If you like this lesson, definitely check out www.zombieguitar.com/ . It is a one of a kind site dedicated to teaching guitarists to understand the fretboard inside and out!! Time Stamps: 0:00 - Lesson Intro 2:58 - The 3 Steps to Determining the Parent Major Scale 9:45 - Start of the Examples 9:53 - Example #1: Carlos Santana - Evil Ways 12:02 - Example #2: Jane's Addiction - Jane Says 14:23 - Example #3: The Beatles - Hey Jude 17:20 - Example #4: Daft Punk - Get Lucky 19:25 - This is Just One Approach to Modal Soloing
Brian I just want to say that you're a way better teacher than other RU-vidrs like Paul Davids and Music Is Win. You're great at cutting out the fat and just giving us all the essential information in a clear and concise manner. Hope to see you with 1,000,000+ followers in the not-so-distant future :)
Love your stuff and love how you layout the lessons in a way that even beginners can understand and grasp. I just went over and became a member on your site and love the amount of content, lessons, and diagrams you provide. I consider myself an intermediate player and the content you provide is a tool I will most definitely be using to further my development at guitar. I am a drummer first and foremost, and then picked up the bass and guitar about 5- 6 years ago and have been trying to improve at that instrument over the years. Thank you for your teachings!
Nice work Brian. I'm working exclusively on the ii & V modes to know their applied voicings well before tackling the other modes - a focused training method for me. Good for a blues / rock base imho. This is inclusive of the major and minor scales as they are an essential foundation. Keep up the great work.
Always look forward to your new lessons Brian. Happy New Year! If I'm playing G Dorian, I play the G Major scale, but flatten the 3 and 7. Those adjustments create a new pattern that is easy to learn, and results in making it easy to focus on the new half tones, which is what gives Dorian its unique sound. I think this is the best way to approach modes.
Yup, that is the other approach to soloing over modes. You are looking at G Dorian in PARALLEL to G major. That is what I talk about in part 2 of the 3-part series that I linked to in the description. This lesson here is about the RELATIVE approach in which you work backwards to find the parent major scale of G Dorian so you can use the same "patterns". Both approaches are completely valid. I use both of them myself!!
Excellent lesson Brian. Definitely a different way of finding the parent major scale that I would like to try implementing. BYTW you must be from or in Chicago by looking at your jacket.
That last song is also the music to "I'm Hung up on you" by Madonna. May not be the same key, but the progression is there. This is very helpful stuff.
It's tough finding popular songs that are purely in Phrygian. The EDM artist "Rezz" writes in Phrygian a lot, but there aren't really any mainstream examples that I can think of...that's why I didn't give an example in this vid 😎
Hey Professor Kelly , , I've got other guitar performers checking you out , as we're never too good not to explore other musicians theories (you) , in widening our own expands of horizon at fingerboard techniques to (and I thank you for this) Just progress and be a fine and better musician and guitar player . . . . Thanks Professor !!! 😎
I really like your lessons Brian. One question from a newish guitar player. I thought Get Lucky was in A, because D and E are IV AND V of A and Bm is ii and F#m iv. so I would have guessed that you basically play A but try and hit the chord tones of the other chords over the changes. but now I"m thinking that that amounts to the same thing as B Dorian? Am I right to think that the same thing would apply if you tried to play the right mode for every chord? e.g. Lydian for D. Mixolydian for E. Aeolian for F#? that sounds complicated if the alternative is to play A and hit the chord tones. anyway thanks very much for your explanations.
Yes this is 100% in the key signature of A. B Dorian is the 2nd mode of A major, meaning that all of the chords and notes are exactly the same. It really doesn't matter if you prefer to *think* that you are in the key of A major or the B Dorian mode...both thought approaches will result in exactly the same thing, since the key-scale is identical for both. As you have pointed out, the most important thing is to pay attention to the chords and focus on the chord tones of each 😁
I agree that rhythm is necessary. But in real song the drum beat and tempo decide the rhythm speed and then one can play lead over that using exact time, half time and double time for a few seconds. I guess you will agree too. Any thoughts? Good demo.
Yes I agree completely with what you are saying! In this video I was talking specifically about the "tonality" of the music, which is dictated by the rhythm CHORDS and not the lead guitarist. But yes, the lead guitarist could definitely play half time, double time, triplets or any other type of rhythm that they want to at any time 😀
Thank you Brain for all the great stuff.. I have one problem concerning my Rt hand technique.. I only anchor my little finger but not my palm in bridge during picking.. Is that fine?? A 5 year self taught player here with a reasonable progress I guess..
Ionian and Aeolian don't have a CCC...any chord progression can be Ionian as long as you make the I chord of the key signature to be the tonal center...same for Aeolian,but for the 6 chord. Locrian is based on the diminished chord found in the key signature, so there's no real CCC for that one either. It's just the one associated with the vii° chord!
