Although I have learned more theory later in life, I started playing guitar just by ear. In pre-internet days, the only way to learn was to listen to records. I had put together both major and minor pentatonic scales (of course, without knowing what they were called - I just remembered shapes on the neck relative to where I played the root chord) and understood their voice and where to use them fairly easily and was content with that for years. And then Passion and Warfare came out. In particular, The RIddle was the first time I was hearing sounds I didn't know how to reproduce. At first I just thought they were magical Steve Vai scales, but after listening a lot and learning to copy, I came up with the realization that they were all just different major scales played over a different root. So you could play a D major scale over E, or an A major scale over E or a B major scale over E, and get these unique colorings. I never learned them as different intervals within a single key - I just thought of them as different major scales. Even now that I know what modes are, this mental model still seems simpler to me. Instead of memorizing 7 different scale shapes, I memorize 1 and learn to play it in every key. Then all I have to know is which major scale over a given root, gives me the sound I want.
Wow that's how I think of them as well. Using different major scales over certain chords or particular keys to achieve the sound of a particular mode. For example if I want to play a Dorian mode over Am I will play a G major scale or Em scale since they are both the same notes. That was always easier for me than thinking in terms of having to play a sharp or flat note in that scale
This is pretty much nail on the head just remember to accent your root by ending and starting on it. If you play e min scale for example over a minor chord you would want to still end on that a to stay in the a dorian mode since a Dorian begins and ends on a.
There's even a better way to get into modes. When you play a minor pentatonic scale, you leave out the 2nd and 6th degree of a mode. By filling these holes you create the dorian (2 & #6), aoelian (2 & & 6) and the phrygian (b2 & 6) modes. Then you take a major pentatonic and do something similar, and complete the scale with a 4th and a 7th. Ionian (4 & 7), lydian (#4 & 7) and mixolydian (4 & b7). I've taught it like thar for decades,.Anyway. This method has a least 2 big advantages over every other approach I'm familiar with. 1st: you build modes on something you already know, and 2nd: the notes you add, are actually the ones that give you the characteristic sound of the scale PS: Long live Reverend guitars :-)! PPS: For locrian you obviously need a b2 and a b5, so you would have to alter the 5th of your minor pentatonic, but - honestly - the last time I could have used locrian (must have been in the early 90ies), I probably played a half-diminished arpeggio ;-).
@@robn.7426 I prefer making music to making videos, but if you have a specific question, just ask. It's easier than it sounds. Here's my email: vikbeck@gmx.at
Awesome lesson. I went through the same thing learning modes. I would relate everything to the parent key when I was playing over the progression which allowed me familiarity with the scale pattern, but my licks didn't really sound as modal as they could/should. I started doing what you are doing over a cello drone and it finally clicked in. Wish I had you for a teacher from the beginning.
wow….just Thanks! i can say no more. i started playing 2 years ago, i have memorized the 7 modes and i started to doddle around with them being able to get fragments of good sound. this exercise is a really important piece to the understanding of modes. Again thanks for adding value to my guitar journey ❤👍💪
James Scott Nicholson, Ontario, Canada! I am so glad to see someone breaking down the modes, into 7 note Patterns. They are confusing enough as they are, especially when they’re transcribed into14 to 20 note patterns... in the process of learning my scales I have always had no problem figuring out the rest of the notes all over the fretboard, Hence as you say simply mastering all the notes on the fretboard. For example through this Covid period,I have taught myself theory. In the last month I started taking my major and minor scales in seven note forms, and transcribing them all over the neck. It makes it so much easier just looking at the seven notes you need. PS I had a lot of fun doing it, so now I have a model template??? I can start transcribing them all over the neck. Thanks a lot this makes so much more sense and I’ve been on modes For six months now. Top left
Exploring the sounds of the three majors...their differences and unique color ... "as a group"...then the minors in the same way... a great way to get the feeling of each... thank you David
finally got my head around pentatonic and can apply it in my playing so trying to move on to modes and I feel like it's jumping from simple addition and subtraction to calculus.
I understand the modes, it took me a while and I am still learning. But it is always refreshing to find a new take on them to illustrate their usage and how their relative brightness to darkness colours the music. Kudos for another great video Dave. Long time subscriber. p.s. Who down votes this quality stuff???
This is not really a new way. It's called 'Parallel scales -' as opposed to Relative Scales. Jazz guitarist John Scofield covered this in his video over 30 years ago. The Relative scale approach also takes more theory knowledge and is more abstract .
@@xwinglover The Relative approach is mostly the (classical) school way which doesn't work for a lot of pop/rock player guitars. I prefer the Parallel approach, but I can still figure out the relative modes if I need to If you can pass high school Math GED, you can figure the Relative approach also.You just have to spend a bit of time memorizing the Major scale.
I have watched literally dozens of your very informative videos and only, just now, have a grasped why you always refer to the "magnet." I suspect this is a breakthrough (after some 50 years of playing guitar, by the way - often not particularly well).
This explanation is helpful, seeing each mode as it’s own scale as opposed to relating everything to the major scale. Because each scale still sounds like E, in this case instead of starting each mode on each note of the major scale which completely changes the tonal quality of each scale.
This is something I always meant to chart out for myself. I agree... the classical way to learn them is to build them from each note in a given scale.. but then they aren't using the same 'magnet' and aren't in the same key.. this is FAR better and more concise. Kudos on a great tutorial!
Music theory is a funny thing. When I started learning to play guitar, I thought learning music theory would teach me how to play. I came to realize that it's more about teaching me to understand what it is I've been trying to do, so I can do it more consciously and effectively. Without thinking of it in those terms, I've been playing around with that magnet note thing you described for a while, and your are description just made it all click into place for me. I was able to make the connection to how that works with modes. Now I can take off and run with it.
when I'm practicing these modal improves i like to think of other songs i know that use that mode ..if i can. just helps me recognize it and distinguish the differences Thank you for sharing this with us
Great way to learn the feel of the different modes. I found playing chord triads on the 5,4,3 strings using notes from the modal scales and then soloing over those also helped pick up the feel
They call these parallel vs relative. Relative modes where you start on the position within the diatonic scale and parallel when you play each mode starting on the tonic.
Hi David, I discovered you in True fire... I bought your course Pentatonics DNA, I'm studying it very carefully. Now I discovered your free course and your website with free clinics course too. I also saw that you have other two courses on TrueFire, so there's a lot to look at. I ask you a suggestion please: after studying your Dna Pentatonic course which is the natural prosecution of the learning path? TrueFire course on caged dna, your free course,..... can you give me a suggestion please? Thanks again and congrats! You're a great teacher! Alessandro
"...three fit into a major pentatonic shape really nicely, three fit into a minor pentatonic shape really nicely, and the other one is horrible." Guthrie Govan
Hi David! Very nice course! Thx. Registred and booked your lessens. I couldn’t find the chart you showd in your video at 9:20? Where can I find it? Very helpful!!
The way I figured it out was that The major scale goes do re mi fa sol la ti do. So That means in ionian mode you're going from do to do , in the dorian mode you're going from re to re and so on and so on.
The magnet is the root of the mode being played. For these examples the magnet is E. The root of the key is different depending on what mode is being played. For example the parent key for E Dorian is D major. The parent key for E Mixolydian is A. The backing chords to maintain a modal sound are: Dorian: i - IV Phrygian: i - bII Lydian: I - II Mixolydian: I - bVII Hope this helps.
Hello David , A long time subscriber of your super video tutorials here , i also have purchased all of your content , so i do have a lifetime supply of material to mess around ! I usually do not ask quetions in the comments . This video was extremely useful for me in the path of understanding modes . Also the DNA was an eyeopener to me in order to play modes without having to learn so many scale positions. I need a clarification to further understand modes . Say i am playing A dorian scale with the Magnet , pedaltone A its clear that i am in the A dorian mode. Going with the harmonization i have the IV as Dmaj and v as E min . If i am stile playing the same scale over this chords i supose that i not playing A dorian anymore ... right ? Which modes am i playing now with the A dorian scale over Dmaj and E min ?? Thanks a lot for your reply . Stephan Cheers from Switzerland ... bonne jounée !
Hi Stephan, I think you are ALWAYS in A dorian, no matter if you changhe chords. I make a simpler example: A- D E- (dorian i IV v) could be similar to play in G ionian (in this case chords became ii V vi). Remaining in ionian mode try to think a simpler C ionian (no "#", no "b"): in I IV V chords are changing but you are always playing a C ionian scale. So... In you case you are always playing A dorian over de D and the E-.
It depends on your point of view. You could argue that your whole chord progression is made up of the A Dorian scale and therefore call your melody stays in A Dorian all the time as well. You could however argue that you have the choice to change scales for every chord and therefor give each the scale a new name corresponding to each of the chords roots. This would be D Mixolydian and E Aeolian. This concept is being used in jazz music all the time. You would often pick a new scale for each chord, just take care that the scale does include the chord tones or at least doesn't clash with them. Using the minor pentatonic over a major chord progression is kinda a similar idea.
Lydian has a raised 4th, . relative minor is built on the 6th. Mixolydian has a lowered 7. btw, why does the minor sound indecisive? because it lacks resolve!
Hi Dave.Small correction, Aeolian is not natural a minor chord it's the the relative minor to the key of C.Natural minor chords in this key would be D Dorian and E Phrygian.Not trying to be a smart ass just I see this common mistake made a lot.Love your videos.Also would like to see a video explaining how the modes can be used to establish what key your in.This is a powerful tool that I don't see anyone explaining the basics on.Anyhoo God Bless and keep em coming.
Thanks a lot for the nice words and input! I’ve always understood the natural minor scale to be a scale that follows the following blueprint: 1 2 b3 4 5 b6 b7 Isn’t that what it is?
@@Wallimann Hi Dave.I thought so also until I saw a video by Tomaso Zillio on the difference.Here's a link to that video.ruclips.net/video/J_YEAifF9rc/видео.html He explains it much easier then I could with a reply.You him and a few other youtubers are my go to guys for guitar. Jump to 6:12 in the video the earlier part is just basics leading up to the difference between the scales used in this context of theory.Aeolian(stand alone) and Natural minor which includes the Harmonic minor,Melodic minor (ascending and descending).
It's the harmony you use that makes the modes you play. Without the tonal center of a progression you cannot understand what difference does it make to start your scale establishment from the other notes of the major scale.
This I found myself. I learned the modes during COVID lockdown and it progressed from just the patterns . I actually considered trying to explain this in a video because I have never seen anyone else show it this way . I think this is the way it makes the most sense and that each of the patterns moves vertically. Because the b string confused me when I learned the patterns horizontally. Thx
So what is going on with the Imperial March Theme in Star Wars? It's very dark, sinister, death, gloom and doom sounding. A mixture of some the minor scales, a hybrid scale, some passing tones perhaps? It doesn't seem to fit one scale and changes key one might say.
The main theme is in Bb major (with a hint of mixolydian) and then it goes to the parallel minor key (G minor) and sticks mainly with the G aeolian mode.
I used gemini ai to teach me about modes, it has no ego trying to impress me with word salad. Now that I watch these again its amazing how they like to throw in useless terminology to sound impressive
Hi you had a video and you made a store with it It was with a note some one left you with tips It was a bit like a fairytale. Can you direct me to it please 🎶🎶🖤🎶
HOW WOULD YOU SUGGEST SOMEONE TO FOCUS (APPROACH) ON INTERVALS.... AS OPPOSED TO NOTES...I CAN PLAY ANYTHING I CAN HUMMM...BUT IM TRYING TO GET ON ANOTHER LEVEL OF IMPROVISING
If you break down modes they’re basically the same scales. Different keys.For instance if you have A major scale the A minor scale is b3 b6 b7 so A minor is basically C Major so playing C major is A minor and A Dorian is b3 b7 so G major Is A Dorian because if you write the notes out after you b3 and b7 of A major scale they are the same notes as G major scale. If you want to play Am play C major scale if you want to play A Dorian play G major scale. This is how I relate so you don’t learn different scales
You can not understand the modes, if you don't know the origin. The time was before church and even before Crist. You can read about it at Platon and Arisdoteles. The mode is defined by the finalis, that is ls the LAST tone of the line. You want to define the mode by the first tone and have a problem of understanding. Every mode has his own character. Dorian is male and powerful, Phrygian is the mode of sorrow, Lydian is playful, Lokrian was not defined because it was hardly used. So you need Lyrics to decide the mode! The meanig has changed with Guido of Arezzo, who looked at the beginning of the line and called the result still modes. He invented the solmisation. Do, Re, Mi, Fa, Sol, La, Ti, Do. A line, that STARTS with Re is dorian. Same word, different meaning, the reasion for all this confusion. So first you have to decide the meaning of "modes". Do you really want to combine your music with old church music? You are bluesplayers, so combine your music with Irish or Norwegian folk style. Here you can listen to modal music in the old meaning.
@@Wallimann I know. You talk about logical difficulties in combination with modes. To avoid this, you have to go back to the origin, Platon and Aristdoteles. The modes and their characters. You are anywhere else, talk about modes, but it is something different. You look for the logic of it. You can keep on going your way, I don't mind.
Be weary of this . More then lijelyva rip off I tryed to get this can't confirm or log in . Tryed emailing them but can't it won't answer questions either. I have to get ahold of PayPal to get a return
Hey Dennis, I’m so sorry I never saw your email. I even did a search for your name but it didn’t show up. I’m sorry the tracks didn’t work out for you man!
![DDG & G Herbo - Nosey [Official Video]](http://i.ytimg.com/vi/I9Ra0Zc2NlQ/mqdefault.jpg)
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I really like this idea of picking the open E and practicing the modes over top of it. Really cool exercise.
You’re the first teacher I’ve heard teach this right, from an emotional perspective!
Although I have learned more theory later in life, I started playing guitar just by ear. In pre-internet days, the only way to learn was to listen to records. I had put together both major and minor pentatonic scales (of course, without knowing what they were called - I just remembered shapes on the neck relative to where I played the root chord) and understood their voice and where to use them fairly easily and was content with that for years. And then Passion and Warfare came out. In particular, The RIddle was the first time I was hearing sounds I didn't know how to reproduce. At first I just thought they were magical Steve Vai scales, but after listening a lot and learning to copy, I came up with the realization that they were all just different major scales played over a different root. So you could play a D major scale over E, or an A major scale over E or a B major scale over E, and get these unique colorings. I never learned them as different intervals within a single key - I just thought of them as different major scales. Even now that I know what modes are, this mental model still seems simpler to me. Instead of memorizing 7 different scale shapes, I memorize 1 and learn to play it in every key. Then all I have to know is which major scale over a given root, gives me the sound I want.
Wow that's how I think of them as well. Using different major scales over certain chords or particular keys to achieve the sound of a particular mode. For example if I want to play a Dorian mode over Am I will play a G major scale or Em scale since they are both the same notes. That was always easier for me than thinking in terms of having to play a sharp or flat note in that scale
Me too. it's a much simpler concept to grasp.
@@guitello100 Of course? as long as your bass note (the magnet) is A, every G major mode you play over that A will sound dorian.
This is also how I’ve approached it and the only way my pea brain can comprehend 🤣
This is pretty much nail on the head just remember to accent your root by ending and starting on it. If you play e min scale for example over a minor chord you would want to still end on that a to stay in the a dorian mode since a Dorian begins and ends on a.
As a drummer moving to guitar and bass recently, this was extremely helpful. Thank you!
me too! :)
yes, i am😍😍
There's even a better way to get into modes. When you play a minor pentatonic scale, you leave out the 2nd and 6th degree of a mode. By filling these holes you create the dorian (2 & #6), aoelian (2 & & 6) and the phrygian (b2 & 6) modes. Then you take a major pentatonic and do something similar, and complete the scale with a 4th and a 7th. Ionian (4 & 7), lydian (#4 & 7) and mixolydian (4 & b7). I've taught it like thar for decades,.Anyway. This method has a least 2 big advantages over every other approach I'm familiar with. 1st: you build modes on something you already know, and 2nd: the notes you add, are actually the ones that give you the characteristic sound of the scale
PS: Long live Reverend guitars :-)!
PPS: For locrian you obviously need a b2 and a b5, so you would have to alter the 5th of your minor pentatonic, but - honestly - the last time I could have used locrian (must have been in the early 90ies), I probably played a half-diminished arpeggio ;-).
You deserve shit for going on the man's channel and being that one-upping-know-it-all, but, I gotta give you credit. That's good information.
I understood his video, but don't understand your comment. Making your own video of this would help a lot more than your comment.
You obviously don't know how to play jazz.
@@stuntdouble777 Shit, I didn't think it was that obvious :-( ... ;-)
@@robn.7426 I prefer making music to making videos, but if you have a specific question, just ask. It's easier than it sounds. Here's my email: vikbeck@gmx.at
Awesome lesson.
I went through the same thing learning modes. I would relate everything to the parent key when I was playing over the progression which allowed me familiarity with the scale pattern, but my licks didn't really sound as modal as they could/should.
I started doing what you are doing over a cello drone and it finally clicked in. Wish I had you for a teacher from the beginning.
Best RUclips Guitar Lesson in a long time! Not only can you see the subtle differences between each mode, they are fun to play around with.
THANK YOU for making modes easier to understand! This is one of your BEST lessons yet!
wow….just Thanks! i can say no more. i started playing 2 years ago, i have memorized the 7 modes and i started to doddle around with them being able to get fragments of good sound. this exercise is a really important piece to the understanding of modes. Again thanks for adding value to my guitar journey ❤👍💪
James Scott Nicholson, Ontario, Canada! I am so glad to see someone breaking down the modes, into 7 note Patterns. They are confusing enough as they are, especially when they’re transcribed into14 to 20 note patterns... in the process of learning my scales I have always had no problem figuring out the rest of the notes all over the fretboard, Hence as you say simply mastering all the notes on the fretboard. For example through this Covid period,I have taught myself theory. In the last month I started taking my major and minor scales in seven note forms, and transcribing them all over the neck. It makes it so much easier just looking at the seven notes you need. PS I had a lot of fun doing it, so now I have a model template??? I can start transcribing them all over the neck. Thanks a lot this makes so much more sense and I’ve been on modes For six months now. Top left
I normally couldn't care less about online lessons. Buy really waiting for your course. Please tell me there will be one 🙏
Exploring the sounds of the three majors...their differences and unique color
... "as a group"...then the minors in the same way... a great way to get the feeling of each... thank you David
You've become one of my favorite instructors, David. Keep up the great work!
finally got my head around pentatonic and can apply it in my playing so trying to move on to modes and I feel like it's jumping from simple addition and subtraction to calculus.
I understand the modes, it took me a while and I am still learning. But it is always refreshing to find a new take on them to illustrate their usage and how their relative brightness to darkness colours the music. Kudos for another great video Dave. Long time subscriber.
p.s. Who down votes this quality stuff???
This is not really a new way. It's called 'Parallel scales -' as opposed to Relative Scales. Jazz guitarist John Scofield covered this in his video over 30 years ago. The Relative scale approach also takes more theory knowledge and is more abstract .
peter kett no it’s not new but to me it gave me a fresh perspective on how to understand them.
@@xwinglover The Relative approach is mostly the (classical) school way which doesn't work for a lot of pop/rock player guitars. I prefer the Parallel approach, but I can still figure out the relative modes if I need to If you can pass high school Math GED, you can figure the Relative approach also.You just have to spend a bit of time memorizing the Major scale.
Wow, thanks so much! I’ve been struggling to understand and remember the formula for modes. This is a huge help!
I have watched literally dozens of your very informative videos and only, just now, have a grasped why you always refer to the "magnet." I suspect this is a breakthrough (after some 50 years of playing guitar, by the way - often not particularly well).
Really hypnotic playing. Loved it. You can hear the subtle differences against that droning E note.... The "magnet" as David calls it
This explanation is helpful, seeing each mode as it’s own scale as opposed to relating everything to the major scale. Because each scale still sounds like E, in this case instead of starting each mode on each note of the major scale which completely changes the tonal quality of each scale.
This is something I always meant to chart out for myself. I agree... the classical way to learn them is to build them from each note in a given scale.. but then they aren't using the same 'magnet' and aren't in the same key.. this is FAR better and more concise. Kudos on a great tutorial!
Dude since years ago i've tried to understand modes untill i check that vidéo ... Thé best WAY for me thank you so much
Music theory is a funny thing. When I started learning to play guitar, I thought learning music theory would teach me how to play. I came to realize that it's more about teaching me to understand what it is I've been trying to do, so I can do it more consciously and effectively. Without thinking of it in those terms, I've been playing around with that magnet note thing you described for a while, and your are description just made it all click into place for me. I was able to make the connection to how that works with modes. Now I can take off and run with it.
when I'm practicing these modal improves i like to think of other songs i know that use that mode ..if i can. just helps me recognize it and distinguish the differences
Thank you for sharing this with us
By far the best video on the topic, thanks!
Great way to learn the feel of the different modes. I found playing chord triads on the 5,4,3 strings using notes from the modal scales and then soloing over those also helped pick up the feel
Super useful! Really makes sense now. I love the different feeling one can create using modes.
Woooow your teachings is pure. Thank you! I Wish i have known this 10 years ago! Playing catch up now..
"Magnet" is really helpful!
You are such great teacher ! Love your stuff and learning fast
Bro, this is awesome. This really help me get more melody focus on my songwriting
I gotta tell ya David, you sure know your way around that guitar fret board. New fan here!
Fantastic lesson! I"m a new fan!
This was awesome thank you!
They call these parallel vs relative. Relative modes where you start on the position within the diatonic scale and parallel when you play each mode starting on the tonic.
Hi David, I discovered you in True fire... I bought your course Pentatonics DNA, I'm studying it very carefully. Now I discovered your free course and your website with free clinics course too. I also saw that you have other two courses on TrueFire, so there's a lot to look at. I ask you a suggestion please: after studying your Dna Pentatonic course which is the natural prosecution of the learning path? TrueFire course on caged dna, your free course,..... can you give me a suggestion please?
Thanks again and congrats! You're a great teacher! Alessandro
This is a great video. Very inspiring content. Thanks man. Definitely subscribed!
This is fantastic. Helped immensely
C'est génial et pourtant simple, merci !
Awesome yet simple, thank you !
Thanks David for this lesson! Subscribed!
Nice Reverend. I have 4 different models and would like to get more.
"...three fit into a major pentatonic shape really nicely, three fit into a minor pentatonic shape really nicely, and the other one is horrible." Guthrie Govan
Excellent lesson, btw. Thank you!
Super Leçon David. Thanks a lot
David, that was a great video. Thanks!
Absolutely brilliant lesson.
Hey thank you, very useful! But I cannot download the file anymore
Best lesson I've seen on Modes !
Thank you sir for the lesson🙂👍
now it make sense, thanks great Video
Hi David! Very nice course! Thx. Registred and booked your lessens. I couldn’t find the chart you showd in your video at 9:20? Where can I find it? Very helpful!!
Thank you!
Email me at support@guitarplayback.com and we’ll help you out!
I will now agree that you are the Bob Ross of guitar lessons, and this is a great video
6:23 Hello Star Wars theme
Yes, because major is happy sounding, victorious, achievement etc
Just brilliant!!!
FINALLY....SOMEONE WHO MAKES SENSE WHEN IT COMES TO MODES....AND IM A BASS PLAYER.............DO YOU POST ALL THE TIME?????
Thanks so much! Yes, new videos are published each Mondays and Thursdays.
I've been knocking myself out for years trying to toss a model riff in.
I finally get it
Outstanding lesson.
love that Reverend guitar!
You are great teacher.
And I would to be one of your students.
The way I figured it out was that The major scale goes do re mi fa sol la ti do. So That means in ionian mode you're going from do to do , in the dorian mode you're going from re to re and so on and so on.
Well duhhh
@@jootpepet Up yours.
Excellent lesson!
Thank you David
Hey there, magnet = root of the chord of the key ! Yes ?
The magnet is the root of the mode being played. For these examples the magnet is E. The root of the key is different depending on what mode is being played. For example the parent key for E Dorian is D major.
The parent key for E Mixolydian is A.
The backing chords to maintain a modal sound are:
Dorian: i - IV
Phrygian: i - bII
Lydian: I - II
Mixolydian: I - bVII
Hope this helps.
@@neilrobinson7615 Hey , no offense but I think you might want to review and fact check what you wrote here. Just a friendly comment.
@@jamescalka1280 Hi James, why what is incorrect?
谢谢你的分享，讲的太好了。化复杂到简单。
Thanx.
What is the model of your Guitar? I Love it ❤
This is helpful, thank you.
Hello David ,
A long time subscriber of your super video tutorials here , i also have purchased all of your content , so i do have a lifetime supply of material to mess around !
I usually do not ask quetions in the comments .
This video was extremely useful for me in the path of understanding modes . Also the DNA was an eyeopener to me in order to play modes without having to learn so many scale positions.
I need a clarification to further understand modes .
Say i am playing A dorian scale with the Magnet , pedaltone A its clear that i am in the A dorian mode. Going with the harmonization i have the IV as Dmaj and v as E min . If i am stile playing the same scale over this chords i supose that i not playing A dorian anymore ... right ? Which modes am i playing now with the A dorian scale over Dmaj and E min ??
Thanks a lot for your reply .
Stephan
Cheers from Switzerland ... bonne jounée !
Hi Stephan, I think you are ALWAYS in A dorian, no matter if you changhe chords. I make a simpler example: A- D E- (dorian i IV v) could be similar to play in G ionian (in this case chords became ii V vi). Remaining in ionian mode try to think a simpler C ionian (no "#", no "b"): in I IV V chords are changing but you are always playing a C ionian scale. So... In you case you are always playing A dorian over de D and the E-.
It depends on your point of view. You could argue that your whole chord progression is made up of the A Dorian scale and therefore call your melody stays in A Dorian all the time as well. You could however argue that you have the choice to change scales for every chord and therefor give each the scale a new name corresponding to each of the chords roots. This would be D Mixolydian and E Aeolian. This concept is being used in jazz music all the time. You would often pick a new scale for each chord, just take care that the scale does include the chord tones or at least doesn't clash with them. Using the minor pentatonic over a major chord progression is kinda a similar idea.
it enlightens me....thank you thank you 😊🙏
Lydian has a raised 4th, . relative minor is built on the 6th. Mixolydian has a lowered 7.
btw, why does the minor sound indecisive? because it lacks resolve!
Just won a new subscriber. Very nice video! :)
It is very helpful thanks
Hi Dave.Small correction, Aeolian is not natural a minor chord it's the the relative minor to the key of C.Natural minor chords in this key would be D Dorian and E Phrygian.Not trying to be a smart ass just I see this common mistake made a lot.Love your videos.Also would like to see a video explaining how the modes can be used to establish what key your in.This is a powerful tool that I don't see anyone explaining the basics on.Anyhoo God Bless and keep em coming.
Thanks a lot for the nice words and input! I’ve always understood the natural minor scale to be a scale that follows the following blueprint:
1 2 b3 4 5 b6 b7
Isn’t that what it is?
@@Wallimann Hi Dave.I thought so also until I saw a video by Tomaso Zillio on the difference.Here's a link to that video.ruclips.net/video/J_YEAifF9rc/видео.html He explains it much easier then I could with a reply.You him and a few other youtubers are my go to guys for guitar. Jump to 6:12 in the video the earlier part is just basics leading up to the difference between the scales used in this context of theory.Aeolian(stand alone) and Natural minor which includes the Harmonic minor,Melodic minor (ascending and descending).
I have a hard time getting my head into the flavor of Dorian for some reason. Any songs I could listen to to wrap my head around its flavor?
Modes are moods don’t forget the magnets
Thank you so much..
another great view
It's the harmony you use that makes the modes you play. Without the tonal center of a progression you cannot understand what difference does it make to start your scale establishment from the other notes of the major scale.
This I found myself. I learned the modes during COVID lockdown and it progressed from just the patterns . I actually considered trying to explain this in a video because I have never seen anyone else show it this way . I think this is the way it makes the most sense and that each of the patterns moves vertically. Because the b string confused me when I learned the patterns horizontally. Thx
Very helpful.
Thought you were going to play Welcome Home (Sanitarium) by Metallica! @ 6:02 🤘😜🤘
I didn't realize it until this video, but David reminds me of Kumail Nanjiani.
Modes are moods
What if the magnet note changes?
So what is going on with the Imperial March Theme in Star Wars? It's very dark, sinister, death, gloom and doom sounding. A mixture of some the minor scales, a hybrid scale, some passing tones perhaps? It doesn't seem to fit one scale and changes key one might say.
The main theme is in Bb major (with a hint of mixolydian) and then it goes to the parallel minor key (G minor) and sticks mainly with the G aeolian mode.
What kind of chair do you have. I have bee looking for one that the arms fold up on and I can't seem to find one. any help appreciated. Thanks
Link is in the bottom of the description! :)
@@Wallimann Thanks!
Good stuff.
thanks!!
I used gemini ai to teach me about modes, it has no ego trying to impress me with word salad. Now that I watch these again its amazing how they like to throw in useless terminology to sound impressive
Not at all man, just using the correct terminology - that's all!
Hi you had a video and you made a store with it It was with a note some one left you with tips It was a bit like a fairytale. Can you direct me to it please 🎶🎶🖤🎶
Hey Paul, was it this one?
I had no idea the pentatonic scale could do this!
ruclips.net/video/WDJ0OYSLcjQ/видео.html
I love this!!! I can't wait until I can figure out what the hell is going on !!!
Don't hold your breath.
😂😂😂
Why did the notes changed when you moved to Lydian mode? 6:52
Lydian has a #4 note.
the way to know how modes work and sound is to use them
Love the Reverend!
HOW WOULD YOU SUGGEST SOMEONE TO FOCUS (APPROACH) ON INTERVALS.... AS OPPOSED TO NOTES...I CAN PLAY ANYTHING I CAN HUMMM...BUT IM TRYING TO GET ON ANOTHER LEVEL OF IMPROVISING
If you break down modes they’re basically the same scales. Different keys.For instance if you have A major scale the A minor scale is b3 b6 b7 so A minor is basically C Major so playing C major is A minor and A Dorian is b3 b7 so G major Is A Dorian because if you write the notes out after you b3 and b7 of A major scale they are the same notes as G major scale. If you want to play Am play C major scale if you want to play A Dorian play G major scale.
This is how I relate so you don’t learn different scales
You can not understand the modes, if you don't know the origin. The time was before church and even before Crist. You can read about it at Platon and Arisdoteles.
The mode is defined by the finalis, that is ls the LAST tone of the line. You want to define the mode by the first tone and have a problem of understanding.
Every mode has his own character. Dorian is male and powerful, Phrygian is the mode of sorrow, Lydian is playful, Lokrian was not defined because it was hardly used. So you need Lyrics to decide the mode!
The meanig has changed with Guido of Arezzo, who looked at the beginning of the line and called the result still modes. He invented the solmisation. Do, Re, Mi, Fa, Sol, La, Ti, Do. A line, that STARTS with Re is dorian. Same word, different meaning, the reasion for all this confusion.
So first you have to decide the meaning of "modes". Do you really want to combine your music with old church music? You are bluesplayers, so combine your music with Irish or Norwegian folk style. Here you can listen to modal music in the old meaning.
Not talking about the original use of modes.. but rather the more modern way as in parallel modes.
@@Wallimann I know. You talk about logical difficulties in combination with modes. To avoid this, you have to go back to the origin, Platon and Aristdoteles. The modes and their characters.
You are anywhere else, talk about modes, but it is something different. You look for the logic of it.
You can keep on going your way, I don't mind.
I appreciate it!
it's not clear what you mean by a "magnet' or how to create one other than just playing a drone note over and over.
The distortion makes it one step harder to follow.
MODAL ARPEGGIOS LESSON PLEASE........
Is your Reverend one of the models that is larger than a regular guitar? Like Greg Koch's
No, just a standard size!
Greg is a Mansquatch -- a huge, tall guy -- so all guitars look like 2/3 scale models in his hands
Be weary of this . More then lijelyva rip off I tryed to get this can't confirm or log in . Tryed emailing them but can't it won't answer questions either. I have to get ahold of PayPal to get a return
Hey Dennis, I’m so sorry I never saw your email. I even did a search for your name but it didn’t show up. I’m sorry the tracks didn’t work out for you man!