This is gold. Especially the “flipping the script” part. This journey we are on is strange. Sometimes concepts have been right in front of your face, and you figure them out on your own. And other times, somebody like Mark comes around and shows you something like this, and yer like “damn…that was so obvious, right in front of me for decades and I never looked at it like that!” This video has enough info to keep me busy for a while. Thanx Mark.
I want to understand this so badly but i'm an old guy and it takes time and focus for new things to sink in. Thanks for giving me this puzzle to study and work out.
Awesome video. I loved the middle section around 10:00 when you leaned into the philosophical and metaphysical aspects. I love using these long form arpeggios myself, so this resonated and deepened my understanding. Thank you.
This reminds me of George Benson’s Secret of the Two Chords & Pat Martino’s Dorian ideas from the Linear Expressions book. This is among the best music theory videos I’ve ever seen
I practiced it as a 'circle of thirds,' and it was very useful to me. What I noticed is that 9, 11, and 13 are actually just the minor triad of the next arpeggio in the sequence. For example, if we add D, F, and A (the minor triad of D minor) to the Cmaj7 arpeggio, we get C9, C11, or C13. If we add the minor triad of the next chord in the sequence (E minor) to Dm7, we get Dm9, Dm11, and Dm13. And so on. Thank you for the useful lesson. 🙏
I was just about to say it’s the circle or 3rds👌🏾💯 figured this out a while ago and a well versed pianist I know looked at me like it was a CRAZY idea.
This really opened my mind as a self taught player and being able to put a name on the melodies I hear in my head is an eye opener. Thank you for your dedication to the guitar and the breakdown of this incredible knowledge.
wow, wow,wow…I’m watching this at 7 a.m. and I’m running to grab my guitar in my robe with my morning coffee to get this under my fingers. My wife thinks I’m nuts…Subscribed!
Wow this not only opened up my fretboard but opened a whole new door into harmonic arrangement with just simple arpeggio extensions! It makes for wonderful new triad harmonies. The number system is great as is the alternating Major/Minor concepts and the arrangement of modes into fifths sounds great played in sequence🤙Thank you!!
I just learned to play the Major and Minor scales ascending descending, horizontally, vertically and diagonally. I’m still working on the modes after 15 years of playing. After watching this video I feel just as lost about this concept as I did picking up the guitar day one.
@averagereviews3389 There are always stages to learning and no matter how much you've learned there will always be more. When you find yourself stuck it's sometimes useful to approach the subject from a different angle. It seems that modes are one of the more confusing aspects of theory. Some of the confusion arises due to the way modes are often presented as scales rooted in the same note. I do so in this video to simplify the process of learning the fingerings for these arpeggios. It's a common approach so that you can see the relative differences between the sequences in parallel. With scales you might find modes all rooted in C ... in that method, Ionian is C D E F G A B C ... Dorian is C, D, Eflat, F, G, A, Bflat, C ... Phrygian is C, Dflat, Eflat, F, G, Aflat, Bflat, C ... etc. Of course, the actual function of modes happens within each individual key. In the key of C the modes simply begin and end on each successive step of the key: Ionian= CDEFGABC, Dorian=DEFGABCD, Phrygian+EFGABCDE, etc. The trick is to know the interval structure. Almost every aspect of key structure can be made easier by focusing on intervals instead of notes. The right notes are result of playing the right intervals as you go from one note to the next. You may want to check my video on modes: ruclips.net/video/8wY5mcxJYuQ/видео.html And my blog: fretography.blogspot.com/search?q=modes Hope this is helpful!
Masterful ! You Sir, have a very keen approach to Guitar. Very rare to see a Teacher that can make the complicated understandable! Thank you for this, I have saved this lesson, and have a feeling I will be going over many times in the coming weeks. Just subscribed to your channel… Doug from Denver.
I've been playing for a few years and I'm stubborn about it. I want to learn it my way, mostly through trial and error and tons of practice. My knowledge of theory is all over the place, but through practice I am learning what questions to ask and how to ask them. It works for me and has gotten me to a happy place in life. This video has SO MUCH information in it. I can't absorb it all, but I can hear what you're saying more clearly than any other lesson I've taken. Well presented material that I will be referring to frequently during my learning. Thank you.
This clicks so much! Thank you! I'm a visual thinker. Never understood it through all that circle of fifths stuff. Now I do. Last bit is super useful for soloing!
Brother, thank you so much for your exhaustive exploration of the diatonic system!! This was seriously mind expanding. You just saved me years of fumbling in the dark
Damn! That was a awesome, I’ve saved probably thousands of RUclips lessons and that was one of the best/ the diagrams are awesome/I must be a visual learner. Thanks Mark for all the effort putting this together
This way of teaching this concept is just absolutely amazing, I’m gonna quote you and use it with my students, and of course refer them to your Chanel!
Fascinating! Thank you for taking the time to put this together! Video - animation - and great observations! I am studying melodies and phrasing and I feel this applies! The "algorithm" knows! lol. Subscribed!
This is one of the best videos I've seen in a while, it's outstanding. Clear, informative, and you can use it. What is the music to Alternate or Meet Your Fate and is there a link to it? lol
@mattguitar91, Thanks do much! The "Alternate or Meet Your Fate" music is something I created specifically for the video. I haven't exported that track separately yet.
Pretty solid approach to arpeggio usage! Thanks for sharing your thoughts and the way to look at things. Most of the time miracles happen when you just change perspective on things you already know! Greetings from a fellow musician.
As a drummer with music theory knowledge who plays guitar but has no concept of individual notes on the fretboard, this is wonderfully helpful to me. I basically just go by ear of chord quality but it makes melodic playing difficult because I have no frame of reference for classic positions
I love this new world. 💙 These content explanations from new Creators. What an AMAZING piece of art. thank you for sharing this with us. I'm overjoyed to see wisdom on such a display. Brahman be with you💙
I appreciate the explanation of the core fundamentals before diving into how this could be useful. I play other instruments and this bit of theory helps access the connections with the guitar. The interconnected nature of the various arpeggios is easier to see with the visualizations. Thank you!
Yeah, I have looked at this before. It seems like improve concepts arise from this idea, only that they mix other scales like melodic minor, Wholetone, and Diminished. This is a great way to see supertonic.😊
Start with a simple repeating ii-V change and run through the arpeggios one by one, start with the ii ... once you've got that down follow with the vi, the iii, the vii ... etc ... explore the tonality, play them ascending and descending, stop along the way ... break up the patterns by playing them as "coiled" triads, i.e.; A C E, C E G, E G B, G B D, B D F#, D F# A ...Get a sense of what sounds you like, play with timing and rhythm. It's not only about the notes, but how you approach them rhythmically. Try even time, then give them different durations ... it's a process of discovery.
I’m trying to absorb it like using a sifter to hold liquid. I guess the virtue of rote learning lessens the sense of awe somewhat…like flying for the first time. I figure I’m in this rabbit hole for the foreseeable eternity. Thanks for lesson.
This is a very impressive insight on the 2 Chord having the most optimal position for staying in the sweet spot of melody. As I study your pattern, it appears to simply be within the Unification Pattern of the 3NPS. Can you share any insight from your point of view of how to apply your theory to the 3NPS pattern. Is it every other note in that pattern or something to that affect? Would appreciate your take on that and Thanks so much for a Aha moment with Guitar.
Thanks so much for your comment and your question. If you're using 3nps patterns, you might have a little difficulty reconciling these particular arpeggio fingerings with them ... Since 3nps scales each cover a wider swath of the fretboard and these arpeggio shapes double back and generally remain in the same position, they are not directly tied to 3nps scales. But yes - you can work out fingerings for skipping every other note in any scale pattern and find arpeggios. Arpeggios are just every other note ... every 3rd ... if you play them all the way through the key. One source of confusion I've found in many 3nps depictions is the tendency for people to refer to the patterns based on mode names. The first note of a scale does not define a mode. Modes are defined by their lowest and highest note ... that note is referred to as the "Final" - which is a word you seldom find being used, but it is the correct term. SO ... in the key of C, for example, Aeolian mode must begin AND end on the note A. If you play a 3nps scale that goes: ABC / DEF / GAB / CED / FGA / BCD That is not strictly speaking Aeolian mode. It must begin and end on A to truly 'be' the mode, just as a C major scale must begin and end on C. I prefer to use key degree Roman numerals to identify my 3nps patterns ... so I call Ionian "The I", Dorian is "The ii" , Phrygian is "The iii" etc ... I use the mode names for these arpeggios because each one begins and ends on the "Final" of each mode. But I'll also use the key degree numeral for simplicity. Please let me know if I can add any clarification. Thanks!
@@NewstetterAfter a 2nd review, it definitely appears to be an every note pattern with the 3NPS, that has a tuning shift on the 3 string. This is very exciting to be able to explore your theory with 3NPS. Thanks Again for Sharing
If you know your fretboard well enough the 3NPS patterns for each note of the arpeggio should be fairly straight forward, You need to know the scale degree under your finger and what legato phrase you want to bring out of it. But each 3NPS pattern will be diatonic somewhere. (WS, WS) will always be diatonic on the Major 1 4 5 Where as the 3 and 7 are Hs Ws And the 2 and 6 are Ws Hs Bring those shapes out and you can flesh out the arpeggio or swap between them and use the arpeggio as a way of string skipping diatonically
@@xyzyzx1253 Indeed, You have definitely expressed my gut feeling Sentiment very eloquently. If you know the 3NPS fretboard along with Triad inversions you will find 3 well defined patterns that repeat themselves to give you an Appregio track to run on. The same is true for minor keys. Having this approach well defined in the mind is 99% of the challenge. It's then just getting this under the fingers and I am finding it not to be difficult at all. This allows a melodic expression to be almost involuntary which is a step in the right direction for making MUSIC. Thanks for Sharing
Great lesson. Very helpful.i’m still new at guitar. Still overwhelmed. You have a great way of explaining. There were some sections that didn’t make sense. But that’s bc I’m not sure of what exactly is going on. I need to watch this several times. Anyways. Thank you.
Back when I first started on guitar 47 years ago, everyone was focused on minor pentatonic. For some reason I decided to focus more on diatonic thinking instead, and I'm so glad I did! ....Also, wonder what you think of the Barry Harris things...?
Barry Harris is, of course, a great resource of insight into jazz theory, composition, etc. We can all learn from him. I'm especially interested in his ideas about rhythm and how to shift accents from beat to beat in sequential measures.
Ohh maan as a long time pianist who now turned to guitar this makes soo much sense! I get the theory 100% but I just have to learn the fretboard more 😅
Amazing video. I'll need to watch this a few times to really grasp this! Is there a specific reason you decided to group the minor thirds and the major thirds together during the arpeggiometry section? Why not order them in the order of the modes instead? Thanks!
@narengarapati2556 Thanks for the comment! If you mean where there are 4 minor 3rds and 3 major 3rds are shown ( 04:26 ) ... where the modes are being built side by side ... so the sequence of the 3rds is not within the same mode, but as the root intervals for each mode side by side. As shown, They are separated by 5ths and are "parallel" chord/mode structures as they ascend. Let me know if that's what you're referring to ... If that's not it .. could I ask you to provide the time code for the specific scene? I'll be glad to clarify anything that may not be clear.
@@Newstetter I thought you explained it well at ( 6:33 ), and following. The first mode in the sequence is Dorian (ii), because it has a perfectly symmetrical pattern of alternating minors and majors, since its root starts exactly in the *middle* of the diminished triad of the Locrian mode (which has two consecutive minor 3rd intervals, and is the sole exception in the diatonic scale system of a triad that doesn't alternate between minor and major 3rd intervals. Traveling clockwise in the circle of fifths, the next mode after Dorian (ii) is Aeolian (vi) and then Phrygian (iii) and then Locrian (vii^)... so the first set of modes were four *minor* modes... and after that, continuing clockwise in the circle of fifths, the next set is the 3 *major* modes in the diatonic system... Lydian (IV), Ionian (I), and Mixolydian (V). So, there were two sets of modes: 4 minor modes, and 3 major modes, which is the sequence of modes when you start on the symmetrical Dorian (ii) mode and continue along the Circle of Fifths: 2 - 6 - 3 - 7 - 4 - 1 - 5. Also interesting, since the guitar is tuned in fourths (except for the B string), the sequence of intervals on the same fret on parallel strings goes in the opposite direction (= Circle of Fourths): 1- 4 - 7 - 3 - 6 - 2 - 5. // Thanks for a great lesson!!! Also much appreciated the idea of using upper register modal arpeggios to imply chord extensions...!
The key insight I took away (I know there's more information here that I'm still trying to digest) is that by playing down from a high-pitched root, you inevitably play through the upper extensions of that chord. More generally, playing down from the root anywhere takes you through the upper extensions of that chord. Do I have that right?
I'm glad I found this channel early. I think ill enjoy the ride. Great info and delivery. I love that this isn't a skits, sponsor bragging, unboxing, and guitar culture channel.
Finally, a guitar video I can watch with my friends when I'm trip sitting.
Engrave that music theory into your mind like some mkultra brain washing
This is like the craziest trip lmao, you are on another level!
This channel is criminally underrated. Thank you so much for this!
This is gold. Especially the “flipping the script” part. This journey we are on is strange. Sometimes concepts have been right in front of your face, and you figure them out on your own. And other times, somebody like Mark comes around and shows you something like this, and yer like “damn…that was so obvious, right in front of me for decades and I never looked at it like that!”
This video has enough info to keep me busy for a while.
Thanx Mark.
The trick in understanding something is to hear it from different perspectives 🙏👏
as a self taught "intermediate" guitarist, thank you.
this channel is a gem.
Much appreciated!
I want to understand this so badly but i'm an old guy and it takes time and focus for new things to sink in. Thanks for giving me this puzzle to study and work out.
There is an absolutely beautiful message in here, i know im just not ready to hear it. I can just tell this is a top notch lesson.
Wow! What a great video. Love the depth and complexity of your work. Thank you so much.
This channel is criminally underrated. so much great stuff, here hoping the algo finally picks it up.
Thanks! Hope so too!
Wow, this is deep music thinking! I will spend the rest of my life to study and apply what you explain in this charming video.
Awesome video. I loved the middle section around 10:00 when you leaned into the philosophical and metaphysical aspects.
I love using these long form arpeggios myself, so this resonated and deepened my understanding. Thank you.
this is wonderful content, liked and subscribed.
thanks for not just doing the guitar the charts were very helpful
Well sir my head just exploded! One of the best and most valuable lessons I have ever seen anywhere. Liked and sub'd Thank you!!!
Welcome and thanks!
Arpeggiometry kicks ass great job, nice way to think of things
These graphics and illustrations are amazing!!
Wonderfully done. A very novel approach and if people take long enough to listen, they'll realize it's extremely helpful.
This reminds me of George Benson’s Secret of the Two Chords & Pat Martino’s Dorian ideas from the Linear Expressions book. This is among the best music theory videos I’ve ever seen
Martino and Benson are both geniuses on the instrument ... If I can offer even a small percent of what they have given I'll be happy.
I practiced it as a 'circle of thirds,' and it was very useful to me. What I noticed is that 9, 11, and 13 are actually just the minor triad of the next arpeggio in the sequence.
For example, if we add D, F, and A (the minor triad of D minor) to the Cmaj7 arpeggio, we get C9, C11, or C13.
If we add the minor triad of the next chord in the sequence (E minor) to Dm7, we get Dm9, Dm11, and Dm13. And so on.
Thank you for the useful lesson. 🙏
I was just about to say it’s the circle or 3rds👌🏾💯 figured this out a while ago and a well versed pianist I know looked at me like it was a CRAZY idea.
This really opened my mind as a self taught player and being able to put a name on the melodies I hear in my head is an eye opener. Thank you for your dedication to the guitar and the breakdown of this incredible knowledge.
Great teacher & presentations!
Long-awaited and well worth the wait! Thanks, Professor!
You’re welcome!
omg i appreciate the editing it made it way easier to understand, sir i respect for u life keep up
Thank you!
love the excitement in your talk ... I can realy see the utter importance and the tension inside of it ❤
It’s just WOW! Thank you so much. I’m your subscriber now and ever
Great idea and ends up with some really nice lines. Good way to break out of arp rut.
wow, wow,wow…I’m watching this at 7 a.m. and I’m running to grab my guitar in my robe with my morning coffee to get this under my fingers. My wife thinks I’m nuts…Subscribed!
Wow this not only opened up my fretboard but opened a whole new door into harmonic arrangement with just simple arpeggio extensions! It makes for wonderful new triad harmonies. The number system is great as is the alternating Major/Minor concepts and the arrangement of modes into fifths sounds great played in sequence🤙Thank you!!
I just learned to play the Major and Minor scales ascending descending, horizontally, vertically and diagonally. I’m still working on the modes after 15 years of playing.
After watching this video I feel just as lost about this concept as I did picking up the guitar day one.
@averagereviews3389
There are always stages to learning and no matter how much you've learned there will always be more.
When you find yourself stuck it's sometimes useful to approach the subject from a different angle. It seems that modes are one of the more confusing aspects of theory. Some of the confusion arises due to the way modes are often presented as scales rooted in the same note. I do so in this video to simplify the process of learning the fingerings for these arpeggios. It's a common approach so that you can see the relative differences between the sequences in parallel.
With scales you might find modes all rooted in C ... in that method, Ionian is C D E F G A B C ... Dorian is C, D, Eflat, F, G, A, Bflat, C ... Phrygian is C, Dflat, Eflat, F, G, Aflat, Bflat, C ... etc. Of course, the actual function of modes happens within each individual key. In the key of C the modes simply begin and end on each successive step of the key: Ionian= CDEFGABC, Dorian=DEFGABCD, Phrygian+EFGABCDE, etc.
The trick is to know the interval structure. Almost every aspect of key structure can be made easier by focusing on intervals instead of notes. The right notes are result of playing the right intervals as you go from one note to the next.
You may want to check my video on modes: ruclips.net/video/8wY5mcxJYuQ/видео.html
And my blog: fretography.blogspot.com/search?q=modes
Hope this is helpful!
What a fantastic exploration of arpeggios 🎉 thanks for this wonderful video
@enriquepittaluga1164, Thanks so much!
Beautiful comprehensive presentation
@mbrightmusic Thank you!
Masterful ! You Sir, have a very keen approach to Guitar. Very rare to see a Teacher that can make the complicated understandable! Thank you for this, I have saved this lesson, and have a feeling I will be going over many times in the coming weeks. Just subscribed to your channel… Doug from Denver.
Let me know if any questions. Welcome to the channel!
I've been playing for a few years and I'm stubborn about it. I want to learn it my way, mostly through trial and error and tons of practice. My knowledge of theory is all over the place, but through practice I am learning what questions to ask and how to ask them. It works for me and has gotten me to a happy place in life.
This video has SO MUCH information in it. I can't absorb it all, but I can hear what you're saying more clearly than any other lesson I've taken. Well presented material that I will be referring to frequently during my learning. Thank you.
one of the best videos for music education i've ever seen!
I'm excited to find concepts that I'm starting to stumble into accidentally lol let's goooo! 🔥🤘🏾🔥
What a well-presented lesson on musical theory! There is a whole lot to digest and I expect to be returning to this video many more times. Thanks!
This clicks so much! Thank you!
I'm a visual thinker. Never understood it through all that circle of fifths stuff. Now I do. Last bit is super useful for soloing!
Just echoing everyone else and saying this is the single best music theory video I have ever seen
okay I think I have to watch it a few more times to really wrap my head around this, but this looks like the info I needed =D thanks
Please let me know if any questions. Thanks!
You are the one Neo!
Thank you Mark for this very Original and different way of Teaching .
Brother, thank you so much for your exhaustive exploration of the diatonic system!! This was seriously mind expanding. You just saved me years of fumbling in the dark
I was not expecting the tv show sequence :)
This is great. I’m going to have to watch it a few times to be able to digest it all.
I love the sound of this. I'll have to watch it a few times again.
Fantastic tour of harmonic science.. Lots of material to internalise.. Thank you
never seen this explained this way. Really cool way to see how the 3rds interact. good stuff here!!
Una gema... Muchas Gracias por esta sintesis.
Gracias, fue mi placer.
MASTERCLASS ! more explanation please ! that's so clear & awesome !
Damn! That was a awesome, I’ve saved probably thousands of RUclips lessons and that was one of the best/ the diagrams are awesome/I must be a visual learner. Thanks Mark for all the effort putting this together
@coolblues14, I couldn't ask for higher praise! Thanks for watching!
Thank you, Mark. This will be very useful after I internalize it. 👍🏾👍🏾
This way of teaching this concept is just absolutely amazing, I’m gonna quote you and use it with my students, and of course refer them to your Chanel!
Fascinating! Thank you for taking the time to put this together! Video - animation - and great observations! I am studying melodies and phrasing and I feel this applies! The "algorithm" knows! lol. Subscribed!
This is one of the best videos I've seen in a while, it's outstanding. Clear, informative, and you can use it. What is the music to Alternate or Meet Your Fate and is there a link to it? lol
@mattguitar91, Thanks do much! The "Alternate or Meet Your Fate" music is something I created specifically for the video. I haven't exported that track separately yet.
Pretty solid approach to arpeggio usage!
Thanks for sharing your thoughts and the way to look at things.
Most of the time miracles happen when you just change perspective on things you already know!
Greetings from a fellow musician.
As a drummer with music theory knowledge who plays guitar but has no concept of individual notes on the fretboard, this is wonderfully helpful to me. I basically just go by ear of chord quality but it makes melodic playing difficult because I have no frame of reference for classic positions
What an awesome video. Was not expecting that level of production
Can't ask for higher praise! Hope can exceed your expectations with the next one as well. Thanks so much!
Learning piano jazz, so very good and extremely key video. Thank you !
You're very welcome!
4:07 talking about modes and waiting for the mode-r-cycle
🏍️ LOL! Wish I'd thought of that! ... The cycle of modes!
illuminating, thanks a lot!
This is a great tutorial on arpeggios and how these relate to modes. This seems like a companion understanding to just learning scales.
Great video! Many years ago, a teacher made me work on this and boosted my playing beyond my belief. Great content. Subscribed.
I love this new world. 💙
These content explanations from new Creators.
What an AMAZING piece of art. thank you for sharing this with us. I'm overjoyed to see wisdom on such a display. Brahman be with you💙
I appreciate the explanation of the core fundamentals before diving into how this could be useful. I play other instruments and this bit of theory helps access the connections with the guitar. The interconnected nature of the various arpeggios is easier to see with the visualizations. Thank you!
Loved this. I have some new woodshedding concepts to explore. I can't thank you enough!
Thank you very much, I enjoyed the video. Even though I have ADD, but I will watch again to keep on learning.
I hope so. Please let me know if there's anything in the video I can clarify. Welcome aboard!
Yes!! Free lesson! Thank you! I subscribed! 😄
This was mind alterting! Thank you Mark!
This is wild. I've been doing this in my noodling and havent seen it articulated before. Amazing!
This is such a fascinating concept.
Wow. This high quality channel i just discovered. Great work!
Thanks!
Dorian has always had my favorite sound
Very well done sir a plus thank you
This I'll have to take in pieces and slow down.
I will study this, thank you alot
Yeah, I have looked at this before. It seems like improve concepts arise from this idea, only that they mix other scales like melodic minor, Wholetone, and Diminished. This is a great way to see supertonic.😊
this is all good, i would like to know how to use this over a backing track, and learn one mode at a time
Start with a simple repeating ii-V change and run through the arpeggios one by one, start with the ii ... once you've got that down follow with the vi, the iii, the vii ... etc ... explore the tonality, play them ascending and descending, stop along the way ... break up the patterns by playing them as "coiled" triads, i.e.; A C E, C E G, E G B, G B D, B D F#, D F# A ...Get a sense of what sounds you like, play with timing and rhythm. It's not only about the notes, but how you approach them rhythmically. Try even time, then give them different durations ... it's a process of discovery.
Would like to see a video on that Mark
I’m trying to absorb it like using a sifter to hold liquid. I guess the virtue of rote learning lessens the sense of awe somewhat…like flying for the first time. I figure I’m in this rabbit hole for the foreseeable eternity. Thanks for lesson.
I have been just starting to figure this out and practice it when youtube recommends this video to me. Internet algorithms r creepy sometimes
Thanks Master. You had opened my mind
love the video and editing
This is a very impressive insight on the 2 Chord having the most optimal position for staying in the sweet spot of melody.
As I study your pattern, it appears to simply be within the Unification Pattern of the 3NPS.
Can you share any insight from your point of view of how to apply your theory to the 3NPS pattern.
Is it every other note in that pattern or something to that affect?
Would appreciate your take on that and Thanks so much for a Aha moment with Guitar.
Thanks so much for your comment and your question.
If you're using 3nps patterns, you might have a little difficulty reconciling these particular arpeggio fingerings with them ... Since 3nps scales each cover a wider swath of the fretboard and these arpeggio shapes double back and generally remain in the same position, they are not directly tied to 3nps scales. But yes - you can work out fingerings for skipping every other note in any scale pattern and find arpeggios. Arpeggios are just every other note ... every 3rd ... if you play them all the way through the key.
One source of confusion I've found in many 3nps depictions is the tendency for people to refer to the patterns based on mode names. The first note of a scale does not define a mode. Modes are defined by their lowest and highest note ... that note is referred to as the "Final" - which is a word you seldom find being used, but it is the correct term.
SO ... in the key of C, for example, Aeolian mode must begin AND end on the note A. If you play a 3nps scale that goes:
ABC / DEF / GAB / CED / FGA / BCD
That is not strictly speaking Aeolian mode. It must begin and end on A to truly 'be' the mode, just as a C major scale must begin and end on C.
I prefer to use key degree Roman numerals to identify my 3nps patterns ... so I call Ionian "The I", Dorian is "The ii" , Phrygian is "The iii" etc ...
I use the mode names for these arpeggios because each one begins and ends on the "Final" of each mode. But I'll also use the key degree numeral for simplicity.
Please let me know if I can add any clarification.
Thanks!
@@NewstetterAfter a 2nd review, it definitely appears to be an every note pattern with the 3NPS, that has a tuning shift on the 3 string.
This is very exciting to be able to explore your theory with 3NPS.
Thanks Again for Sharing
If you know your fretboard well enough the 3NPS patterns for each note of the arpeggio should be fairly straight forward,
You need to know the scale degree under your finger and what legato phrase you want to bring out of it.
But each 3NPS pattern will be diatonic somewhere.
(WS, WS) will always be diatonic on the Major 1 4 5
Where as the 3 and 7 are Hs Ws
And the 2 and 6 are Ws Hs
Bring those shapes out and you can flesh out the arpeggio or swap between them and use the arpeggio as a way of string skipping diatonically
@@xyzyzx1253 Indeed,
You have definitely expressed my gut feeling Sentiment very eloquently.
If you know the 3NPS fretboard along with Triad inversions you will find 3 well defined patterns that repeat themselves to give you an Appregio track to run on. The same is true for minor keys.
Having this approach well defined in the mind is 99% of the challenge.
It's then just getting this under the fingers and I am finding it not to be difficult at all.
This allows a melodic expression to be almost involuntary which is a step in the right direction for making MUSIC.
Thanks for Sharing
Great lesson. Very helpful.i’m still new at guitar. Still overwhelmed. You have a great way of explaining. There were some sections that didn’t make sense. But that’s bc I’m not sure of what exactly is going on. I need to watch this several times. Anyways. Thank you.
Thanks.
Let me know of any specific things I may be able to clarify.
Thank you Mark.
I need to watch this 8 times.
Back when I first started on guitar 47 years ago, everyone was focused on minor pentatonic. For some reason I decided to focus more on diatonic thinking instead, and I'm so glad I did! ....Also, wonder what you think of the Barry Harris things...?
Barry Harris is, of course, a great resource of insight into jazz theory, composition, etc. We can all learn from him. I'm especially interested in his ideas about rhythm and how to shift accents from beat to beat in sequential measures.
wow, that way more ez to remind everything, thank you, sir!
I just threw all my guitars out the window.
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😂
It’s back to 0-3-5 for me.
Yup. Same 😢
This was very cool and informative. Subbed
At last. Very Good.
Ohh maan as a long time pianist who now turned to guitar this makes soo much sense! I get the theory 100% but I just have to learn the fretboard more 😅
Amazing video. I'll need to watch this a few times to really grasp this! Is there a specific reason you decided to group the minor thirds and the major thirds together during the arpeggiometry section? Why not order them in the order of the modes instead? Thanks!
@narengarapati2556
Thanks for the comment!
If you mean where there are 4 minor 3rds and 3 major 3rds are shown ( 04:26 ) ... where the modes are being built side by side ... so the sequence of the 3rds is not within the same mode, but as the root intervals for each mode side by side.
As shown, They are separated by 5ths and are "parallel" chord/mode structures as they ascend.
Let me know if that's what you're referring to ... If that's not it .. could I ask you to provide the time code for the specific scene?
I'll be glad to clarify anything that may not be clear.
@@Newstetter I thought you explained it well at ( 6:33 ), and following. The first mode in the sequence is Dorian (ii), because it has a perfectly symmetrical pattern of alternating minors and majors, since its root starts exactly in the *middle* of the diminished triad of the Locrian mode (which has two consecutive minor 3rd intervals, and is the sole exception in the diatonic scale system of a triad that doesn't alternate between minor and major 3rd intervals. Traveling clockwise in the circle of fifths, the next mode after Dorian (ii) is Aeolian (vi) and then Phrygian (iii) and then Locrian (vii^)... so the first set of modes were four *minor* modes... and after that, continuing clockwise in the circle of fifths, the next set is the 3 *major* modes in the diatonic system... Lydian (IV), Ionian (I), and Mixolydian (V). So, there were two sets of modes: 4 minor modes, and 3 major modes, which is the sequence of modes when you start on the symmetrical Dorian (ii) mode and continue along the Circle of Fifths: 2 - 6 - 3 - 7 - 4 - 1 - 5. Also interesting, since the guitar is tuned in fourths (except for the B string), the sequence of intervals on the same fret on parallel strings goes in the opposite direction (= Circle of Fourths): 1- 4 - 7 - 3 - 6 - 2 - 5. // Thanks for a great lesson!!! Also much appreciated the idea of using upper register modal arpeggios to imply chord extensions...!
so well explained, damn! so cool
Great channel
The key insight I took away (I know there's more information here that I'm still trying to digest) is that by playing down from a high-pitched root, you inevitably play through the upper extensions of that chord. More generally, playing down from the root anywhere takes you through the upper extensions of that chord. Do I have that right?
Thats the idea ... yes.
I'm glad I found this channel early. I think ill enjoy the ride.
Great info and delivery.
I love that this isn't a skits, sponsor bragging, unboxing, and guitar culture channel.
I got lost. But will definitely save this.
I'll be glad to clarify if you have any questions. Thanks for watching!
Thanks Sir! Pressed like button bout 101 times
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Amazing stuff !
I’m not rich but if I was I’d bless you bc your understanding and to the point way of teaching is Noteworthy! Ty so much Sir!!
Thank you so much as well. It's good to be appreciated for what I have to offer.
Dude. Thank you.
@zbkyuh1689 - You're welcome!
⚓️ Thanks Mark 🌈
Thank you @pierhead. Good to see you again!