Joe Satriani is a Real player who's constantly full of great surprise!! His work NEVER gets old & he's definitely getting better all the time!! He's a real super hero of music & I learn something new every time I listen to his music!!
Satch is very much a modal player and it's so nice to have him sit and just lay out the "color palate" of the modes he uses to create his landscapes of sound and melody. He's like a chef who shares the proportions of the ingredients, not just the ingredients.
Joe just has such a great imagination and how he thinks of the modes, its completely different from anyone else, and rather than just shredding up and down the modes like everybody else does, he looks at why its different and what can be done with it, this is why all of joe's songs have such a powerful meaning and strong melody to them, he can sure tell a great story with his songs and how he thinks of it. Absolutely Incredible!
Not only is the guy a great technician and theorist, but he actually knows how to explain the stuff in plain terms: As soon as I watched this lesson, I finally 'got it' with modes!
Lock Down Society - If you were to number the intervals of any scale where “1” represents “Root”, “2” becomes the second interval and so on, start by playing the set “1,3,5”. Next play the set of “2,4,6” and continue the pattern until the last interval you will have played all the diatonic (only the notes of the current scale) triads for your scale or mode.
For all you rythm guitarists out there: the same philosophy Satriani underlines here can be applied to chords, shapes and chord progression; mix m up, use different keys and see how they connect and what that does to emotional response
The thing about modes is the first mode or major scale is just as exotic sounding as any other. I practiced mixolydian for days on end and didn't play anything else and when I reverted to a straight major scale the 7th note really stood out to me as slightly obtuse or 'strong' due to my ear being very familiar with the Mixo played previously. I really love Locrian mode for fusion style stuff, I like the unresolved tension.
If you take each of the modes and stack thirds, you’ll get a harmonized major scale with each of those 7 chords getting its own mode: 1) Ionian, major scale, Cmaj7/9 2) Dorian, b3/b7, Dmin7/9 3) Phrygian, b2/b3/b6/b7, Emin7. 4) Lydian, #4, Fmaj7/9/#11. 5) Mixolydian, b7, G7/9/13 6) Aolian, b3/b6/b7, Amin7/9 7) Locrian, b2/b3/b5/b6/b7, Bmin7b5. - Practice all 7 modes from the same starting note to really hear the differences. Otherwise it will just sound like the same scale but starting on a different note. MEMORIZE ALL 7 FORMULAS! Sing along, and when you get to say the #4 in Lydian then really try to hear the “flavour” that note imparts.
I've come back to this video from time to time for nearly ten years now, it has had immense value and impact in helping me understand the modes and bring elements together musically, but it also just sounds delicious. Every time I come back, somehow I understand it a little more, I catch something I didn't the time before.
I love Joe, one of my all time favourite players. He’s the main reason I still play guitar today! But I think this is a horrible & confusing way to view the modes. It’s also the “long road to modal mastery.” Viewing modes like this will take YEARS to memorise all over the fretboard. Also their completely taken out of context, he’s basically modulating every time he changes mode. We need to learn them within the same Key to fully understand what they really are and where they come from. After all they’re all derived from a single major/diatonic scale or are simply alterations of it. I’ll be doing a video on this in the future.
learn the key signatures and where every note is on the neck, then this will make sense. Modes are just altered scales based off the 7 basic scales: Major, natural Minor, harmonic minor #6, melodic minor #6,#7 ascending b6,b7 descending, Augmented, 1/2 diminished, diminished. Learn your 12 intervals, triads, root/3rd/5th/7th..etc.
Awesome Joe. In 2003 or so I saw you at a meet-and-greet at Guitar Trader in Clairmont Mesa CA. I asked you how you choose your modes for your pitch axis approach and I added that you like Lydian and Mixolydian. You shook your head slightly and then went into this 20-minute thesis that was itself a work of art to me. And having heard your answer I simply turned and left. I didn't need to wait and shake your hand and get your autograph. It was enough that you personally answered my question albeit in front of 50 other people. As I left, someone said Great question man. To this day I remember a lot of what you said in your answer. Rock on Joe! Peace. 😎
Sorry, I feel bad, like I stole someone else's letter. It would be better for you to write your impression directly on Joe Satriani's channel. I don't know if he reads it himself, but such a RUclips channel exists.
This is what separates Satch from the garden variety shredder. One thing I have discovered is that the context of a mode against what would normally be played is what makes it interesting but there is a reason that popular music and almost all conventional melody and tonal harmony fell to the ionian and variations of the aeolian or major and minor because they work the best if you want to sing a song about the Southland etc. Joe has internalized the "other" modes to the point of hearing them like you and I hear Ionian and and perhaps aeolian which is the secret. Just grabbing modes to grab modes for the sake of playing the old church modes won't get you anywhere. But, that's why he's Satch and can create such interesting instrumental music. What an inspirational musician!
Since I started listening to him back in the late 80's, his ability to switch modes within a song and change the tone is the one thing I thought was just too cool about his music.
The fast way to recognize and learn diatonic scale modes is to relate them to major scale sources that you already know ! Ex. Lydian scale is s major scale built from the 5th degree of the lydian tonic tone ...so E Lydian = B major scale ...Dorian is 1 whole step higher than its major scale source Ex . E Dorian is D major scale ...do this for all 7 modes because the chords harmony is the same !
What he explains here is somthing every single musician should naturally think about. And here somthing I'd like to add for some read; he uses a lot of what i call double and triple time notes in his improv examples, he plays some nice slow blending notes and then "breaks down" the time with 2 or 3 quick notes and returns. Meaning 2 or even 3 notes are used as 1 quarter note or an 8th note depending on the rhythm if in 4/4
How blessed is the modern day guitarist that not only do they get to witness the all time lord of the guitar bar none ( JOE SATCH BOOGIE MSATER ) he is also the best personality and the best teacher to ever play guitar , joe you are definitely from another planet and it’s one far superior to ours , you are a special person on this earth and we all love you 🎸🪕🎻
Excellent insight into modes. The exploring into and creativity in the process is fantastic. Joe keeps it simple enough that I can keep my feet on the ground and learn these concepts as a beginner. Thanks so very much for this.
this should be around 2006... and I saw it back then... but tonight... this is the first time I am finally able to understand everything he is talking about!!!
There are two naming conventions. One is like Mixolydian b6, where people simply compare it to a major scale mode with alterations. Alternatively, many of those scales have gotten more unique names e.g Aeolian Dominant. Generally if you have a scale that matches another mode but 3 and/or 7 are altered to make it a natural 3 and b7, dominant is thrown on there. Phrygian Dominant (fifth mode Harmonic Minor), Lydian Dominant (Third Mode Melodic Minor) and Aeolian Dominant (Fifth Mode MM).
I totally identify with Joe's thinking! I play 10 different instruments and styles and love to mash them up with the electric guitar my favorite instrument!
there are also synthetic modes like : oriental ; enigmatic etc In the seventies john mac laughlin published a song book at the time of mahavishnu orchestra listing them (about 8 or 10 different unknown modes) anyway THANKS TO YOU JOE for teaching kids how to get it right technology has made it much easier for beginners today
Check out Steve Stine. He can explain modes in 5 minutes and you'll 'get it'. It's not that difficult. Once you learn the theory it's up to you to apply it it the fretboard. Here's the link: ruclips.net/video/H8TnXPTNpR0/видео.html
i liked when Joe Batriano was the bass player in Lead Zeppelon,,, man what a wealth of musical knowledge thanks for the great video. Im going to use these so called modez to vamp up a wild gutar solo on yellow submarine when I jam it out with the neighbours and show them up at our next BBQ :)
+James Evans I took a year of lessons from a GIT grad and he was the same about homework. If he didn't think you have it your all he would tear you up. I did my homework but I give lessons now and of course can't get the students he can, sometimes have trouble with students that don't take it as serious as I did. I tell them first, I can't want it more than they do and I have let a few go for wasting our time but it's hard to keep a lot of students. I have 5, my goal was six but with fishing season here lol I'm not filling the slot until winter lol.
he is starting to not sound like a martian any more i can almost understand a few words he is talking about and is starting to make since.i think these videos are priceless Thank you for the info
Each of the seven notes in a major scale is the root note of a different mode running up that major scale. I get that. When to apply each still eludes me.
Such a great video. Going from the basic theory over practice and application to emotional themes as a practical use/desired goal. Couldn't have been more to the point. Thank you so much! Now here's a question for you pro shredders ;) when I think about modes while I play them I tend to switch between two different approaches. I either build the scale starting on any of the root notes, (which is how I understood Joe saying he learned to play any of the modes across two octaves for a start) this gives me a better idea of where the intervals are but sounds a little stiff because I have to jump from root to root. Also I will get lost as soon as I start speeding up or shifting position. My second approach is thinking in 3 note per string scale patterns, which gives me a solid grid all over the neck so I can go as fast as I want without getting lost. This is more fluent of course but I'm having a hard time thinking about any intervals. I often hear people say: "Well, it's easy to learn mixolydian. It's just one note different from a major scale." I know. But how do you play it fast? Do you still think "major" and always know when to play that minor seventh? Same with phrygian dominant. I know it's just one note different from phrygian. But I still have to learn it as a completely different fingering, right? So how do you approach playing different scales and what is your thought process behind it?
Three of the modes are the exact same scale pattern , but just start on different notes. It is really not that hard once you have at it. There are just five basic patterns for the Diatonic Major scale and the modes have the same pattern , but start on different notes. But the pattern doesn't change.
spicecrop That is actual true for all modes. I wanted to reply to this so anyone else reading the comment would hopefully understand that point. I think you are confusing a mode with a particular fingering pattern. A lot of people do that, especially early on. Play that minor scale starting on A at the 5th fret of the low E string, there's the Aeolian mode. In the same key of C, playing from the E at the 12 fret gives you the Phrygian mode and also the Lydia mode with the same pattern, etc. While that is true, it is also true that the same pattern at the 12th fret is also G mixolydian if you center around a G tonic, A Aeolian over an A tonic, etc. Modes are NOT fingerings patterns. A mode is only a mode when it is applied over a certain harmony or tonic. Do not confuse the way we (at least some of us) organize the fretboard versus how to play a certain mode. Any major scale pattern can produce any of its relative modes, anywhere on the neck, no matter what fingering pattern you are using for that key or scale. G major is the same fingering pattern in the same location as A Dorian, B phrygian, C lydian, D mixolydian, E minor (Aeolian), or F# Locrian. The only difference is the context, the tonic the pattern is played over. Hope that keeps someone else from staying confused for far too long, like I did!
WM 710 You may have already figured this out, but you got some advice that may keep you from having the ultimate "aha" moment when it comes to scales and modes and their patterns. Have a look at my other reply. Hope you either already figured this out or that it helps you!
Fairly new to modes here. Wondering if anyone would know what mode(s) Michael Schenker tends to favor. I hear it but lack the knowledge to identify it/them. If anyone knows, I'd love to hear. I'm wondering if it's Dorian?
You wanna check out LEE RITENOUR, a true technician of the guitar, Lee is my ultimate guitar player, his early album "Feel The Night", 1978 album, the guitar playing on that album is amazing.
Burntshocker So true! Modes are ALL about context! A lot of people confuse modes with fingerings patterns and how we organize the fretboard, and never see the bigger picture that makes it all click.
Saying phrygian is enough as the dominant 7th is your last note before the octave of the root there for in its given position in Phrygian mode the 3rd position of the scale has the dominant 7th along with flat 2nd minor 3rd 4th and 5th natural flat 6 and flat or dominant 7th
Let's compare the Phrygian scale (minor) and the Phrygian major (dominant): 1 b2 b3 4 5 b6 b7 ( phr minor) 1 b2 3 4 5 b6 b7 (phr major or dominant phr, or 5mode of harmonic minor. M3 is leading tone (E7 to Am or g# to a). Flat 7 is not dominat tone because we have b7 in all minor modes (natural).Dominant tone is major third of Dom7chord (g# in.E7) and dominant tone is rise seven.in A minor (harmonic 7).
2:21 Aeolian Dominant? If it raises its third to a major third wouldn't it just be Mixolydian b6? And if the minor third stays along with the minor seventh, wouldn't it just be regular Aeolian?
![Stromae, Pomme - “Ma Meilleure Ennemie” (from Arcane Season 2) [Official Visualizer]](http://i.ytimg.com/vi/1F3OGIFnW1k/mqdefault.jpg)
Joe Satriani is a Real player who's constantly full of great surprise!!
His work NEVER gets old & he's definitely getting better all the time!!
He's a real super hero of music & I learn something new every time I listen to his music!!
Satch is very much a modal player and it's so nice to have him sit and just lay out the "color palate" of the modes he uses to create his landscapes of sound and melody. He's like a chef who shares the proportions of the ingredients, not just the ingredients.
Joe just has such a great imagination and how he thinks of the modes, its completely different from anyone else, and rather than just shredding up and down the modes like everybody else does, he looks at why its different and what can be done with it, this is why all of joe's songs have such a powerful meaning and strong melody to them, he can sure tell a great story with his songs and how he thinks of it. Absolutely Incredible!
That explanation, the way Satriani explains it, just made more sense than any other lesson I've ever had!
Using the school of rock analogy, Joe is a college professor with many PHD's and I have been held back in the first grade for 40 consecutive years.
Nah this stuff is easy.
Only 40 years? I have been frustrated for 65 years. But, I love music too much to ever give up trying.
And satriani has been playing the same crap for around 45 yrs.
@@matthazelby506 Bingo
He describes everything better than any teacher I've heard
Same.
Joe's wearing a Guns n Roses T-Shirt...! :-) So cool!
GREAT TO HEAR A MUSICAL GENIUS SPEAK ABOUT MUSIC!
Not only is the guy a great technician and theorist, but he actually knows how to explain the stuff in plain terms: As soon as I watched this lesson, I finally 'got it' with modes!
I love how systematically and thoroughly he approached and discovered and channeled the music waiting within the theory. Brilliant.
"You gotta look at the scale and see which triads build off each scale"-priceless sentence just amazing!🤔
Amazingly confusing yes 😊
it actually makes sence. It will click and you will get it
Fian Vierecke i was not sarcastic but yeah thanks
Lock Down Society - If you were to number the intervals of any scale where “1” represents “Root”, “2” becomes the second interval and so on, start by playing the set “1,3,5”. Next play the set of “2,4,6” and continue the pattern until the last interval you will have played all the diatonic (only the notes of the current scale) triads for your scale or mode.
For all you rythm guitarists out there: the same philosophy Satriani underlines here can be applied to chords, shapes and chord progression; mix m up, use different keys and see how they connect and what that does to emotional response
The thing about modes is the first mode or major scale is just as exotic sounding as any other. I practiced mixolydian for days on end and didn't play anything else and when I reverted to a straight major scale the 7th note really stood out to me as slightly obtuse or 'strong' due to my ear being very familiar with the Mixo played previously. I really love Locrian mode for fusion style stuff, I like the unresolved tension.
and then there's one more mode: the Alien mode, perfectly demonstrated here.
You are by far and then some the best of all time my friend thank you for everything leebone
If you take each of the modes and stack thirds, you’ll get a harmonized major scale with each of those 7 chords getting its own mode:
1) Ionian, major scale, Cmaj7/9
2) Dorian, b3/b7, Dmin7/9
3) Phrygian, b2/b3/b6/b7, Emin7.
4) Lydian, #4, Fmaj7/9/#11.
5) Mixolydian, b7, G7/9/13
6) Aolian, b3/b6/b7, Amin7/9
7) Locrian, b2/b3/b5/b6/b7, Bmin7b5.
- Practice all 7 modes from the same starting note to really hear the differences. Otherwise it will just sound like the same scale but starting on a different note.
MEMORIZE ALL 7 FORMULAS!
Sing along, and when you get to say the #4 in Lydian then really try to hear the “flavour” that note imparts.
Master + a GUNS n ROSES t-shirt + that eye catching ibanez... what a lovely trio
We should be charged a billion dollars to watch this video. So much great information here (and in the 2nd vid).
You are my very fav guitar player in the world.I love everything you do Joe and thank so very much. Everything you do gives me life.
I've come back to this video from time to time for nearly ten years now, it has had immense value and impact in helping me understand the modes and bring elements together musically, but it also just sounds delicious. Every time I come back, somehow I understand it a little more, I catch something I didn't the time before.
I love Joe, one of my all time favourite players. He’s the main reason I still play guitar today! But I think this is a horrible & confusing way to view the modes.
It’s also the “long road to modal mastery.” Viewing modes like this will take YEARS to memorise all over the fretboard. Also their completely taken out of context, he’s basically modulating every time he changes mode. We need to learn them within the same Key to fully understand what they really are and where they come from. After all they’re all derived from a single major/diatonic scale or are simply alterations of it.
I’ll be doing a video on this in the future.
One of my heroes!...hearing "Always with me, always you" on the radio as well as the Beatles influenced me to pick up the guitar; love you Satch
Joe explains everything with amazing clarity!
best description of modes and how to apply them practically. Incredible lesson from a true master.
learn the key signatures and where every note is on the neck, then this will make sense.
Modes are just altered scales based off the 7 basic scales: Major, natural Minor, harmonic minor #6, melodic minor #6,#7 ascending b6,b7 descending, Augmented, 1/2 diminished, diminished. Learn your 12 intervals, triads, root/3rd/5th/7th..etc.
Harmonic minor is #7*
I remember in high school learning modes and thinking they were the coolest thing ever, they still are!
Awesome Joe. In 2003 or so I saw you at a meet-and-greet at Guitar Trader in Clairmont Mesa CA. I asked you how you choose your modes for your pitch axis approach and I added that you like Lydian and Mixolydian. You shook your head slightly and then went into this 20-minute thesis that was itself a work of art to me. And having heard your answer I simply turned and left. I didn't need to wait and shake your hand and get your autograph. It was enough that you personally answered my question albeit in front of 50 other people. As I left, someone said Great question man. To this day I remember a lot of what you said in your answer. Rock on Joe! Peace. 😎
Sorry, I feel bad, like I stole someone else's letter. It would be better for you to write your impression directly on Joe Satriani's channel. I don't know if he reads it himself, but such a RUclips channel exists.
@@PopovSBOkay cool. Thanks.
This is what separates Satch from the garden variety shredder. One thing I have discovered is that the context of a mode against what would normally be played is what makes it interesting but there is a reason that popular music and almost all conventional melody and tonal harmony fell to the ionian and variations of the aeolian or major and minor because they work the best if you want to sing a song about the Southland etc. Joe has internalized the "other" modes to the point of hearing them like you and I hear Ionian and and perhaps aeolian which is the secret. Just grabbing modes to grab modes for the sake of playing the old church modes won't get you anywhere. But, that's why he's Satch and can create such interesting instrumental music. What an inspirational musician!
Since I started listening to him back in the late 80's, his ability to switch modes within a song and change the tone is the one thing I thought was just too cool about his music.
The fast way to recognize and learn diatonic scale modes is to relate them to major scale sources that you already know ! Ex. Lydian scale is s major scale built from the 5th degree of the lydian tonic tone ...so E Lydian = B major scale ...Dorian is 1 whole step higher than its major scale source Ex . E Dorian is D major scale ...do this for all 7 modes because the chords harmony is the same !
GURU, MASTER, PROFESSOR... all in one!!!
They are not thinking about intervals, they are feeling them
Greatest electric guitar teacher on the planet, among other accomplishments.
Satriani's picking efficiency is incredible. His left hand does most of the work.
What he explains here is somthing every single musician should naturally think about.
And here somthing I'd like to add for some read; he uses a lot of what i call double and triple time notes in his improv examples, he plays some nice slow blending notes and then "breaks down" the time with 2 or 3 quick notes and returns. Meaning 2 or even 3 notes are used as 1 quarter note or an 8th note depending on the rhythm if in 4/4
Excellent!!!
How blessed is the modern day guitarist that not only do they get to witness the all time lord of the guitar bar none ( JOE SATCH BOOGIE MSATER ) he is also the best personality and the best teacher to ever play guitar , joe you are definitely from another planet and it’s one far superior to ours , you are a special person on this earth and we all love you 🎸🪕🎻
Excellent insight into modes. The exploring into and creativity in the process is fantastic. Joe keeps it simple enough that I can keep my feet on the ground and learn these concepts as a beginner. Thanks so very much for this.
I memorized the 7 diatonic scales in the 80’s but some of what he’s saying is going right over my head. Why he’s a major rock star and I’m a hack.
Always suspected Joe knew what he was doing, Surfing With the Alien, and everything after, now Mode lessons, prove this man is a pro of pros!
this should be around 2006... and I saw it back then... but tonight... this is the first time I am finally able to understand everything he is talking about!!!
There are two naming conventions. One is like Mixolydian b6, where people simply compare it to a major scale mode with alterations. Alternatively, many of those scales have gotten more unique names e.g Aeolian Dominant. Generally if you have a scale that matches another mode but 3 and/or 7 are altered to make it a natural 3 and b7, dominant is thrown on there. Phrygian Dominant (fifth mode Harmonic Minor), Lydian Dominant (Third Mode Melodic Minor) and Aeolian Dominant (Fifth Mode MM).
Great as musician, even greater as proffesor. Satch is amazing!
Joe Satriani playing Lydian mode sounds like Flying in a Blue Dream.
Lydian is said to be the dreamy mode. Vai loves it.
"Lydianized" is such a cool word. Joe is a genius.
Guys like Satriani and Vai can play scales and sound awesome.
Clutch!! Thanks Joe.👍
Joe u r da man!..very intelligent fellow here..I can't remember anything from my high school teacher:)
I totally identify with Joe's thinking! I play 10 different instruments and styles and love to mash them up with the electric guitar my favorite instrument!
Great guitar player, seems like a nice fella and very modest.
there are also synthetic modes like : oriental ; enigmatic etc In the seventies john mac laughlin published a song book at the time of mahavishnu orchestra listing them (about 8 or 10 different unknown modes) anyway THANKS TO YOU JOE for teaching kids how to get it right technology has made it much easier for beginners today
My God, this guy is a genius.. I WILL master music theory eventually, if there's ever a reason.. Satriani's ability is it.
Check out Lee Ritenour, he is in a different league to Satriani
Check out Steve Stine. He can explain modes in 5 minutes and you'll 'get it'. It's not that difficult. Once you learn the theory it's up to you to apply it it the fretboard.
Here's the link: ruclips.net/video/H8TnXPTNpR0/видео.html
i liked when Joe Batriano was the bass player in Lead Zeppelon,,, man what a wealth of musical knowledge thanks for the great video. Im going to use these so called modez to vamp up a wild gutar solo on yellow submarine when I jam it out with the neighbours and show them up at our next BBQ :)
So simple yet tasteful
Third time watching this, I catch on to more each time.
You are awesome for sharing this leant alot!
It's amazing how western musicians are being inspired by eastern classical and making beautiful music !
they are modes,they sound eastern but they are worldly
I know what modes are.
Thumbs up, great explanation.
What an awesome teacher
This is like being present at the Sermon on the Mount or something ❤!
If I could take lessons from one pro, this is the guy.
+fwfrazorx He just gave you a lesson, and he gives many more on other videos.
The internet is cool hey? :)
+petecabrina Yes but its not like a one on one lesson. Not even close.
He was very strict and he would send you home if you didn't do your homework . And Alex skolnick said he was very particular who he would teach .
+James Evans I took a year of lessons from a GIT grad and he was the same about homework. If he didn't think you have it your all he would tear you up. I did my homework but I give lessons now and of course can't get the students he can, sometimes have trouble with students that don't take it as serious as I did. I tell them first, I can't want it more than they do and I have let a few go for wasting our time but it's hard to keep a lot of students. I have 5, my goal was six but with fishing season here lol I'm not filling the slot until winter lol.
Thanks again Joe........Leebone
One of The Masters !!!
Key E
natural major - E
Lydian - B
Mixolydian-A
Phrygian - Am Harmonic
Satriani is full on Jedi master of the guitar.
he is starting to not sound like a martian any more i can almost understand a few words he is talking about and is starting to make since.i think these videos are priceless Thank you for the info
He was a teacher first. If I'm not mistaken, Steve Vai and Kirk Hemmit were his students.
Lol, one father and such different kids.
Each of the seven notes in a major scale is the root note of a different mode running up that major scale. I get that. When to apply each still eludes me.
Just goes to show that guitar is just the instrument he plays. This is a music theory, musicality and musicianship lesson.
Such a great video. Going from the basic theory over practice and application to emotional themes as a practical use/desired goal. Couldn't have been more to the point. Thank you so much!
Now here's a question for you pro shredders ;)
when I think about modes while I play them I tend to switch between two different approaches. I either build the scale starting on any of the root notes, (which is how I understood Joe saying he learned to play any of the modes across two octaves for a start) this gives me a better idea of where the intervals are but sounds a little stiff because I have to jump from root to root. Also I will get lost as soon as I start speeding up or shifting position.
My second approach is thinking in 3 note per string scale patterns, which gives me a solid grid all over the neck so I can go as fast as I want without getting lost. This is more fluent of course but I'm having a hard time thinking about any intervals.
I often hear people say: "Well, it's easy to learn mixolydian. It's just one note different from a major scale." I know. But how do you play it fast? Do you still think "major" and always know when to play that minor seventh? Same with phrygian dominant. I know it's just one note different from phrygian. But I still have to learn it as a completely different fingering, right?
So how do you approach playing different scales and what is your thought process behind it?
His t shirt says how open he is about music
"THAT'S ALL WE NEED TO KNOW" PERIOD!!!
Joe demonstrates a few basic techniques...I want to buy the album.
He's like in the blues clues house
he's a very good teacher
Det is amejzing gajs, tenk yu so mach
Every time he hits that phrygian scale, hot damn
I wish he was my teacher, he explains it all so well
the E phrygian dominant has an eastern heady feel to it.nice tutorial
I'm watching him and it feels like I'm listening to a fucking alien...
Super cool!
Oh my god! Now, I need to memorize All the Scales!
Really? ohw waw. I didnt know that. Thanks, man!
Three of the modes are the exact same scale pattern , but just start on different notes. It is really not that hard once you have at it. There are just five basic patterns for the Diatonic Major scale and the modes have the same pattern , but start on different notes. But the pattern doesn't change.
***** Ok bro, thanks! I'll keep that in mind. =]
spicecrop That is actual true for all modes. I wanted to reply to this so anyone else reading the comment would hopefully understand that point. I think you are confusing a mode with a particular fingering pattern. A lot of people do that, especially early on. Play that minor scale starting on A at the 5th fret of the low E string, there's the Aeolian mode. In the same key of C, playing from the E at the 12 fret gives you the Phrygian mode and also the Lydia mode with the same pattern, etc.
While that is true, it is also true that the same pattern at the 12th fret is also G mixolydian if you center around a G tonic, A Aeolian over an A tonic, etc. Modes are NOT fingerings patterns. A mode is only a mode when it is applied over a certain harmony or tonic.
Do not confuse the way we (at least some of us) organize the fretboard versus how to play a certain mode. Any major scale pattern can produce any of its relative modes, anywhere on the neck, no matter what fingering pattern you are using for that key or scale. G major is the same fingering pattern in the same location as A Dorian, B phrygian, C lydian, D mixolydian, E minor (Aeolian), or F# Locrian. The only difference is the context, the tonic the pattern is played over.
Hope that keeps someone else from staying confused for far too long, like I did!
WM 710 You may have already figured this out, but you got some advice that may keep you from having the ultimate "aha" moment when it comes to scales and modes and their patterns. Have a look at my other reply. Hope you either already figured this out or that it helps you!
Love Joe 😊
I am in awe!
I always thought Lydian was a jazz mode but.....lesson learned
Fairly new to modes here. Wondering if anyone would know what mode(s) Michael Schenker tends to favor. I hear it but lack the knowledge to identify it/them. If anyone knows, I'd love to hear. I'm wondering if it's Dorian?
Joe is a guitar wizard!!! a god of recording imagination! lol real shit
You wanna check out LEE RITENOUR, a true technician of the guitar, Lee is my ultimate guitar player, his early album "Feel The Night", 1978 album, the guitar playing on that album is amazing.
you should check out jason becker and marty friedman too
ok that hat though - how am i supposed to pay attention while he's wearing that
Every time I try to learn this, I end up in a bad mode
Yes. That e ringing out makes all the difference!!
Burntshocker So true! Modes are ALL about context! A lot of people confuse modes with fingerings patterns and how we organize the fretboard, and never see the bigger picture that makes it all click.
Far out- great lesson
My band did a show with him and Motley in 1990, should have asked him if he was taking on new students😢
wow cool guitar i wish i have one :3
Mode lessons from the guy that taught Steve Vai
What could be better?
Cool Joe !!
Lol modes in a theory class in highschool 🤯
What a good school 🥰
(Yup I'm little envious 😋)
Saying phrygian is enough as the dominant 7th is your last note before the octave of the root there for in its given position in Phrygian mode the 3rd position of the scale has the dominant 7th along with flat 2nd minor 3rd 4th and 5th natural flat 6 and flat or dominant 7th
Let's compare the Phrygian scale (minor) and the Phrygian major (dominant):
1 b2 b3 4 5 b6 b7 ( phr minor)
1 b2 3 4 5 b6 b7 (phr major or dominant phr, or 5mode of harmonic minor.
M3 is leading tone (E7 to Am or g# to a).
Flat 7 is not dominat tone because we have b7 in all minor modes (natural).Dominant tone is major third of Dom7chord (g# in.E7) and dominant tone is rise seven.in A minor (harmonic 7).
And sorry my English )
2:21 Aeolian Dominant? If it raises its third to a major third wouldn't it just be Mixolydian b6? And if the minor third stays along with the minor seventh, wouldn't it just be regular Aeolian?
Ibanez JS1000 I believe.
nice tshirt Joe 😀
this is gold!