Mark, I could write volumes about how you've motivated me to play as well as you do! But, I'll keep it short by saying that of the literally hundreds of videos I've seen on many other channels, your videos are by FAR the BEST!! Don't ever stop making these outstanding videos! Thank you so much!
Merci Mark, J'ai enfin trouvé les explications qui mettent en pratique les modes. On trouve beaucoup d'explications théoriques mais jamais de mises en pratique musicale. Merci encore pour ton excellente pédagogie.
Wow! Thank you for bringing me the knowledge I never had the patience to learn before. This is so clear and well explained, I feel I have a bigger brain every minute I spend watching your videos. I’m incredibly motivated to work on my bass as I never was before. Thank you very much for this!!!
Your lessons are always the best, is not the only channel I follow, but when I want to understand something in a super clear way, here's where I find what I need. Really, top notch, this channel makes you wanna jump on the bass and apply everything right away. Thank you!
@31:13 to 34:05; man, I could listen to that for hours! That is way cool. Really digg'n those claw octaves too, the way you did that. Damn...Not enough views. You're way more concise and to the point then other bass teachers here on RUclips. No bibbley-bap aimless tangents, no holding back, just straight-up with the need-to-know info. Want moar
funny how i've recently been learning the Three Notes Per String method of learning the fretboard, and music theory makes a whole lot of sense now, as it connects the dots perfectly for learning these modes!
great great great..... love this but...... is it me or does the fingering board looks all backwards to me ???? Some please help me .... never learn with lessons but I was thinking its up-side-down
I am a beginner here. Incredible lesson, but I have a question: If a band folks tell me "let's play in the key of C" (meaning C major scale), will I be "in tune" only if I play a bassline in the first mode "Ionion"? Or I will still be in tune with the band if I play any mode of the C major scale?
Your knowledge is unreal. Would you mind clarifying the theory behind the chords like the 9th, 13th and so forth. I'm unsure what this means given the 7 notes in which the scale is constructed. Thanks
I've got a whole bunch of lessons on extended chords at my channel but, to cut a long story short, think about a scale: 1234567 octave is 8 and then the next octave is 8,9,10,11,12,13,14,15. The 9th is just a 2nd but an octave higher. 11th is a 4th but an octave higher and a 13th is a 6th but an octave higher. The reason we use these higher compound interval names is because of how we stack thirds in creating chords: 1,3,5 for a triad. 1,3,5,7 for a seventh chord etc. 1,3,5,7,9,11,13 would be all the natural extensions. Just think of the 9th, 11th and 13th as 2nd, 4th and 6th. So a full 13th chord would be 1,3,5,7,2,4,6 instead of 1,3,5,7,9,11,13.
Hello, These are great lessons you are doing, especially on explaining the modes, but I was wondering if you could help me understand it better? You mentioned in your video that the when you go to the second mode, you start on a different note which is D and this starting on different notes for each mode applies to all seven modes, like starting on E for the third mode etc... After you explain that, you say that you can play all the seven modes starting in the same note of C, which to me says that there are two different ways of playing these modes? I think this is where all the confusion lies, when it comes time to explain the modes. I would love it if you could let me know where I am going wrong in my understanding. Thank you.
Yes you can play them in two different ways. Or at least kind of see them from two different perspectives. The patterns are the same no matter what. First of all we learn them relative to a major scale: C major, D dorian, E phrygian, F lydian etc. That gives us the basic construction of the scales but we don't have to be tied to the parent major scale. These are scales in their own right just like a harmonic minor scale, major pentatonic scale, blues scale etc. etc. So we can take them away from the major scale and use them. That's why it's important to play them from different root notes. Playing them all from C gives a basic indication as to how we do this. Remember though, they can still be used relative to the major scale if you want to. People often use modes as melodic material over certain chords in a key. So in C major, chord 2 is Dm7. You could play a Dm7 arpeggio over that but if you want some scale material you can either think of the notes of the parent key (C major) or use the D dorian mode. These are two different uses for the modes. Think of it as a diverse range of uses rather than a 'which one' situation.
Hey there, another great video here. I have a gear question. For some of the backing tracks, you appear to be going to a pedal on a board. Can you tell me (us) what you are using? I realize it is getting on to seven years ago, but thought I would ask. Thanks and stay safe.
hi Mark thank you for your videos. I need all the scales at a slower pace no offense, down the neck... I've not learned all the notes up the neck yet. do you have that in your videos? i have a book of 3 in 1, and I'm having issues the moveable boxes... and I want to learn my bass. I'm learning songs tho. ...but the scales I really need to learn
Hi Mark, I know it has been a while since the release of this video but I struggle for some clearance. You once said that the scale can be simplistically described as a pattern of available notes to use. So the example with the question: Let's say i'm in C Major making a riff. It is all fine but seem to be a little odd sounding although i is using only notes from C Major. How can i make sure that this riff is in C Major not in .let's say, D Dorian. Is it somehow related to the topic of the tension and release? As the root is the home and safe spot. Or we should always start a riff in C major from C note and riffs in D Dorian from D. I seem be fine with the concept of modes in general but this particular aspect just drives me nuts. Thanks for the lesson and your help in advance
Think of the harmony. The chord progression will dictate the mode. You could use the same melody over many different progressions. It's the progression that leads the way. This is why the study of harmony is sooooo important.
hi i have a question too sir. Example is the song only use a chord C D F does it mean i can only use the riff or mode of C D F? or i can use all modes even if the song only use the chord C D F?
What is this model of Ibanez/ soundgear bass? Look like the old cheap Ibanez 300 from ten to twenty years ago, the old p and J pickups, love those still. That's gotta be better than the old sr 300 was just above generic, at about 300 bucks back then. Active, had that bass boost Robbie Meril from Godsmack had that same 4 knob configuration w bass boost. But he had humbucker on his 4 str, rare for them p and j ruled those 4 string back then. I've had many Ibanez bass guitars over the years I buy, trade, sell to try all the gear in existence. Lol. Though it's cheap I've run into a million different types SR 400. 4 stg black, the my drummer got us a SR 405, 5 string w humbucker. Then a fretless, version. And ive see 2 different wood grain models-- no paint models, neck through. Those we awesome. I had a SRX 500. Sound gear extreme w huge humbucker great for metal, sounds just like the band- Tool their bass guitar sounds identical. I had it stolen and my fender p bass and fender stratocaster. 2 nice maps, all stole and I'm to unwell to work a full time job, and my area is not good. I cant make enough to replace my bass or my fender stratocaster.
I don't know why I just remember the ergodyne series from Ivan has those were so weird we dilute I adore lucite? Some kind of composite or something? I don't know because base is fantastic and makes me miss the sound of your bases I used to own like I said their previous column I had such a huge number of bases over years I was constantly buying trading and selling guitars basis and then some keyboards as well. I found the analog equipment is all the best I still use certain things for flame metal or going to look if I had my equipment. Then I had some equipment that was just for classic rock as well as the Stratocaster and the old Fender P bass and old generic a man 1960s I had was here then my Ibanez soundgear Xtreme and my 120 watt Bugera tube amp work for my bass work. I just can't placements just destroyed my soul man I really wish I could just get back into playing that stuff's storms been gone I got no way to replace it I got like no income my health is just terrible for 43 years old Hiley name it I'm not absorbing things right in my guts I'm having some kind of bleed my best to try and do Scopes and find it cost me to have worse anemia that I already had. I think I have some kind of autoimmune thing like Crohn's in like super far myalgia being a part of it as well and just terrible shape they thought I had Ms at first cuz I'm like shaking sick feeling a lot and weeks is really not good and doctors are barely helping it isn't really their kind of confused you're trying to sort it out a lot of people don't get diagnosed with like lupus and certain things until they're on their deathbed until the autopsy table I hate not being able to work full time and just I feel like a bum I hate it or stepping through the stuff I used to do is do Roofing in some real hard work my body can't handle anymore. So I do Pedley stuff but it doesn't really pay much I've never had a really good paying job I used to do Roofing didn't get pay the best for it but I mean it was decent now I'm just doing fairly small things and I can just barely pay the few pills I have to pay nothing left over for her beautiful face like that again it is sharp-looking I love the older soundgear style.
So in the sheet music, would the notes up higher on the neck be with/ in the lower ledger lines? I'm a beginner with playing bass guitar. Thanks to whom ever answers my question.
You say that the C major scale has no incidentals, so that when you play D Dorian there are not any, but later you show it as having Dorian - 1 2 b3 4 5 6 b7 ... two flats? I'm confused. In your PDF you show the mode construction, having each mode having its own unique interval construction. How are these intervals derived?
The flat sign you see on the scale degrees doesn't refer to notes. It refers to the intervals. I'd recommend learning about intervals and scale degrees.
@@Wom54Bat Work through the music theory for bass series I did years ago. There are nearly 500 lessons here on the channel and a load on basic theory. If you go over to Talkingbass.net and check out the Lesson Map you’ll find them all in there, organised by topic.
@@talkingbasslessons Thanks Mark, BTW I am working through your Walking Bass, the one that uses Fly me to the Moon, as it has taught me heaps. I will get onto your site and dive in.
What was that app again? IWILBRI... What? Being a Filipino hard-wired listening and talking in American English accent makes me struggle a bit when listening to British accent.
Think of the modes as numbers. I'll use key of C for this example. The first chord (C) matches the first mode Ionian, the second chord (Dm) matches the second mode Dorian, the third mode (Em) matches the third mode Phrygian, etc. So if you were playing a song in key of C, and the song went to a Dm, you could use the Dorian mode to colour your line in a certain way. If the song went to a G, you could colour it with the Mixolydian mode. You don't have to (or want to) do this all the time. In fact, usually a chord will just be asking for you to play around the chord tones, as abusing the modes is overtly melodic and can disrupt whatever the other musicians are playing if you're not careful. But it's nice to have the option, especially if the other musicians are just playing grooving on some dominant chords. I like to save my modes for special moments personally, like if a song has a unique turnaround. Now, in the video Mark did go into detail of the second way to use modes, but I would say you should practise the crap out of that method first and then go back and rewatch this.
I go through phases but at the moment I've just switched to D'addario Balanced Tension Sets. Before that I had my own custom progressive set of .110, 80, 60, 40
“If we take the same set of note’s but play them from D to D, we have a completely different set of notes.” (🤔 I think you’ll find it’s the exact same set of notes, just in a different order) Modes are just that… Same as the original diatonic(Major scale) just from a different perspective. There’s only one fretboard configuration to learn not seven completely different/unrelated scales to map out. THIS is the misinformation I had to deal with for many years and if you just disregard this false information (“that modes are scales in their own rights”) the you’ll progress one hundredfold.
D Dorian is not the same as C Major. It's the same notes but not the same intervallic construction and relation to the tonic chord. Dorian has a minor 3rd, Major has a Major 3rd, Dorian has a minor 7th, Major has a Minor 7th. Modes are totally scales in their own right. If you are soloing over So What, you can't look at it as C major. It's D Dorian (and Eb Dorian). The harmony is everything and everything relates back to the harmony. If you're going to see modes as only relative to the parent major scale then there's no real reason for learning them and it's one of the reasons I tend to avoid talking about them to students until waaaay after chord construction principles, chord tone use etc.
@@talkingbasslessons I can play over changes without ever thinking about intervals. My point is when you play D Dorian the “fretboard configuration” is the exact same as C Major. All the seven diatonic chords, arpeggios/chord tones for that key are the exact same, nothing changes. You don’t need to know anything about the intervals to play any of the diatonic modes. (Although it’s fine to learn that stuff) e.g: If I’m playing Dorian, I know it’s the second harmonic environment of the Major scale, so I start on that note. I don’t need to think of the parent Major scale and do any calculations, I just start playing it’s scale shape. But importantly I know where all the other diatonic arpeggios/chord tones, chords and modes are within the key I’m playing, because it’s the exact same diatonic fretboard configuration I learned for the Major scale. Then I shift the “5th note” up one fret, now I have the Harmonic minor scale, with all it’s modes, chords and arpeggios. Same sort of procedure for the melodic minor. Don’t know if you get what I’m trying to say here, as it’s hard to get across in a comment. The problem is when a certain way of teaching becomes popular, every one jumps on that bandwagon and teach the same way, (the hard way) popular doesn’t mean the best. There are much easier ways to learn modes than memorising a bunch of intervals, & theory. The way I learned modes involves only needing to memorise one fretboard pattern and that pattern then repeats all over the fretboard. The beautiful thing about this is this “one 3 note per string pattern” contains all the modes and arpeggios within it. The popular seven 3NPS shapes are made from this single pattern too.
![OhGeesy x Lefty Gunplay - What It Iz [Official Music Video]](http://i.ytimg.com/vi/L0yzW9t2ixk/mqdefault.jpg)
The clarity of your instruction is a breath of fresh air. Thank you for your generosity and contribution to making the world a better place.
agreed
Mark, I could write volumes about how you've motivated me to play as well as you do! But, I'll keep it short by saying that of the literally hundreds of videos I've seen on many other channels, your videos are by FAR the BEST!! Don't ever stop making these outstanding videos! Thank you so much!
This is the most complete presentation of "The Modes" that I have found on RUclips. This guy can play Anything and Teach It as well...Well Done!
i’ve watched several videos trying to understand modes and this one finally gave me a decent understanding of them :,) thank you!
Merci Mark,
J'ai enfin trouvé les explications qui mettent en pratique les modes.
On trouve beaucoup d'explications théoriques mais jamais de mises en pratique musicale.
Merci encore pour ton excellente pédagogie.
Wow! Thank you for bringing me the knowledge I never had the patience to learn before. This is so clear and well explained, I feel I have a bigger brain every minute I spend watching your videos. I’m incredibly motivated to work on my bass as I never was before. Thank you very much for this!!!
You're the best bass teacher, Mark!
Your lessons are always the best, is not the only channel I follow, but when I want to understand something in a super clear way, here's where I find what I need.
Really, top notch, this channel makes you wanna jump on the bass and apply everything right away. Thank you!
Clear concise lessions mate a breath of fresh air, opposed those take half hour to concentrate on the topic..
Sir,you are the best bass teacher in RUclips my heartiest respect to you sir
Sir u r a perfect teacher
@31:13 to 34:05; man, I could listen to that for hours! That is way cool. Really digg'n those claw octaves too, the way you did that. Damn...Not enough views. You're way more concise and to the point then other bass teachers here on RUclips. No bibbley-bap aimless tangents, no holding back, just straight-up with the need-to-know info. Want moar
funny how i've recently been learning the Three Notes Per String method of learning the fretboard, and music theory makes a whole lot of sense now, as it connects the dots perfectly for learning these modes!
Finally I understood modes. So easy you when a good teacher make it simple. TOP.
I love the way you explain and play to back it up and then explain and play the next step. Thank you.
The pause button sure comes in handy on these videos.
Best tutorial ever!!! So efficient to remember all of these modes! BIG THANKS!!!!
One of the best lessons about these modes in the RUclipss! So grateful for these lessons, thank you very very much!
great great great..... love this but...... is it me or does the fingering board looks all backwards to me ???? Some please help me .... never learn with lessons but I was thinking its up-side-down
Thank you for all you do , much appreciated
i really like how c locrian sounds for some reason
Thank my friend for your teaching
Such a clear tutorial.. Thank you so much Mark.
What's the name of the app you mentioned in the video? Thanks a lot and keep it rocking, this channel is awesome!
THANK YOU FOR DISCUSSING MODES WELL
you managed to explain this better than my university prof
Great lesson as usual!!! If I am not mistaken, Frygian has a b2 (minor second). Probably just a typo.
I am a beginner here. Incredible lesson, but I have a question: If a band folks tell me "let's play in the key of C" (meaning C major scale), will I be "in tune" only if I play a bassline in the first mode "Ionion"? Or I will still be in tune with the band if I play any mode of the C major scale?
Great lesson and that tone, sounds great, what kind of amp are you using?
I love you. The best explanation ever, well done.
thanks to you i get used to play modes and scales
Another great lesson. Thanks Mark
Thank you for that simple explanation of modes... and HOW to apply this 🤜🏽💥🤛🏽 now I am able 2 understand what I practice lolz... Shot Mark 😁
Thank you Mark!
Your knowledge is unreal. Would you mind clarifying the theory behind the chords like the 9th, 13th and so forth. I'm unsure what this means given the 7 notes in which the scale is constructed. Thanks
I've got a whole bunch of lessons on extended chords at my channel but, to cut a long story short, think about a scale: 1234567 octave is 8 and then the next octave is 8,9,10,11,12,13,14,15. The 9th is just a 2nd but an octave higher. 11th is a 4th but an octave higher and a 13th is a 6th but an octave higher. The reason we use these higher compound interval names is because of how we stack thirds in creating chords: 1,3,5 for a triad. 1,3,5,7 for a seventh chord etc. 1,3,5,7,9,11,13 would be all the natural extensions. Just think of the 9th, 11th and 13th as 2nd, 4th and 6th. So a full 13th chord would be 1,3,5,7,2,4,6 instead of 1,3,5,7,9,11,13.
Hello,
These are great lessons you are doing, especially on explaining the modes, but I was wondering if you could help me understand it better?
You mentioned in your video that the when you go to the second mode, you start on a different note which is D and this starting on different notes for each mode applies to all seven modes, like starting on E for the third mode etc...
After you explain that, you say that you can play all the seven modes starting in the same note of C, which to me says that there are two different ways of playing these modes?
I think this is where all the confusion lies, when it comes time to explain the modes.
I would love it if you could let me know where I am going wrong in my understanding.
Thank you.
Yes you can play them in two different ways. Or at least kind of see them from two different perspectives. The patterns are the same no matter what. First of all we learn them relative to a major scale: C major, D dorian, E phrygian, F lydian etc. That gives us the basic construction of the scales but we don't have to be tied to the parent major scale. These are scales in their own right just like a harmonic minor scale, major pentatonic scale, blues scale etc. etc.
So we can take them away from the major scale and use them. That's why it's important to play them from different root notes. Playing them all from C gives a basic indication as to how we do this.
Remember though, they can still be used relative to the major scale if you want to. People often use modes as melodic material over certain chords in a key. So in C major, chord 2 is Dm7. You could play a Dm7 arpeggio over that but if you want some scale material you can either think of the notes of the parent key (C major) or use the D dorian mode. These are two different uses for the modes. Think of it as a diverse range of uses rather than a 'which one' situation.
Wonderful lesson, thank you for posting!!!
Been looking for this thx
Hey there, another great video here. I have a gear question. For some of the backing tracks, you appear to be going to a pedal on a board. Can you tell me (us) what you are using? I realize it is getting on to seven years ago, but thought I would ask. Thanks and stay safe.
Thank you Mark.
hi Mark thank you for your videos. I need all the scales at a slower pace no offense, down the neck... I've not learned all the notes up the neck yet. do you have that in your videos? i have a book of 3 in 1, and I'm having issues the moveable boxes... and I want to learn my bass. I'm learning songs tho. ...but the scales I really need to learn
Great lesson!!!! Thank you 🙏🏾
Thanks for the awesome lesson dude! :)
Thank you.
Hi so if I learn an A Dorian shape.
Can that same shape be used to play a C Dorian?
Starting off with bass and it's really confusing me
Mindblown
Hi Mark, I know it has been a while since the release of this video but I struggle for some clearance. You once said that the scale can be simplistically described as a pattern of available notes to use. So the example with the question: Let's say i'm in C Major making a riff. It is all fine but seem to be a little odd sounding although i is using only notes from C Major. How can i make sure that this riff is in C Major not in .let's say, D Dorian. Is it somehow related to the topic of the tension and release? As the root is the home and safe spot. Or we should always start a riff in C major from C note and riffs in D Dorian from D. I seem be fine with the concept of modes in general but this particular aspect just drives me nuts. Thanks for the lesson and your help in advance
Think of the harmony. The chord progression will dictate the mode. You could use the same melody over many different progressions. It's the progression that leads the way. This is why the study of harmony is sooooo important.
hi i have a question too sir. Example is the song only use a chord C D F does it mean i can only use the riff or mode of C D F? or i can use all modes even if the song only use the chord C D F?
Thank you
The best best best bass teacher im the internet
Thanks for clearing it up.
What is this model of Ibanez/ soundgear bass? Look like the old cheap Ibanez 300 from ten to twenty years ago, the old p and J pickups, love those still. That's gotta be better than the old sr 300 was just above generic, at about 300 bucks back then. Active, had that bass boost Robbie Meril from Godsmack had that same 4 knob configuration w bass boost. But he had humbucker on his 4 str, rare for them p and j ruled those 4 string back then. I've had many Ibanez bass guitars over the years I buy, trade, sell to try all the gear in existence. Lol. Though it's cheap I've run into a million different types SR 400. 4 stg black, the my drummer got us a SR 405, 5 string w humbucker. Then a fretless, version. And ive see 2 different wood grain models-- no paint models, neck through. Those we awesome. I had a SRX 500. Sound gear extreme w huge humbucker great for metal, sounds just like the band- Tool their bass guitar sounds identical. I had it stolen and my fender p bass and fender stratocaster. 2 nice maps, all stole and I'm to unwell to work a full time job, and my area is not good. I cant make enough to replace my bass or my fender stratocaster.
Sr1000
I thank you sir!
best teacher
I don't know why I just remember the ergodyne series from Ivan has those were so weird we dilute I adore lucite? Some kind of composite or something? I don't know because base is fantastic and makes me miss the sound of your bases I used to own like I said their previous column I had such a huge number of bases over years I was constantly buying trading and selling guitars basis and then some keyboards as well. I found the analog equipment is all the best I still use certain things for flame metal or going to look if I had my equipment. Then I had some equipment that was just for classic rock as well as the Stratocaster and the old Fender P bass and old generic a man 1960s I had was here then my Ibanez soundgear Xtreme and my 120 watt Bugera tube amp work for my bass work. I just can't placements just destroyed my soul man I really wish I could just get back into playing that stuff's storms been gone I got no way to replace it I got like no income my health is just terrible for 43 years old Hiley name it I'm not absorbing things right in my guts I'm having some kind of bleed my best to try and do Scopes and find it cost me to have worse anemia that I already had. I think I have some kind of autoimmune thing like Crohn's in like super far myalgia being a part of it as well and just terrible shape they thought I had Ms at first cuz I'm like shaking sick feeling a lot and weeks is really not good and doctors are barely helping it isn't really their kind of confused you're trying to sort it out a lot of people don't get diagnosed with like lupus and certain things until they're on their deathbed until the autopsy table I hate not being able to work full time and just I feel like a bum I hate it or stepping through the stuff I used to do is do Roofing in some real hard work my body can't handle anymore. So I do Pedley stuff but it doesn't really pay much I've never had a really good paying job I used to do Roofing didn't get pay the best for it but I mean it was decent now I'm just doing fairly small things and I can just barely pay the few pills I have to pay nothing left over for her beautiful face like that again it is sharp-looking I love the older soundgear style.
11:00 shows modes starting with G major. Then he does all the modes remaining on the "C" note.
So in the sheet music, would the notes up higher on the neck be with/ in the lower ledger lines? I'm a beginner with playing bass guitar. Thanks to whom ever answers my question.
I understand!
Is that one of them Hipshot drop-tuners on your E string?
All these videos, all these views and reviews, and I'm just noticing it. D:
Very useful....
Perfect
Hi.. Where can I get the drum beat to play along my bass line? Is there any application for it? TIA
awesome
You say that the C major scale has no incidentals, so that when you play D Dorian there are not any, but later you show it as having Dorian - 1 2 b3 4 5 6 b7 ... two flats? I'm confused. In your PDF you show the mode construction, having each mode having its own unique interval construction. How are these intervals derived?
The flat sign you see on the scale degrees doesn't refer to notes. It refers to the intervals. I'd recommend learning about intervals and scale degrees.
@@talkingbasslessons Do you have such a lesson?
@@Wom54Bat Work through the music theory for bass series I did years ago. There are nearly 500 lessons here on the channel and a load on basic theory. If you go over to Talkingbass.net and check out the Lesson Map you’ll find them all in there, organised by topic.
@@talkingbasslessons Thanks Mark, BTW I am working through your Walking Bass, the one that uses Fly me to the Moon, as it has taught me heaps. I will get onto your site and dive in.
What was that app again? IWILBRI... What?
Being a Filipino hard-wired listening and talking in American English accent makes me struggle a bit when listening to British accent.
Does this have to be in the key of? Like if we in C and had a chord progression we use that degree (mode) or use the shape of the mode or what. Ty
Think of the modes as numbers. I'll use key of C for this example. The first chord (C) matches the first mode Ionian, the second chord (Dm) matches the second mode Dorian, the third mode (Em) matches the third mode Phrygian, etc.
So if you were playing a song in key of C, and the song went to a Dm, you could use the Dorian mode to colour your line in a certain way. If the song went to a G, you could colour it with the Mixolydian mode. You don't have to (or want to) do this all the time. In fact, usually a chord will just be asking for you to play around the chord tones, as abusing the modes is overtly melodic and can disrupt whatever the other musicians are playing if you're not careful. But it's nice to have the option, especially if the other musicians are just playing grooving on some dominant chords. I like to save my modes for special moments personally, like if a song has a unique turnaround.
Now, in the video Mark did go into detail of the second way to use modes, but I would say you should practise the crap out of that method first and then go back and rewatch this.
what strings do you use?
I go through phases but at the moment I've just switched to D'addario Balanced Tension Sets. Before that I had my own custom progressive set of .110, 80, 60, 40
The E string seems to buzz in this video, why is that?
I often get confused when people use the word mode,shape and pattern interchangeably.
question can you also learn it by using numbers like 1-7?
Yes you can. Learn scales and arpeggios in every way you can. Major is 1234567, Dorian is 12b3456b7, Phrygian is 1b2b345b6b7 etc.
♥️♥️♥️♥️♥️♥️♥️♥️
Around 25 minutes you are just showing of :D :D
“If we take the same set of note’s but play them from D to D, we have a completely different set of notes.” (🤔 I think you’ll find it’s the exact same set of notes, just in a different order)
Modes are just that… Same as the original diatonic(Major scale) just from a different perspective. There’s only one fretboard configuration to learn not seven completely different/unrelated scales to map out. THIS is the misinformation I had to deal with for many years and if you just disregard this false information (“that modes are scales in their own rights”) the you’ll progress one hundredfold.
D Dorian is not the same as C Major. It's the same notes but not the same intervallic construction and relation to the tonic chord.
Dorian has a minor 3rd, Major has a Major 3rd, Dorian has a minor 7th, Major has a Minor 7th. Modes are totally scales in their own right.
If you are soloing over So What, you can't look at it as C major. It's D Dorian (and Eb Dorian). The harmony is everything and everything relates back to the harmony.
If you're going to see modes as only relative to the parent major scale then there's no real reason for learning them and it's one of the reasons I tend to avoid talking about them to students until waaaay after chord construction principles, chord tone use etc.
@@talkingbasslessons I can play over changes without ever thinking about intervals. My point is when you play D Dorian the “fretboard configuration” is the exact same as C Major. All the seven diatonic chords, arpeggios/chord tones for that key are the exact same, nothing changes.
You don’t need to know anything about the intervals to play any of the diatonic modes. (Although it’s fine to learn that stuff)
e.g: If I’m playing Dorian, I know it’s the second harmonic environment of the Major scale, so I start on that note. I don’t need to think of the parent Major scale and do any calculations, I just start playing it’s scale shape. But importantly I know where all the other diatonic arpeggios/chord tones, chords and modes are within the key I’m playing, because it’s the exact same diatonic fretboard configuration I learned for the Major scale.
Then I shift the “5th note” up one fret, now I have the Harmonic minor scale, with all it’s modes, chords and arpeggios. Same sort of procedure for the melodic minor.
Don’t know if you get what I’m trying to say here, as it’s hard to get across in a comment.
The problem is when a certain way of teaching becomes popular, every one jumps on that bandwagon and teach the same way, (the hard way) popular doesn’t mean the best.
There are much easier ways to learn modes than memorising a bunch of intervals, & theory. The way I learned modes involves only needing to memorise one fretboard pattern and that pattern then repeats all over the fretboard. The beautiful thing about this is this “one 3 note per string pattern” contains all the modes and arpeggios within it. The popular seven 3NPS shapes are made from this single pattern too.
11:33 smh, guitarists and their misleading tips..
He lost me on this one