Great question. I have concluded in 30 years of playing that most instructors are either terrible at teaching theory, or just don't care. I have had 5 instructors(3 different GIT grads), over the years and anything theory based, they said to read a book and figure it out.
@@jasonericksen4545 Wow, sorry for that sort of experience! I'm not stellar with theory. But I do try to teach my students the "guitar theory" they really should know in order to be more creative and effective with what they want to play. I took theory, but rarely have I had anyone who wants to study 4 part harmony rules. :) Modes really seem to be the one big area of confusion for guitarists and it really shouldn't be if explained in simple fashion, I think.
Good grief. This has to be the easiest explanation I've ever seen. I've bought full courses I couldn't finish because I was so damg confused within the first few minutes. Outstanding Sir. Kudos to you.
It's that simple! I wonder if those teaching modes from an academic perspective did so without knowing what they were doing or teaching the modes with intent to obfuscate. Thank you for clarifying. Confused teaching means a confused teacher.
This is a great explanation, mayne the most concise but clear instruction I've seen since I've been looking into modes... instant sub to your channel! One question I have: Is it always better to ensure the chords you're playing over contain a third? Can you make playing sound "mode-y" if youre playing over power chords? Actually one more question: does every type of scale have modes? I only ever hear them reference in the context of the major scale.
Thank you for your comments and for the sub! You can make modal sounds over a drone tone or a power chord, but you need to make sure there's enough harmonic information being used. In other words, if I play over a D power chord and only use the notes D and A for my melody, will it sound Dorian or Ionian? If I add the 3rd and play D, F and A, am I playing Dorian (from the C Major scale), Phrygian (from the Bb Major scale) or Aeolian (from the C Major scale)? Adding the 3rd helps, but if you're playing over a musical context that doesn't provide enough for us to distinguish, then you'd want to play more of the scale tones to achieve the modal sound you're looking for. You can make modes from other scales, it's just that the majority that are used and talked about tend to come from the major scale. But you'll hear Yngwie use the Phrygian Dominant from the Harmonic Minor scale all the time. And jazz players will use modes like Lydian Dominant from the Melodic Minor scale. Great questions! Hope I helped and didn't confuse the issue more for you!
Yes, technically you would hear Ionian, Lydian and Mixolydian. However, when someone says it's a Dorian chord progression with 3 chords (for example), they mean that Dorian is what you're hearing most of the time. And if they are only hitting the other 2 chords very briefly, then it's probably not enough time/context to establish a new mode in what you're hearing. And nobody wants to name every single mode for every single chord change, so I understand that completely. :)
MODES 1.) The Starting note and Ending note is the new tonal center 2.) Outline the chord tones of the rhythm harmony 3.) Musical Context meaning what? 4.) What else?
The starting and ending note has no bearing what mode you'll hear. You can start phrasing on any note you like. The music you're playing over will either make those notes sound strong or just as passing tones. If you're playing over a C chord, then the notes C E G will sound the strongest and C is your tonal center. If you're playing over a Dm chord, the notes D F A will sound the strongest and D is your tonal center. But you can phrase with any of the other notes from C major. It just may sound weaker if you never hit any of the chord tones. By musical context, I mean anything you're playing over. So a chord, a bass line etc. If I'm only ever playing the notes C D E F G A B, then it's always going to be the musical context defining what sounds like home base. Hope I explained that better! Thank you for watching! :)
@@PaulWarrenMusic You can't just only play the chord tones that is NOT going to give the Modal Tonality. You have to "add in" very strongly the "color expansions notes". The dorian mode color expansion note is the M6 plus the half steps are in different spots intervallic spaces this is what makes it a modal tonality is where those Half steps are at. The focus is on the half steps in each mode and the color expansions notes. If you don't do this it won't sound like a mode at all , it will just sound like ionian tonality or aeolian tonality playing chord tones.
@@waynegram8907 Oh I agree you can’t only play the chord tones, which is why I used entire C major scale notes for the examples. I just wanted to point out to people that the chord tones of the chord you’re over are going to obviously sound the strongest.
@@PaulWarrenMusic yes you have to "outline" the chord tones but you always have to "add in" the color expansion notes and New half steps placements. Pentatonic Tropes VS Modal Tropes. You have to learn how to play Modal Tropes for each mode. Dorian Tropes, Phrygian Tropes, Lydian Tropes, etc The Chord tones are the target notes and resolution notes to resolve to those chord tones but adding in the modal half steps and modal color expansion notes is what to really focus on to make "Trope Phrases". Most rock guitarist use the same pentatonic Tropes which you have to get away from that type of pentatonic Trope Phrasing. EXAMPLE Dorian if you END the phrase on the M6 ( color expansion note )instead of the root note the phrase will sound like Dorian Phrase. EXAMPLE, Phrygian Phrase if you END the phrase on the b2 ( color expansion note ) instead of the root note the phrase will sound like a Phrygian Phrase. You would need to make a Modal Phrase 101 lesson video.
How did you learn modes? Were you confused by the way it was taught? This subject seems to be confusing for many, so I hope this helps!
Great question. I have concluded in 30 years of playing that most instructors are either terrible at teaching theory, or just don't care. I have had 5 instructors(3 different GIT grads), over the years and anything theory based, they said to read a book and figure it out.
@@jasonericksen4545 Wow, sorry for that sort of experience! I'm not stellar with theory. But I do try to teach my students the "guitar theory" they really should know in order to be more creative and effective with what they want to play. I took theory, but rarely have I had anyone who wants to study 4 part harmony rules. :) Modes really seem to be the one big area of confusion for guitarists and it really shouldn't be if explained in simple fashion, I think.
Good grief. This has to be the easiest explanation I've ever seen. I've bought full courses I couldn't finish because I was so damg confused within the first few minutes. Outstanding Sir. Kudos to you.
Thank you so much and I really appreciate the kind words and feedback! Cheers!
Thanks Paul! I've watched a number of courses and videos on modes. This one adds some additional, helpful context.
Awesome! Thank you for watching and I'm very glad you found it helpful!
Thank you.
Thank you for watching!
Awesome video, Paul!
Thank you brother!!!
It's that simple! I wonder if those teaching modes from an academic perspective did so without knowing what they were doing or teaching the modes with intent to obfuscate. Thank you for clarifying. Confused teaching means a confused teacher.
Thanks so much for watching and for your comments!
Awesome explanation and demonstration…..
Thanks so much! I really appreciate you checking it out!
Good to know!
Thanks and I appreciate you watching!
This is a great explanation, mayne the most concise but clear instruction I've seen since I've been looking into modes... instant sub to your channel!
One question I have: Is it always better to ensure the chords you're playing over contain a third? Can you make playing sound "mode-y" if youre playing over power chords?
Actually one more question: does every type of scale have modes? I only ever hear them reference in the context of the major scale.
Thank you for your comments and for the sub! You can make modal sounds over a drone tone or a power chord, but you need to make sure there's enough harmonic information being used. In other words, if I play over a D power chord and only use the notes D and A for my melody, will it sound Dorian or Ionian? If I add the 3rd and play D, F and A, am I playing Dorian (from the C Major scale), Phrygian (from the Bb Major scale) or Aeolian (from the C Major scale)? Adding the 3rd helps, but if you're playing over a musical context that doesn't provide enough for us to distinguish, then you'd want to play more of the scale tones to achieve the modal sound you're looking for. You can make modes from other scales, it's just that the majority that are used and talked about tend to come from the major scale. But you'll hear Yngwie use the Phrygian Dominant from the Harmonic Minor scale all the time. And jazz players will use modes like Lydian Dominant from the Melodic Minor scale. Great questions! Hope I helped and didn't confuse the issue more for you!
that is a great explanation, thank you for taking the time to explain it! I asked ChatGPT the same question and your answer was much better hahah
With a 145 chord progression, CFG, what mode are you in? Are you cycling through the Ionian, Lydian, and Mixolydian?
Yes, technically you would hear Ionian, Lydian and Mixolydian. However, when someone says it's a Dorian chord progression with 3 chords (for example), they mean that Dorian is what you're hearing most of the time. And if they are only hitting the other 2 chords very briefly, then it's probably not enough time/context to establish a new mode in what you're hearing. And nobody wants to name every single mode for every single chord change, so I understand that completely. :)
MODES 1.) The Starting note and Ending note is the new tonal center 2.) Outline the chord tones of the rhythm harmony 3.) Musical Context meaning what? 4.) What else?
The starting and ending note has no bearing what mode you'll hear. You can start phrasing on any note you like. The music you're playing over will either make those notes sound strong or just as passing tones. If you're playing over a C chord, then the notes C E G will sound the strongest and C is your tonal center. If you're playing over a Dm chord, the notes D F A will sound the strongest and D is your tonal center. But you can phrase with any of the other notes from C major. It just may sound weaker if you never hit any of the chord tones. By musical context, I mean anything you're playing over. So a chord, a bass line etc. If I'm only ever playing the notes C D E F G A B, then it's always going to be the musical context defining what sounds like home base. Hope I explained that better! Thank you for watching! :)
@@PaulWarrenMusic You can't just only play the chord tones that is NOT going to give the Modal Tonality. You have to "add in" very strongly the "color expansions notes". The dorian mode color expansion note is the M6 plus the half steps are in different spots intervallic spaces this is what makes it a modal tonality is where those Half steps are at. The focus is on the half steps in each mode and the color expansions notes. If you don't do this it won't sound like a mode at all , it will just sound like ionian tonality or aeolian tonality playing chord tones.
@@waynegram8907 Oh I agree you can’t only play the chord tones, which is why I used entire C major scale notes for the examples. I just wanted to point out to people that the chord tones of the chord you’re over are going to obviously sound the strongest.
@@PaulWarrenMusic yes you have to "outline" the chord tones but you always have to "add in" the color expansion notes and New half steps placements. Pentatonic Tropes VS Modal Tropes. You have to learn how to play Modal Tropes for each mode. Dorian Tropes, Phrygian Tropes, Lydian Tropes, etc The Chord tones are the target notes and resolution notes to resolve to those chord tones but adding in the modal half steps and modal color expansion notes is what to really focus on to make "Trope Phrases". Most rock guitarist use the same pentatonic Tropes which you have to get away from that type of pentatonic Trope Phrasing. EXAMPLE Dorian if you END the phrase on the M6 ( color expansion note )instead of the root note the phrase will sound like Dorian Phrase. EXAMPLE, Phrygian Phrase if you END the phrase on the b2 ( color expansion note ) instead of the root note the phrase will sound like a Phrygian Phrase. You would need to make a Modal Phrase 101 lesson video.
Modes are guided by the scale degrees that define them! Great video ! 😎
So, modes are scales?
You got it!! :)
@@PaulWarrenMusic😂 perfect. 👌