I'm half way through on this one and I think I see where you are going. As a parallel to what you are trying to achieve here (getting a flavor for a mode against a root), this is what I would advise anyone to do when they finish your excellent lesson: Learn every single one of the modes against the root note of an open E (lower) string. Sure, some shapes may be a bit weird, but on the whole it will stand you in excellent stead for transposing down (up) the neck with the Root being on the Low E string. Just go to JGuitar and look up all the different modes and set the Root (tonic) to the bottom E. While droning away on the E, and playing the rest of the notes, you will find out what the flavour of each of the modes are. Basically you are just using the easiest drone string on an electric guitar (the bottom E) as a reference point against the different sharps and flats you will incorporate while changing through the modes. Once you can play every single mode in the key of E (bottom drone string), then you will be able to transpose up and down the neck (see the Slight diversion below). Slight diversion: ============================== For example, if you learn E Phrygian, you will realise that it is exactly the same shape and fingering as A minor, but with the E Phrygian starting on the bottom E and A minor starting on the A string. Now, armed with this knowledge, you will be able to transpose along the neck and the required root note. This is all within the same key btw, which happens to be C Major, so C Ionian is exactly the same shape but starting on a C. There you go - 3 modes of C Major - one shape - all with the bottom E as the starting *point* (it is only the root for the Phrygian). Obviously, only the Phrygian mode with the bottom E is a proper *mode*. If you played A Aeolian then the Root would be on the A string. If you played C Major the Root would be on the C on the A string (3rd fret). ============================= Study this lesson here by fretjam first, then try my little trick. I promise you it will compliment it. You need to learn the modes up and down the neck, but you need to learn them as a reference to a drone as well (and there is no better drone than a bottom E on a guitar). Hope I didn't cause any confusion to your excellent lesson fretjam. Just an idea for some players. The modes are so simple really, and I've not found anyone that explained them as well as you, so I thought I'd just include this as an addendum.
+123ubuntu666 Thanks this is very valuable info for anyone learning modes. I think most people need a few different approaches to see the big picture. Appreciate your input.
Mike I know I've visited this video lesson multiple times and as I get more & more familiar with my guitar & music theory I find how powerful your lessons are. With each revisit the more I understand! Thank you for having creating these lessons & making them available! 👍🏽👍🏻🤜🏾🤛🏻
I stopped playing for almost 15 years. Forgot damn near everything. This explanation I wish I had 15 years ago. I was thinking it in a different way Wow. Now back to practising
How has this only gotten 5.3K likes, with 171K views? This is brilliant! I have been trying to figure out modes forever, and this was the A-HA moment. Thank you, Fretjam!
It really does start to make sense when you go to the lesson page, play on of the 5min backing tracks, pull up the patterns for that mode and strum along with the backing and then start playing notes of that mode over the backing. Awesome lesson
for me the only serious online guitar lessons and free. Give a lesson to all of these guys out there with fancy videos that they dont need a special camera or effect just the correct way to share thier knowledge:) Thanks for your hard work, man you helped me a lot
I just looked at your ear-training page. That is so awesome. It is like the missing link when people talk about modes and try to explain them. It's incredible that you provide all this information for free. You really need that reference point if you are ever going to understand modal harmony. You'll get a double donation from me for this. (I finished the lesson. I see what you mean by playing in 'parallel' now, - on the same root - that's why I added my suggestion below for those that want to do a variation on this)
NO MATTER HOW MANY TIMES I GO OVER THEORY N PRACTICALITY OF MODES,,,,MY HEAD JUST WANTS TO EITHER STOP OR EXPLODE,,,I STILL LOVE TRYING TO GET IT DOWN N UNDERSTOOD....THIS LESSON IS PRETTY GOOD, BUT AAAHHHH!!!!
The implementation of sound is the best and most logical way to explain music theory b/c we can "feel" what a mode or chord is. Thank you so much for this well-explained video
Thank you for your time. We don't necessarily set out to create music to conform to a mode. But evidently it happens regardless. Composers throughout history are (perhaps obliviously) drawn to the systems of Ionian, Dorian, Mixolydian etc. That's why I created this lesson - to help train the ear to movements that seem to be a part of our musical nature, so we can accompany them with a familiar purpose. I don't want this to define creativity, rather recognise certain movements that can be served by understanding where they come from.
@@fretjamguitar I've had friends who were almost afraid of learning music theory for fear it would stifle their creativity. For me personally, I've found the exact opposite is true. Whenever I learn a new chord or progression, I find that it helps me develop a new idea or just simply express myself more easily when soloing. Thanks again for your wonderful instruction!
Yes, same here. Some things are much easier to see on piano (for me). For example, bass movement is very linear on piano, but can hop strings on guitar. For example,. G in first inversion to D in second inversion (D/F#) to Em (bass line: G, F#, E) is easy to see on guitar and piano, but others get more obscured on guitar. Also some of the half steps between a V7 and I chord are easier to feel on piano. No reason not to do both! :) Cheers
I love your tutorials. They're a great resource. I must admit though, that I thought you would not have omitted the Locrian mode. Some many do and usually without any proper explanation why. This practice is the kind of thing that always makes me all the more determined to find out anyway., you know like "What are they hiding?" A bit like when as a child you first hear the word 'sex' and when you ask you dad or mum or older sister, they fob you off in a similar way to when someone mentions the "Locrian question" . . . LOL Go on . . . tell us what the dirty secret is :) . . . it's OK, I've already looked it up!
I'm going to really relish this one! I've sorted my paypal out and I'll be making a donation to you shortly. Thanks for the best lessons I've found anywhere on youtube. I'm hoping to spend a bit of time going through them in the next weeks.
Finally got around to donating. Sorry it was in dollars, I couldn't find a quick way to change it. I aim to make many more donations to you in the future. Thank you, for what is for me, at least, the best guitar tutorial website on the net.
Yeah, I worked it out, but I use a VPN so it gets confusing. I had to re-register and set new passwords. It was a quick test really. I don't have much money, but I'm happy to throw a few quid your way each month when I have it. These guitar lessons you provide would cost much much more than that, and you give them for free! I'm sorry I can't pay much more. One day, I'll give you a really big donation. Thanks again.
Best lesson on modes I have listened to on RU-vid, by far. How 'bout any of you first-year-over-50-guitarists-with-steady-income match my 10$ donation and show this guy some tangible appreciation for his work?
really great man, nice explanation and examples:) perfect vid to understand modes and their respective sounds and differences;) and this is coming from a drummer that started playing guitar 6 months ago haha:)
if your confused it’s not your fault! Some of these videos are the best on youtube and some of them are lacking important information in order to understand what he’s talking about and this is one of them! Heres an example he said, Lydian was characterized by a major chord to steps apart then mix is major two steps down because of the flat 7. he didn’t explain why the flat 7 goes down etc. Also he didn’t explain what it means to follow the scale degrees? If he’s expecting people to have prerequisites understanding of theory then PLEASE mention it. I know the answers to these questions but I put myself into the shoes of the people who don’t and it must be confusing them! Because some of these videos are absolutely amazing and some of them are lacking it’s extremely frustrating!
+L Galicki Band Yeh I chickened out with Locrian! It just doesn't get under my skin/I can't do it justice. And given its notable absence in music, I assume it's the same for other musicians. But if anyone has an example of Locrian we should hear then please linky. It's a very lonely mode.
+fretjam - check out this video by Mike Bradley: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-vo67uw--Ch0.html He also says he never uses the Locrian, then goes on to give a great little jam over a diminished chord. It's very jazzy of course. I went on to blah on in his comments section about 'Altered' and 'Diminished' scales and also their relation to 'Super-Locrian'. Anyway, it's a great example! [I think it's all present and correct - I'm sure it is - this guy is a great little player. But I didn't sit down and micro-analyse it, I just took it at face value. He's a much better player than I'll ever be, so I just bowed to his superior knowledge. He really does make it come alive]
The locrian and phrygian are perfect 5th inverted or 4th to each other. You can just pretend youre doing the I. V progrerssion...it's going to sound dark, mean and evil when I play it...lol..it dosnt have to sound that way..Just dont play the notes that's cuasing the tension ( b2 or b5) Since chords are just every other...G , B, D, F..it'll just a sort of G7 less the root or Dmin/B.......B. D, G. D, G is actaully a pretty chords or E min7 less the root...it's just a B minor b6 or b13 Or you can play the B. D. A. D, G or just drone of the open B string. Play different notes on the high E.. Dont play the F or C note. It wont have the tension...just so you'll hear it with out the tension. or you can play B...1, b3, 4, b6 b7....it'll be as if you're in E minor pentatonic. I personally like diminished or augmented chords...It's great for spanish guitar or neo classical..Im a BAch kind of guy... The FULL diminished and aug are symmetrical...it's a very helpful to modulate to different keys They actaully sound pretty..it's just depend how i color them.. As I stated...you dont have to play the tension notes. but I like to cuase tension and release. There's a lot of tension in spanish guitar.lol From A min...ish G #....B.....D......F These are all possible dimished chords. I can choose D into Eb..or F in F#..... MAJOR or MINOR The Vii and II chords of the Harmonic MAJOR and minor are both diminished..they will have b2 in them Vii...LEADING TONE into minor..They're also possible alter chords. Locrian b4, bb7 Locrian b4 Phrygian b4 Locrain b4. bb6. bb7 The II chord ( locrian position) Locrian maj6 Dorian b2 Mix b2 Locrian b4. maj6 If I play A lydian b3....it's D# locrian bb7 into E Harmonic MAJOR The F# will be Dorian b5 or F# aeo b5 ( VI of A melodic minor) I can play D lydian b3 ( A harmonic MAJOR) or F Hungarian MAJOR ( A harmonic minor b5) The Harmonic minor. Harmonic MAJOR, Hungerian MAJOR All have possible FULL DIMINISHED in them The IV D dorian #4 Lydian dominant Dorian b2. #4 The b Vi F lydian #2 F lydian #2, b7 ( Hungerian Major) or mix #2. #4 I can even play C Harrmonic MAJOR F lydian b3......G mix b2 color the F as min ( lydian #2 or Lydian b3) or FULL dmimished and modulate back to A minor...what it dose is allow my to play the G note/chord Then G# into A harmonic minor, Harmonic MAJOR or A Major Once Im in A MAJOR..it's F# minor....whatever or while in A melodic minor...I can play the D7 as D hungarian MAJOR ( lydian dominant #2) or F# harmonic minor b5. it' s just aeo b5 with a leading tone. From A minor If I modulate to A MAJOR...the B will simply be B minor or II of A melodic minor I can simply play F# min E minor lmao...whalllaaaaa B minor whatever Then play F#7 or play B hamronic minor b2,...Play the C maj7....lol Go to E minor/GMaj Play the F# locrian.lol or E min...F# dim....G# dim/aug into A minor...again.lmao ( F# dim G# dim = A melodic minor) or I can modulate to C melodic minor F7 G7 Adim B dim C min...Dmin....Eb Aug If i was using C Harmonic Major.....( b6).......b3, b6 = harmonic minor F min...G min C minor = C natural minor. or still play the G as G7 or MAJOR The B will remain diminised...either way ( pivot point) or i can play (N6) harmonic minor b2 or melodic minor b2 Bb maj7..i can going into D minor or Gmin if I play Bb aug.....D7/Bb..it'll just be like play G harmonic minor...ect The A min can be the II chord of G melodic minor. The D7 simply will be the V
+OneEyE Monster Great stuff! Another guy pulling it all together in his head and sharing his knowledge for free on the tubes. I must admit, I've got enough stuff floating around in my head right now, but a lesson with you sometime would be cool. Thanks for sharing.
Thank You Can You make a video to where a person can see how Your picking and on what strings and the down picking and when You do the up pick on strings also.You teach good I been watching now and then thank You.
Amazing job at last the most practical and straightforward theory video on you tube thanks :) just one q what do you mean when you say one degree ??? cheers
A scale degree is the position of a tone in the scale in relation to its 1. So the major scale, for example, has seven degrees that we can number 1 to 7. Same with its modes (Dorian, Phrygian etc.) - they can all can be numbered 1 to 7, with 1 being the "1st degree" or tonic/root. Let's take D Dorian for example... D - E - F - G - A - B - C If we were on the note G and moved up by one degree we'd be on the note A. Down one degree we'd be on F. The tonic triad of D Dorian would use the notes D, F and A (a Dm chord). To get Dorian's ii chord, we would move each of these notes up to their next degree - E, G and B (an Em chord). We can harmonise the entire seven degrees in this way, by moving each respective note of the triad up to its next degree.
@@fretjamguitar Amazing !!! total appreciation for the fast reply and awesome info, :)... by the way do you guys have any playlist with the right, lets say curriculum progress. currently Iv just watched your videos randomly with no specific order. and again cheers for this great channel. it deserves more subs
You can use chord shape positions (e.g. CAGED) or arpeggio patterns as the basic melodic structure of the chord you're playing over. Then experiment with color tones around it. You can then reference these color tones visually based on their relationship to the triad/chord tones. So I would make sure you're confident with arpeggiating the chord changes first. Scale patterns can also help for quicker runs through related tones.
