Adam you're a champion. In teaching music there is a notable difference between those that are performers and teach and those that studied music and then teach what they learnt. I assume that you have been a life long performer and your teaching method without the ego attached is so refreshing. Best wishes during these hard times ;-]
Thank you so much ! It's the first time that I hear about the historical origin of the modes: basically compensate the accidentals in scales, in order to play only the white keys on a piano, as centuries ago, only the white keys were in tune. It's super interesting to understand why the modes are defined the way they are. Also your teaching method makes things crystal clear. I can't say I now master modes (using them properly is another story) but definitely I had an "Eureka" moment watching this lesson. Thank you again !
Congrats Adam. That is the best way to teach music theory in a way that all people with basic guitar skills can quickly learn. You have many fans here in Puerto Rico, USA.
@Mono Morello That's absolutely the point. Use the fingering you know - but use your ears to pay attention to the central tone. For example, in the Phrygian example at 7:13 I am just razzling on the C major scale in my mind and fingers, but hearing it as phrygian with E as the central tone. I am not using a separate fingering for Phrygian. ROCK ON!
Hi Adam, great job at making what seems complex very obtainable. There are lots of material out there that makes the modes system beyond understanding. I think this is something many would appreciate you unpacking a bit more. I noticed requests for the chords you played to demonstrate the different modes. Possibly you might consider follow-up videos sessions that speak to the relationship of the chord progression and the mode that works well together. This offers not only a how-to but how/where to use it type input. Lots of students of the guitar would like more dots to connect that give them a better picture as a result. Help us Adam-Wan Kenobi, you're our only hope! Thanks, Brother. you are easily among the very best online instructors.
Randy thanks! I hope you are well. Earlier today I put at least the chord progressions in the timestamps. Seems like I have opened a can of worms and questions are coming so I'll keep making videos to hopefully make succinct explanations :-) Groove on!
Nice and simple tutorial. I'd add each characteristic note on each mode in order to "feel" the mode itself. I think sometimes people struggle with modes because they don't know what characteristic notes are and how important to accentuate them is, at least thats my opinion. Suscribed!
Yes exactly. It's tricky with quick info-tainment lessons, I can't include everything. The characteristic notes of a single mode would be a great video topic :-)
Excellent instruction! I’ve been searching for something like this for a long time. It’s interesting to me how the use of minor chords fit within those modes..... never really thought about that. Thanks for posting...!
Very cool lesson, Adam! Pretty amazing. I knew this scale shape and use it a little, but only as C-major; had no idea the same shape fit the other modes.
Thank you! I rushed through all that a little in the interest of time. I could have explained better - The Well-tempered Clavier by Bach was a celebration that a keyboard finally sounded good in all keys.. Given the previous limits of white keys sounding best composers explored each white note as a key center. I believe these were also called "Church Modes" - still have to check :-)
This video is an importand key to me. I already enjoyed your fingerstyle guitar course on Udemy and I recommend it to everyone that might be interested.Thank you and please keep on making those videos and courses. Greetings from Germany :-)
Thank you this helps me a lot..need some time to understand this. Can you share arpeggios lessons? Or any jazz learning materials..thank you Adam. God Bless You and your family.
The key defines the chords: C maj, d min, e min, F maj, G maj, a min, b dim. Use the chords for each mode. You might borrow from other keys to make dominant chords as needed but in true mode. these are your chords.
Start here - download my scale PDF, get that shape under the fingers. Then try that scale over D- as a dorian mode. Just listen, and absorb the sound. Then, jam along with this video! Don;t be too intellectual, listen to the sounds.
Mesmo não compreendendo perfeitamente tudo que você falou, consegui acompanhar muito bem a sua explicação e enriqueci um pouco mais o meu vocabulário musical. Show de bola! Muito obrigado, mestre! Quem diria que; falando português, eu conseguiria entender uma aula sobre modos gregos explanada por um cara que fala inglês! Grande Adam Rafferty!
Wow Adam, this is awesome! I love the way you teach, you're the best! Just one little curiosity: what is the difference between locrian and superlocrian? Keep up the great work, love these videos! 🔥
Emilio - sounds crazy but here goes. It's the 7th mode of Melodic Minor. Honestly I don;'t think like this though. I do use melodic minor in jazz. If you razzle up & down the melodic minor scale, lets say over C-6, then just listen, what does it sound like from B to B? It will fit on a G7. Best s to just play basic scales - Majior, hamrminic Minor, Melodic Minor - and listen!
Well done, Adam! Thanks a lot for this instruction. Anyway, what I noticed was that the key in your examples was changing with the modes. While you played the ionic mode in C major, all the other harmonies were based on minor keys, dorian on D, phrygian, mixolydian and locrian on E and lydian and aeolian on A minor. Does it mean that, if someone tells me "this song is in E-minor", I can improvise in phrygian, mixolydian or locrian mode by using the C-scale. And I could use lydian or aeolian mode by moving the same scale five frets down?
You'll need to treat each situation differently and see what mode fits. So for example - if you have E- to F major as your chords the F major chord has an F and a C. What mode will fit? Try them - see what sounds right. Phrygian will be the one that sounds good since the notes match. Next, if you have the progression E- to A7, that A7 has a C# - so my advice is - know which notes are in the chords you are playing!
Well that’s kind of like asking what numbers can you use for addition 😀 Start with soloing on a Dorian mode on D minor. The more you experiment the clearer it becomes.
@@adamrafferty I'm afraid I don't know how to work with timestamps Adam. I need something simpler please. Also, if the chord being played behind behind the 'D' start note scale is a 'D' flavored chord then doesn't that move the listener into a 'D' direction? That question should really be taken out and shot. I really think this mode stuff makes people sound like they're very sophisticated and uppity-stuffy but largely a waste of time. My humble...
@@billyshermansguitar8778 William, first click "show more" so you can see the whole description. Then just click on the number part of the timestamp and the video will play at exactly that spot. Give it a try - if you need more help let me know. :-)
I was criticized by a guitar-store salesman for making squeaking noises on strings when sliding up and down the guitar neck. He said I need to learn to pick up my hand when going up and down the fretboard to mitigate string noise. I was wondering what you have to say on the subject. Has string noise been a problem for you, and how have you dealt with this problem? Sincerely, Mickey
Squeaking noises are just fine it adds a human quality to the performance it's The studio engineer's that don't like it listen to Jimmy page clapton hendrix robert johnson they all sqeak !
Just as there are many standard chord progressions built around the Ionian mode, i.e. I-IV-V-I or ii-V-I (as simple examples) the other modes also have their own distinct progressions built around the modal tonic note. A Phrygian example could be, i-II-III-i. Using Adam's example it would be E-Phrygian: e min/F maj/G maj/e min. Ultimately, we need to use our ears as a guide but you can find many free resources on the internet. Of course, supporting them by purchasing something is always nice!
Peter - the main thing is to know what key you are in. That's why I made the black & yellow graphics. What is the central tone? Go one musical situation/song at a time rather than seek a system. And - modes are not necessarily right an many situations.
The key defines the chords: C maj, d min, e min, F maj, G maj, a min, b dim. Use the chords for each mode. You might borrow from other keys to make dominant chords as needed but in true mode. these are your chords.
@@adamrafferty I was curious as to what chord progression you used with... Let's say the D dorian mode taken from that c major scale ie... Dm Am E7 ? or what?
@@toddwagoner9379 Todd - here are the chords I am using for the Dorian solo example at 6:04. Barre your first finger across the top five strings on the 5th fret, and add ONLY your second finger on the second string 6th fret. It's an incomplete looking D-7 chord but actually, it has a jazzier sound than a regular D-7 chord. Now you can move that shape up two frets to an E-7 but the overall progression is that you are simply “swimming” in D Minor. That second chord simply helps you keep the progression afloat. I urge you to listen to the song entitled “So What” by Miles Davis. you can find it here on RUclips. There’s a shor out of time intro, and then you will hear the opening has a Bass line with horn stab chords. The chords I am playing at 6:04 in this video are exactly the same “horn stab” chords used in the song “So What.” There is no E7 in this example at 6:04 at all! I hope this helps. Enjoy!
Adam, have you ever checked your hearing? I think that's definitely better than a twenty-five year old guy. That would really interest me. Maybe a good example for another topic.
Cmon, it can't be that simple!)) You didn't even mention that the underlying harmony should be appropriate for the particular mod, and then we get to secondary dominants and substitutions and our books get fatter and fatter))) I mean, it's a nice approach to get your toes wet, just don't say all those books are full of nothing
Sergei secondary dominants have nothig to do with this. Substitutions are a different subject as well. If you sit at a piano and see that the 7 notes of C major ARE all the modes, simply with different starting points & "central tones" it IS very simple. Guitar books make this complicated. I will address the other subjects you mentioned in upcoming videos.
@@adamrafferty Awesome video 👍🏻. 100% true! We can alway dive deeper into modal information, but that will just over complicate what’s really quite simple. Most guitarists teach modes to be looked at as a “# this or a b that, when compared to the Major scale,” this isn’t what modes truly are, it’s just a comparison of their intervalic makeup. “Paralysis through analysis!” People need to understand that diatonic modes all share the same notes, scales shapes, chords and arpeggios. It’s basically the same thing but viewed from a different perspective, or you could say “modes are like making one of the other six chords/tones the gravitational force that the others need to revolve around.”
![Playing In Every Mode with ONE Tiny Scale Shape [GUITAR LESSON - MODES - MUSIC THEORY]](/img/1.gif)
The most precise, portable and practical mode lesson on guitar i have ever seen.
You’re the best Adam!
What a great insightful lesson for a battler working his way around the fretboard. Thanks a bunch.
Glad you enjoyed it!
Great examples.So simplistic ,easy to digest.Thanks Adam.
Adam you're a champion. In teaching music there is a notable difference between those that are performers and teach and those that studied music and then teach what they learnt. I assume that you have been a life long performer and your teaching method without the ego attached is so refreshing. Best wishes during these hard times ;-]
Thanks Mark!
Thank you so much ! It's the first time that I hear about the historical origin of the modes: basically compensate the accidentals in scales, in order to play only the white keys on a piano, as centuries ago, only the white keys were in tune. It's super interesting to understand why the modes are defined the way they are. Also your teaching method makes things crystal clear. I can't say I now master modes (using them properly is another story) but definitely I had an "Eureka" moment watching this lesson. Thank you again !
Super!
Thanks for this great video! Just perfect teaching and nice music
Great Video! I have never heard modes explained so simply and thoroughly. Thank you!
Thank you! 😊
“do re me fa so la ti do”.
Great lesson, thank you man!
Thanks & groove on! 😊
Congrats Adam. That is the best way to teach music theory in a way that all people with basic guitar skills can quickly learn. You have many fans here in Puerto Rico, USA.
Thank you!
Hey - did you enjoy this lesson? Have a question? Leave a COMMENT BELOW! I'd love to hear from you and get your opinion.
Love what you're doing Sir and the instructional disc's I ordered from you are excellent thank you for helping me be a better musician
Very helpful and well explained Adam. Many thanks to you.
@Mono Morello That's absolutely the point. Use the fingering you know - but use your ears to pay attention to the central tone. For example, in the Phrygian example at 7:13 I am just razzling on the C major scale in my mind and fingers, but hearing it as phrygian with E as the central tone. I am not using a separate fingering for Phrygian. ROCK ON!
Thanks so much master for this lesson 🙏
Roro - thank you so much 😊
Hi Adam, great job at making what seems complex very obtainable. There are lots of material out there that makes the modes system beyond understanding. I think this is something many would appreciate you unpacking a bit more. I noticed requests for the chords you played to demonstrate the different modes. Possibly you might consider follow-up videos sessions that speak to the relationship of the chord progression and the mode that works well together. This offers not only a how-to but how/where to use it type input. Lots of students of the guitar would like more dots to connect that give them a better picture as a result. Help us Adam-Wan Kenobi, you're our only hope! Thanks, Brother. you are easily among the very best online instructors.
Randy thanks! I hope you are well. Earlier today I put at least the chord progressions in the timestamps. Seems like I have opened a can of worms and questions are coming so I'll keep making videos to hopefully make succinct explanations :-) Groove on!
You're the best, Adam. You always explain what might be so complicated in simple terms. Keep on groovin' brother.
I'm trying - thank you!
Nice and simple tutorial. I'd add each characteristic note on each mode in order to "feel" the mode itself. I think sometimes people struggle with modes because they don't know what characteristic notes are and how important to accentuate them is, at least thats my opinion.
Suscribed!
Yes exactly. It's tricky with quick info-tainment lessons, I can't include everything. The characteristic notes of a single mode would be a great video topic :-)
nice ,thanks this is very helpful
Thank you! 😊
Well explained and simplified!!!!
hey Rolli!!!!
Thank you!🙏🏻
Thank you Norbert! 😊
Adam, great lesson. Knowing the modes gives me a good mood for the day. Will try out this. Thsnks a lot. God bless.
Thank you! :-)
Great concise material Mr. Raff! Thanks as always!
Excellent instruction! I’ve been searching for something like this for a long time. It’s interesting to me how the use of minor chords fit within those modes..... never really thought about that. Thanks for posting...!
Thank youl!
Awesome. I knew they all shared the shapes, but now I truly understand.
Thank you! :-)
Very cool lesson, Adam! Pretty amazing. I knew this scale shape and use it a little, but only as C-major; had no idea the same shape fit the other modes.
Thank you! :-)
Thanks that was a great lesson
Thank you! :-)
Those expression when playing , you're the best 👍🤗
Thank you - trying to not overdo!
Потрясающе. Где же вы были Адам, когда я был подростком и учился играть на гитаре?
This was informative. Thank you, Adam. And I liked your historical comments about pre-1700 tuning systems.
Thank you! I rushed through all that a little in the interest of time. I could have explained better - The Well-tempered Clavier by Bach was a celebration that a keyboard finally sounded good in all keys.. Given the previous limits of white keys sounding best composers explored each white note as a key center. I believe these were also called "Church Modes" - still have to check :-)
Great lesson!!!
This video is an importand key to me. I already enjoyed your fingerstyle guitar course on Udemy and I recommend it to everyone that might be interested.Thank you and please keep on making those videos and courses.
Greetings from Germany :-)
Thank you! :-)
Brilliant
Thank you! 😊
Great stuff Adam! There's only 12 notes! and we only usually use 7 of them!
We'll get to the other 5 soon :-)
Thank you this helps me a lot..need some time to understand this. Can you share arpeggios lessons? Or any jazz learning materials..thank you Adam. God Bless You and your family.
I do have an arpreggio lesson here - ruclips.net/video/zlyQxhT8B48/видео.html
How do you compose chord progressions in conjunction with a mode. What chord to start with say for Dorian mode? Need a video on this.
The key defines the chords: C maj, d min, e min, F maj, G maj, a min, b dim. Use the chords for each mode. You might borrow from other keys to make dominant chords as needed but in true mode. these are your chords.
Well put Sir !
Start here - download my scale PDF, get that shape under the fingers. Then try that scale over D- as a dorian mode. Just listen, and absorb the sound. Then, jam along with this video! Don;t be too intellectual, listen to the sounds.
Thanks for getting back to me Adam but Mark michell answered my question in comments
Mesmo não compreendendo perfeitamente tudo que você falou, consegui acompanhar muito bem a sua explicação e enriqueci um pouco mais o meu vocabulário musical. Show de bola! Muito obrigado, mestre! Quem diria que; falando português, eu conseguiria entender uma aula sobre modos gregos explanada por um cara que fala inglês! Grande Adam Rafferty!
Wow Adam, this is awesome! I love the way you teach, you're the best!
Just one little curiosity: what is the difference between locrian and superlocrian?
Keep up the great work, love these videos! 🔥
Emilio - sounds crazy but here goes. It's the 7th mode of Melodic Minor. Honestly I don;'t think like this though. I do use melodic minor in jazz. If you razzle up & down the melodic minor scale, lets say over C-6, then just listen, what does it sound like from B to B? It will fit on a G7. Best s to just play basic scales - Majior, hamrminic Minor, Melodic Minor - and listen!
@@adamrafferty Wow, thank you!!!
Well done, Adam! Thanks a lot for this instruction. Anyway, what I noticed was that the key in your examples was changing with the modes. While you played the ionic mode in C major, all the other harmonies were based on minor keys, dorian on D, phrygian, mixolydian and locrian on E and lydian and aeolian on A minor. Does it mean that, if someone tells me "this song is in E-minor", I can improvise in phrygian, mixolydian or locrian mode by using the C-scale. And I could use lydian or aeolian mode by moving the same scale five frets down?
You'll need to treat each situation differently and see what mode fits. So for example - if you have E- to F major as your chords the F major chord has an F and a C. What mode will fit? Try them - see what sounds right. Phrygian will be the one that sounds good since the notes match. Next, if you have the progression E- to A7, that A7 has a C# - so my advice is - know which notes are in the chords you are playing!
but what chord progressions fit with each of these modes?
Well that’s kind of like asking what numbers can you use for addition 😀 Start with soloing on a Dorian mode on D minor. The more you experiment the clearer it becomes.
So when your playing the modes are you always Plaing a C chord under All the different modes or are you playing d minor chord with the D note?
Dave - take a look at the timestamps in the description, I just put the chords there :-)
🙏
What chords are being played behind the different mode examples ? Thanks Bill
I have updated the timestamps in the video description - chords are there!
@@adamrafferty I'm afraid I don't know how to work with timestamps Adam. I need something simpler please. Also, if the chord being played behind behind the 'D' start note scale is a 'D' flavored chord then doesn't that move the listener into a 'D' direction? That question should really be taken out and shot. I really think this mode stuff makes people sound like they're very sophisticated and uppity-stuffy but largely a waste of time. My humble...
@@billyshermansguitar8778 William, first click "show more" so you can see the whole description. Then just click on the number part of the timestamp and the video will play at exactly that spot. Give it a try - if you need more help let me know. :-)
I was criticized by a guitar-store salesman for making squeaking noises on strings when sliding up and down the guitar neck. He said I need to learn to pick up my hand when going up and down the fretboard to mitigate string noise. I was wondering what you have to say on the subject. Has string noise been a problem for you, and how have you dealt with this problem? Sincerely, Mickey
Sometimes I have! On recordings, string nose is a drag. I don't care about it live. Whan I played jazz I used flat-wound strings for this reason :-)
Squeaking noises are just fine it adds a human quality to the performance it's The studio engineer's that don't like it listen to Jimmy page clapton hendrix robert johnson they all sqeak !
Adam how do I know what modes to apply to a chord progression or harmony ? Is there a system I can use ?
Just as there are many standard chord progressions built around the Ionian mode, i.e. I-IV-V-I or ii-V-I (as simple examples) the other modes also have their own distinct progressions built around the modal tonic note. A Phrygian example could be, i-II-III-i. Using Adam's example it would be E-Phrygian: e min/F maj/G maj/e min. Ultimately, we need to use our ears as a guide but you can find many free resources on the internet. Of course, supporting them by purchasing something is always nice!
Peter - the main thing is to know what key you are in. That's why I made the black & yellow graphics. What is the central tone? Go one musical situation/song at a time rather than seek a system. And - modes are not necessarily right an many situations.
Ok but what chord quality did you use under each tune make, min, dim.?
The key defines the chords: C maj, d min, e min, F maj, G maj, a min, b dim. Use the chords for each mode. You might borrow from other keys to make dominant chords as needed but in true mode. these are your chords.
I do not understand the question - please be more specific!
@@adamrafferty I was curious as to what chord progression you used with... Let's say the D dorian mode taken from that c major scale ie... Dm Am E7 ? or what?
@@toddwagoner9379 Todd - here are the chords I am using for the Dorian solo example at 6:04.
Barre your first finger across the top five strings on the 5th fret, and add ONLY your second finger on the second string 6th fret. It's an incomplete looking D-7 chord but actually, it has a jazzier sound than a regular D-7 chord.
Now you can move that shape up two frets to an E-7 but the overall progression is that you are simply “swimming” in D Minor. That second chord simply helps you keep the progression afloat.
I urge you to listen to the song entitled “So What” by Miles Davis. you can find it here on RUclips. There’s a shor out of time intro, and then you will hear the opening has a Bass line with horn stab chords.
The chords I am playing at 6:04 in this video are exactly the same “horn stab” chords used in the song “So What.”
There is no E7 in this example at 6:04 at all!
I hope this helps. Enjoy!
Cheers but if you're going to teach guitar it would be a good idea to use a guitar with fret markers on it!!!
Adam, have you ever checked your hearing? I think that's definitely better than a twenty-five year old guy. That would really interest me. Maybe a good example for another topic.
Cmon, it can't be that simple!)) You didn't even mention that the underlying harmony should be appropriate for the particular mod, and then we get to secondary dominants and substitutions and our books get fatter and fatter))) I mean, it's a nice approach to get your toes wet, just don't say all those books are full of nothing
Sergei secondary dominants have nothig to do with this. Substitutions are a different subject as well. If you sit at a piano and see that the 7 notes of C major ARE all the modes, simply with different starting points & "central tones" it IS very simple. Guitar books make this complicated. I will address the other subjects you mentioned in upcoming videos.
@@adamrafferty Awesome video 👍🏻. 100% true! We can alway dive deeper into modal information, but that will just over complicate what’s really quite simple.
Most guitarists teach modes to be looked at as a “# this or a b that, when compared to the Major scale,” this isn’t what modes truly are, it’s just a comparison of their intervalic makeup. “Paralysis through analysis!” People need to understand that diatonic modes all share the same notes, scales shapes, chords and arpeggios.
It’s basically the same thing but viewed from a different perspective, or you could say “modes are like making one of the other six chords/tones the gravitational force that the others need to revolve around.”
Thank you very much!!!