the seven notes in a major scale. The “mode” your solo work should follow in that scale depends ENTIRELY on what chords are in the song and THE mode is dependent on The emphasized main quasi-“root” chord. Take CCR song “Born on the Bayou” for example. It’s in the key of A. The dominate chords are A (I), D (IV), and E (V). But E, which is the fifths of the A scale is the primary chord. The song keeps coming back to it. Since E is the fifth, the solo scale that John F plays for this song, is based around that note. He keeps coming back to E. Therefore, the solo (in the key of A) is played in the mixolydian “mode” of A. Check it out. The song chords follow a progression of E, A, E, D, A, E. Always coming back to E. It’s not in the key of E, even though I’ve seen it erroneously written that way numerous times, because D is not in the scale of E. D# is, not D. Bottom line. Modes depend on chords and chord progressions. Entirely! Not the other way around! …and very few teachers talk to that basic reality. PS (correction): When I wrote the above I hadn’t watched the entire video. About halfway through Tim does “touch” on relationship between scales and CHORDS. But it’s brief.
They're definitely bound together. The chords in any Key are built on its Modes. So, yes, if your in the Key of E Minor, and playing a B Minor chord, one should be aware that they are operating in the Dominant Minor (Phrygian) Mode. Excellent Note! 🎼TD, Boston
@@NoaGabo yes, correct and I’ve played for a long time but only recently learned the correlation. I’m taking face to face lessons and my teacher finally explained it to me in a way that made sense.
my couch is booked ended with acoustic on one side and electric and small tube practice amp on the other and my jam room is about 20 feet away with an all tube amp head twin speaker cabinet pedal board And recording equipment
I know what a mode is. I know I tend to stick in minor modes and that causes problems for me but this is going to take me a bit of time to master. I’ve looked at “Mix” but haven’t been able to move quickly in it yet.
Thanks for explaining all this and thanks to everyone who asked questions. I missed the live stream as it is 4am my time, but watched an advertisement so you can make some money. Take care.
Every morning I fall out of bed and grab the guitar right there and play myself into consciousness. I'd like to get my pick to balance on my finger while I wave my hand around, looks like fun!
Tim, I hope you don't mind my nickname for you.. in poker it's called a TELL,a involuntary movement or expression that gives a idea of what the other player may have. There are all kinds of these things in Las Vegas at the big money tables. Again, when you match your sound in your head,with the link or sound you were attempting to play, your small, but noticeable smile appears like magic. Keep me informed please, and don't go to Las Vegas!
Great video as always. Tim.....i stumbled on Rick Springfield's Live Aid set earlier - i remember watching it as a kid and remember loving that white HSS strat you used. Out of interest, do you still have it?
Major scale with a sharp 4th = Lydian Major scale with a flat 7th = mixolydian Minor scale with a major 6th = Dorian Minor scale with a flat 2nd = phrygian Minor scale with a flat 2nd and flat 5th = locrian
I have a 1968 ES335 with a 1.56" nut width. Really skinny, but my hands are small and I like it. On wider necks I'm unable to grab the sixth string with my thumb.
How do you decide what modes you use when and where? I guess the bigger question is. If they all have the same notes, why are they even different modes in the song? Correct me if I'm wrong, but they're all the key of C Major.
I look at it as the notes orbit around chord centers, so when the change comes, the notes orbit around that new center and their emotional relationship to each other changes though their whole step/half step intervals do not. Thus, the A center is the minor feel and the C center is the major feel, etc. The different feel is because the intervalic layout of the scale changes when a note of the scale becomes the center or Tonic. Meaning there are 7 unique intervalic layouts (modes). The beauty of it is once you understand it really well, you can forget about it 😂
Just like you said, the Ionian and Aeolian modes can be seen as one, just starting from different notes. The same is true with the Dorian and Lydian modes, which can also be viewed as one. Similarly, the Phrygian and Mixolydian modes can be seen as one. This leaves only the Locrian mode as the odd one out.
They are all different if you start them all from the same starting note. Of course they are all from the same scale, and will be same if you start them from different scale degrees (including Locrian).
@@m.vonhollen6673 Sure! Referring to Tim’s point about seeing the Ionian and Aeolian modes as one, you can view the other relative modes similarly. That was my point, and it leaves the Locrian mode out. It might be helpful to someone to see it this way since there are only three patterns to learn.
Never underestimate the MixoDorian mode. The Phrygian dominant over a V7 always works too. But, fully understanding the major scale (Ionian mode) is the key to music.
Nice lesson. I'll checkout the Jam Track. Hey, I agree with your take on modes. But are you saying to not worry about all the chord changes, including the IV ? I know in general I can always play the pentatonic to the key, which would be the Major/ Aeolian thing. I ask because playing along with iReal Pro jazz tracks with lots of chord changes has always been tough.
Things I have learned from Tim Pierce: 1: Don't play too much. 2: Don't play too loud. 3: Play to serve the SONG 4: Play in short discreet phrases. 5: Be prepared for the gig or session. 6: Never EVER play over the SINGER!
Hi Tim, I have a question for you. I always think of this as playing the relative scales. For instance, playing C major and A minor. When I think of playing a mode, I think of actually a key change such as playing A mixolydian rather than A Ionian. Is that an incorrect understanding?
I dont get why C ionian and A aeolian 'belong together' anymore than G mixolydian or D dorian? They are aal the same scale and the same notes! I cant get the coloration of these scales when i play because its just a C scale and of course you cab play it in different pisitions on the neck! But its still the same notes not matter what you call it. And licks dont start on the root- or perhaps thats the issue? I dunno. When tim plays the 'different' mode scales they sound different. With me, they sound the sane because they are the same notes. I dont get goe to make them sound modal😔
If you see it that way, then G Mixolydian and D Dorian are also the same thing. And suddenly you only need two modes ;) And because all modes that can be derived from the major scale consist of the same notes ... hmmm ... you actually only need one mode ...
I'm lazy so I only memorized and practice the major scale forms and then I "start on" (really, emphasize is the word) different notes within the shape depending on the key. Boom, I'm playing modes LOL.
A great lesson as always, but I'm an idiot, so I still don't understand how you can play a D Dorian scale over a C major Jam track. 😞 What are the jam track chords? What you play sounds great. When I try D Dorian over C Ionian it just sounds wrong. Thanks for a great channel, BTW.
Em, D, C, B7. Substitute for B7 a diminished arpeggio using the notes A, C, D#, F# and/or diminished chords just named, to resolve to Em in myriad ways. I spent decades intimidated by the senseless fingering, but one day forced myself to learn and shred diminished arpeggios across the neck. Once the fingering was automatic, once hidden opportunities to use diminished began to surface, and I don't see an end of that. I know I should figure out the theory and learn the modes, but I've played diminished scales and found them as boring as the arpeggios are intriguing. I'm having too much fun playing and finding out that any of all 12 notes can come into play, at points. The diminished thing helps to project into this, IF its commited to muscle memory at shred speed, because when you slow down, you see all sorts of rules that can be broken in service of beauty.
I cannot emphasize enough how important such videos and information are. I've been playing for over 40 years and teaching for a good 30 years. Of course, this is nothing new to me, but I see again and again how such information doesn't just help beginners, as well as advanced players.
In fact, such theoretical information opens the door to rediscovering music. And that's what we teach for. Sure, also for the money. But it makes my heart smile when one of my students suddenly rediscovers the music and guitar playing that he loves so much.
Thank you TIm! One of the best and most humble teachers out there...
I) Ionian, the major scale, Cmaj7/9/6.
4) Lydian #4, Cmaj9#11.
5) Mixolydian b7; C7/9/13.
Those 3 work over a Major triad, and different Jazz chords.
2) Dorian b3/b7, Cmin7/9/6.
6) Aolian b3/b6/b7, Cmin7/9.
3) Phrygian b2/b3/b6/b7, Cmin7.
Those 3 work over a Minor triad, and different Jazz chords.
7) Locrian b2/b3/b5/b6/b7 works over a Diminished triad, and a Min7b5 chord.
- Copy this. Post it where you practice. Memorize it. - Download a free ear training app. Teach yourself to associate a different song with each of the 12 intervals. Work with it until you ALWAYS score 100%.
- To hear the difference, you MUST start all 7 modes from THE SAME STARTING NOTE. Otherwise of course they will all sound the same. - Come on now!
Would be useful to have a set if chord diagrams at hand associated with each one. Can you help a student struggling?
Thanks the guy never explains the modes
@@andy196414
I've tried to post some useful links to help you with learning modes but not sure if you received them.
Hope it helps!!
If you search for dannypage modes you will probably find them...
Blown away by your teaching TIM.
"It hasn't stopped me" I love it! This guy is amazing. Fantastic
This is the best video I've seen on modes. Also the coolest studio background of effects lights. A legendary guitarist sitting in the control room of a music time machine !!!
Wow, thanks!
@@timpierceguitar hello Tim thanks for this very cool video ! how to get the free backing track please ? I don't find it on your web site . thanks have a good day
@@teddyyedThere's a link in the video description.
@@castleanthrax1833 the link goes to the site web and after I don’t find the backing .😞
It's impressive how you remain so humble. Thank you for the lessons, got the same colour guitar but a Lefty Epiphone Sheraton. Glad you're breaking down these modes, things that I already do but glad to have it explained logically. Thank you, Tim.
Thank you Tim for your generosity. This is one that I will be revisiting. Just so valuable.
Unconfusing modes... Thank you Tim !
A huge help
Lightbulb moment
💡🙂🎸🎸🎸
After playing for 40 + years, and after watching this, I realize I play in "L" which is the Lostonian scale. A session artist on Tims level is an amazing thing to watch.
You let people know secrets that are obvious to only you, Mr. SMILE. THIS helps overall knowledge that can be invaluable in creative endeavors. Your incredible playing incorporates so many important abilities, and you have effective ways to learn,which is the whole point. When a professional player over 70, says this, it's not a 12 year old kid, although they could learn as well from you. You still have the uncontrollable smile, when you do it the way you wanted it. Man, you are a TRIP!
Awesome lesson Tim! Thankyou for the lesson and jam track!
I'm going to start working my way through the 30 lessons, looking forward to that.
Great to see a master at work! Tks for showing the basic along with the esoteric; artistry in the truest meaning!
Geat lesson, Tim! Jam packed with super useful concepts! Thank you!
I just loved this one.
I understand modes and you really nailed it
Brilliant explanation
Thank you for a clear explanation using language as a templet
The modes got introduced to me by my comprehensive school guitar teacher. I was only 14 and couldn’t get my head around how to use them together at all. That’s the way it stayed until I watched this video. Thanks Tim!
So grateful for your incredible creativity, talent, experience, and awesome ability to share and inspire others to master their craft. So well done, Maestro!🙌🏻🙌🏻🍎
Thanks Tim and I really appreciate your lessons and overall input. 👍
Excellent lesson as always. Thank you, Tim.
thanks so much :-)
This lesson was captivating. You have a way of introducing a concept and making us feel like we knew it all along, that it was so obvious. So many lightbulb moments, thank you for this. Definitely going to transform my practice around backing tracks.
wow, thank you so much:-)
@@timpierceguitar I just tried it on a few backing tracks and it opened up the fretboard for me that was indeed transformative. I just never thought to look at it that way, so the concept you put forward expanded my awareness, kinda like teaching us to fish (as opposed to giving us a fish) so instead of having to remember a bunch of patterns and scales (useful of course, and arguably necessary to get from A to B), we remember a concept that we can apply to unlimited examples. So this becomes a purer teaching and really streamlines the process. Thanks again......
Yep! I think of it as 4 modes (in the order of most frequently used): Mixolydian, Dorian, Aeolian, and Ionian. For those very rare occasions that it's one of the other 3, I just think of it as one of the 4 I know but not starting on the root - just like you said. Of course, there is the rare harmonic scale like Joplin's version of Summertime... Good video!! Thumb's up!
Making purposeful choices is some of the simplest and best advice I've ever heard.
Very concise.. it’s the target or root note that determines the mode. THX Tim for all your insights.
Glad I watched this video to be corrected on which note to use in pointing to a specific mode & the key being used.
Personally I think sticking with the root of the key would be a lot easier but maybe that's just me...
Thank you! I play about 1,000 hours per year for 35 years now! Self taught from a book called rhythm guitar. I appreciate the tips and wish I could jam some originals with you! I learned drums as a kid, way easier than guitar!
D Dorian - the "Santana mode" or as Frank Zappa observed; "Variations on the Carlos Santana Secret Chord Progression." This explanation of the modes is much easier to digest, or maybe I'm just dense. Thanks once again, Tim!
I learned long ago the minor/major pentatonic like G/Em C/Am etc
That 335 is stunning 🤤
Love the channel, you are a titan. Personally, the modes from ascending Major I use most often are Lydian, Dorian, and Locrian.
I do employ Mixolydian as well, but usually going back and forth between Mixo an dorian... the clapton trick
I’ve always done it this way since i was around 17 its flavours against the diatonic chords that go by if you learn the 5 positions of the pentatonics and then add the additional notes from the major scale plus the blue note i think this sway simplifies it all you get used to the sound/flavor and away your go no need to think about what you actually playing just play what you hear in your head just before you play it kind of thing
Your sense of musicality is so strong that these basic mode lessons sound like an album I want to buy.
Tim this was soooo good & very helpful. Thank you.
Sup Timmy P!! Love you man. Keep the fantastic content coming. You're a legend!
Thank you so much!
Nicely done. Good instruction video for musicians.
Love the way you play, hope that watching your posts, maybe will get this to sink in to my understanding of whats goiing on here, but dude- you can play!😂👍🙏
Pentatonics are handy for improv, because the 2 notes that are struck out of your primary pentatonics are the 2 notes that form the Devil's Interval (Lydian & Lochrian Roots (F & B, respectively, in C Major (or A Minor, D SubDom Minor, E Dom Minor or G Dom Major)).
Hi Tim from the uk. Great guidance as always.
Very good lesson to get me to connect the dots better along with the caged thing 👍🏻💪🏻
Great eye opening lessson! Thanks
This is like the whole Chord Chemistry book without the chord diagrams boiled into a single video. This video is life altering for me.
Good lesson. Your lessons are very good. Especially for “intermediate”/“beginning advanced” musicians. Lol I don’t know what level I am. I had lessons til people stopped taking me. I play for $ & ❤ now. If you want lessons? I really do like Tim Pierce and Rick Beato.
Super important thing Mr. Pierce talks about is how musicians communicate. We don’t talk a lot about modes. They are cool to know. He’s also right about learning rules - then you can break them. Also? The no Beatles album was made by telling John, George, Paul & Ringo to “explore mixolidian mode” 😂 because? They didn’t (and Paul may still not?) know what that means.
Mr. Pierce may be most correct about keeping a guitar in your hand if you wanna get good. He’s such a good teacher.
As a keyboard player, modes are super easy. Just learn your scales. Once you've got them down, you now can play all of the regular modes. All a mode is, is a scale not starting on the root of the scale.
It's the same on guitar really people just don't want to learn scales starting on the 4th or 3rd string so we come up with extra patterns start on string 1 and 2 and teachers expect us to learn all that for some reason
Yep. It's amazing what we can see so clearly when mapped out on a Keyboard. Never underestimate the educational value of a linear layout.
I started with guitar. But music only really clicked for me when I looked at keys. I know some keys folks who have benefited in the other direction. The more instruments you tackle the better your insight. A cursory look at drumming taught me plenty too!
@@gearoiddom Same here. That's exactly how it worked for me. The watershed moment was when I was doing some side work for someone who happened to be a piano instructor. She had a book of George Gershwin sheet music lying out. I told her how I love Rhapsody in Blue. Her response: "It's in there. It's yours. Take it."
So, I did. Jackpot!!!
As a bonus, I acquired a whole new appreciation for Def Leppard. Yes .... "Foolin'" from the Pyromania album. It's straight out of Rhapsody in Blue!
Good Comment!
🎼TD
Finally, I get it! Thanks for sharing this one Tim
Love your content Tim🎼‼️
Once again Tim takes us on a musical journey that not only makes sense but demonstrates in real time how to apply these concepts to real music which stretches these concepts into magic. Tim if you could recommend a poor man's 335, what would it be? I currently have a Washburn from the 80s, which i love but would love your opinion . As always so grateful for your wisdom also i find secongd hand prs are showing up wondering if you have any recommendations
Mr. Tim Pierce is a fantastic player! Much, much better than me! HOWEVER, he doesn’t properly understand modes. Respectfully, please see my other comments.
Tim, this was a really good lesson. I will learn a lot from this as I watch it and practice several times (say, 75 😎). sw (sub - 63 year old hack... but getting better every day!)
Thanks so very much! Looking forward to some serious learning.
Thank you Tim, you are very helpful! Great playing too 👏
OMG there it is at last ! Thanks Tim !
If you're going to say Ionian and Aeolian are the same thing why not extend that logic to every other mode since they're also the same exact scales with a different root?
Exactly! What nonsense that was.
Thanks Tim, this really helped to fill in the blanks for me!❤
I love your common-sense practical approach to attacking the guitar neck (that often torments me), thank you Tim! (p.s. your example licks are tasty as cream and shugah!)
Changing the IRs made it pretty usable for me. Bought a few from York, Tonefactor and Eminence. The downside for me is that you can only place one IR at time for each amp model. If I could duplicate the amp modelers, instead of being stuck with the ones I don’t like it would be much more practical.
Great hands-on lesson, Tim! One of the best I have ever seen, and you make it so simple. 👏🏻
Lydian and Phrygian are also used, but less frequently.
Lydian is my jam..
Thank you Tim san,
good lesson!.
👏👍🙏😎
You mentioned your Strandberg. Would love to see you playing that!!
Excellent, as always.
“Modes”, or what portion of a key signature scale are emphasized, are totally based on chords. A fact that very, very few teachers discuss, including Tim in this video, who I greatly admire and enjoy. (I subscribe to his Masterclass - excellent stuff!)
My teacher here in Atlanta made sense of it for me. There are seven chords associated with the seven notes in a major scale. The “mode” your solo work should follow in that scale depends ENTIRELY on what chords are in the song and THE mode is dependent on The emphasized main quasi-“root” chord.
Take CCR song “Born on the Bayou” for example. It’s in the key of A. The dominate chords are A (I), D (IV), and E (V). But E, which is the fifths of the A scale is the primary chord. The song keeps coming back to it. Since E is the fifth, the solo scale that John F plays for this song, is based around that note. He keeps coming back to E. Therefore, the solo (in the key of A) is played in the mixolydian “mode” of A.
Check it out.
The song chords follow a progression of E, A, E, D, A, E. Always coming back to E.
It’s not in the key of E, even though I’ve seen it erroneously written that way numerous times, because D is not in the scale of E. D# is, not D.
Bottom line. Modes depend on chords and chord progressions. Entirely! Not the other way around!
…and very few teachers talk to that basic reality.
PS (correction): When I wrote the above I hadn’t watched the entire video. About halfway through Tim does “touch” on relationship between scales and CHORDS. But it’s brief.
Good points, thanks!
They're definitely bound together. The chords in any Key are built on its Modes.
So, yes, if your in the Key of E Minor, and playing a B Minor chord, one should be aware that they are operating in the Dominant Minor (Phrygian) Mode.
Excellent Note!
🎼TD, Boston
In your example, when you say the Mixolydian "mode" of A, that means E Mixolydian, right?
@@NoaGabo That's what he's saying. Actually, lots of Rock songs are written "in the Dominant."
@@NoaGabo yes, correct and I’ve played for a long time but only recently learned the correlation. I’m taking face to face lessons and my teacher finally explained it to me in a way that made sense.
my couch is booked ended with acoustic on one side and electric and small tube practice amp on the other and my jam room is about 20 feet away with an all tube amp head twin speaker cabinet pedal board And recording equipment
I know what a mode is. I know I tend to stick in minor modes and that causes problems for me but this is going to take me a bit of time to master. I’ve looked at “Mix” but haven’t been able to move quickly in it yet.
Thanks for explaining all this and thanks to everyone who asked questions. I missed the live stream as it is 4am my time, but watched an advertisement so you can make some money. Take care.
Great lesson
Every morning I fall out of bed and grab the guitar right there and play myself into consciousness. I'd like to get my pick to balance on my finger while I wave my hand around, looks like fun!
Good stuff tim thx!
Glad you enjoyed it
Tim, I hope you don't mind my nickname for you.. in poker it's called a TELL,a involuntary movement or expression that gives a idea of what the other player may have. There are all kinds of these things in Las Vegas at the big money tables. Again, when you match your sound in your head,with the link or sound you were attempting to play, your small, but noticeable smile appears like magic. Keep me informed please, and don't go to Las Vegas!
Just ordered Tim Pierce Humbucker Set 😃
You Inspire me tim Thank you 👍
Great video as always.
Tim.....i stumbled on Rick Springfield's Live Aid set earlier - i remember watching it as a kid and remember loving that white HSS strat you used. Out of interest, do you still have it?
Major scale with a sharp 4th = Lydian
Major scale with a flat 7th = mixolydian
Minor scale with a major 6th = Dorian
Minor scale with a flat 2nd = phrygian
Minor scale with a flat 2nd and flat 5th = locrian
Awesome video Tim!
Lydian is pretty cool. Raised 11 makes it sound interesting.
one awesome song is flying in a blue dream in Lydian
Thanks, Tim. I guess I often felt the pentatonic was a lazy option. You've just clearly shown me otherwise.
I have a 1968 ES335 with a 1.56" nut width. Really skinny, but my hands are small and I like it. On wider necks I'm unable to grab the sixth string with my thumb.
Cool 🎶 jam, thank you
How do you decide what modes you use when and where? I guess the bigger question is. If they all have the same notes, why are they even different modes in the song? Correct me if I'm wrong, but they're all the key of C Major.
I look at it as the notes orbit around chord centers, so when the change comes, the notes orbit around that new center and their emotional relationship to each other changes though their whole step/half step intervals do not. Thus, the A center is the minor feel and the C center is the major feel, etc. The different feel is because the intervalic layout of the scale changes when a note of the scale becomes the center or Tonic. Meaning there are 7 unique intervalic layouts (modes). The beauty of it is once you understand it really well, you can forget about it 😂
Just like you said, the Ionian and Aeolian modes can be seen as one, just starting from different notes. The same is true with the Dorian and Lydian modes, which can also be viewed as one. Similarly, the Phrygian and Mixolydian modes can be seen as one. This leaves only the Locrian mode as the odd one out.
They are all different if you start them all from the same starting note.
Of course they are all from the same scale, and will be same if you start them from different scale degrees (including Locrian).
@@m.vonhollen6673 Sure! Referring to Tim’s point about seeing the Ionian and Aeolian modes as one, you can view the other relative modes similarly. That was my point, and it leaves the Locrian mode out. It might be helpful to someone to see it this way since there are only three patterns to learn.
Never underestimate the MixoDorian mode. The Phrygian dominant over a V7 always works too. But, fully understanding the major scale (Ionian mode) is the key to music.
There’s no such thing as the “Mixodorian” mode.
@@m.vonhollen6673 i hope your kidding, or maybe you don’t know yet. You mix in Dorian and Mixolydian in your playing.
Nice lesson. I'll checkout the Jam Track. Hey, I agree with your take on modes. But are you saying to not worry about all the chord changes, including the IV ? I know in general I can always play the pentatonic to the key, which would be the Major/ Aeolian thing. I ask because playing along with iReal Pro jazz tracks with lots of chord changes has always been tough.
Modes are scales for each chord of the key.
there's a reason Tim's been on so many recordings...very strong, but tasteful player...
Things I have learned from Tim Pierce:
1: Don't play too much.
2: Don't play too loud.
3: Play to serve the SONG
4: Play in short discreet phrases.
5: Be prepared for the gig or session.
6: Never EVER play over the SINGER!
Man, you need more gear! I don't know how you squeak by with such meager choices in equipment!
Haven’t watched the video yet but I only use 2:
Locrian #2
Dorian
Literally covers all the bases
Grande Tim 👌❤️
I used a broom handle while on holidays without my guitar lol
Muchísimas gracias por un nuevo fantástico video, saludos desde España 😉😉
Hi Tim, I have a question for you. I always think of this as playing the relative scales. For instance, playing C major and A minor. When I think of playing a mode, I think of actually a key change such as playing A mixolydian rather than A Ionian. Is that an incorrect understanding?
I dont get why C ionian and A aeolian 'belong together' anymore than G mixolydian or D dorian? They are aal the same scale and the same notes! I cant get the coloration of these scales when i play because its just a C scale and of course you cab play it in different pisitions on the neck! But its still the same notes not matter what you call it. And licks dont start on the root- or perhaps thats the issue? I dunno. When tim plays the 'different' mode scales they sound different. With me, they sound the sane because they are the same notes. I dont get goe to make them sound modal😔
If you see it that way, then G Mixolydian and D Dorian are also the same thing. And suddenly you only need two modes ;) And because all modes that can be derived from the major scale consist of the same notes ... hmmm ... you actually only need one mode ...
I'm lazy so I only memorized and practice the major scale forms and then I "start on" (really, emphasize is the word) different notes within the shape depending on the key. Boom, I'm playing modes LOL.
"Make sure there is a guitar nearby wherever you go..." I now feel a lot better about my growing guitar collection.
Anybody have the Guitar Handbook? Very good overall guitar handbook.. :)
Yes, the scale name would be E mixolydian.
what is your opinion of the positive grid amp for practice
A great lesson as always, but I'm an idiot, so I still don't understand how you can play a D Dorian scale over a C major Jam track. 😞 What are the jam track chords? What you play sounds great. When I try D Dorian over C Ionian it just sounds wrong. Thanks for a great channel, BTW.
Ionian, Aolian, Mixolydian & Dorian...then Phrygian then Lydian..then Locrian..That's my guess as to their (the modes ) overall use in order...
The Andalusian Cadence offers stunning opportunities to the player who commits locrian patterns to muscle memory early on.
@@randykalish7558 How so? Examples?
Em, D, C, B7. Substitute for B7 a diminished arpeggio using the notes A, C, D#, F# and/or diminished chords just named, to resolve to Em in myriad ways. I spent decades intimidated by the senseless fingering, but one day forced myself to learn and shred diminished arpeggios across the neck. Once the fingering was automatic, once hidden opportunities to use diminished began to surface, and I don't see an end of that. I know I should figure out the theory and learn the modes, but I've played diminished scales and found them as boring as the arpeggios are intriguing. I'm having too much fun playing and finding out that any of all 12 notes can come into play, at points. The diminished thing helps to project into this, IF its commited to muscle memory at shred speed, because when you slow down, you see all sorts of rules that can be broken in service of beauty.