One more thing, but it should be pretty obvious that I'm just casually walking through this material. I'm noticeably not shredding through anything here, as I'm not trying to impress anyone - I'm trying to help/inspire those out there that are having trouble getting this information under their belt. Connecting with and understanding this material is WAY more important than attempting to shred/fly through it. If you go too fast through this material, I can almost assure you that you'll miss something important or not fully understand the material. So once again - slow and steady wins the race. Good luck and have some fun! 🙂👍
What about (writing) riff's and progressions in Modes? usually it's a two chord vamp emphasizing the unique note of the mode ie Am D = A dorian, maj6. I'm not sure I look at it (writing/understanding) the same way as with soloing in modes, which the concept seems easier. Great stuff!
I'm so appreciative that I stumbled across your videos, as you mostly have the same taste in music as me, but your fretboard knowledge is so much better than mine. I'm a relic from the 70s & 80s, who has recently started playing again.
Fantastic video lesson !! Definitely bring on Part 3 !! Harmonic minor & the more exotic scales are of great interest to me & many other viewers I'm sure !! Thanks Dave !!
Yes ... Part 2 and SO fast. Killer lesson and great graphics. I will be going over these for a minute, that's for sure, and looking over my shoulder for Part 3 🎵
Great post as usual. You get my brain going so wanted to bring up something about Ionian. That melody was brilliant, real organic. Some folks talk about “the avoid note” meaning the 4th note or A note in your example. You treat the A note perfectly as simply a passing note in that little sequence and sounds great. I wish “educators” would stop using the “avoid note” crap, especially when they don’t include note duration in that same discussion. Sorry for the rant but your example shows exactly why the 4th note fits so well. Thanks
All of these pocket series videos are so helpful deconstructing and then reconstructing scale tones without focusing on the pattern but on knowing the root and highlighting the distinct modal chord tone. Idea for part 3 is how to move this concept horizontally on the fretboard, sort of like you did with pentatonic pockets. Keep ‘‘em coming :)
yeah, I have to agree. Instead of pattern learning this highlights the modal "shifts" of raising or lowering the scale tones which makes my ear hear the changes under the chords better. This really makes you learn the notes on the fretboard!
I like the pool ball graphics. Thanks for sharing your knowledge. If you are ever on Maui and want to hike or learn to surf, SUP, wing or kite, just let me know.
Great lesson the harmonic modes would be cool the cord examples are a great way to bring out the sounds a drone note is good but that way works so much better 👏🤘👍
This is great. You really can hear the possible melody choices. . I can really hear what Max Middleton was saying about the mixolydian on Freeway Jam.. Great diagrams.
It's critical to use your ear here. This isn't at all about shredding fast licks. Pick a mode, and listen to each note, and always bring it back to the root (E in this case). When Dave has us drop the root back to the 7th degree and back up to E, that's a critical moment. Returning to the root note is the key (no pun intended).
Wow. Heavy stuff, Brewtermeiser! So in part one we played E major scale in different keys based on the underlying chords, which made different modes. Does that mean that here we could also be said to be playing different major scales (Ionian) of other keys while keeping the underlying chord in E major? In other words, can all the modes of E we played here be considered as Ionian scales with different key centers? (brain explodes)
Oh yeah I have a gig this weekend can't wait to try this out. I love these lessons. If you ever get a chance can you do a Mark Tremonti lesson. He is a beast. I'm still kind of new to the channel so I'm not sure if you already did one ??? I saw a video of him last week singing a Frank Sinatra tune and he nailed it. Check it out if you haven't seen it. I'm going to check this lesson out tonight and the porcupine tree chord play. Thanks for everything. You're a great instructor and player
Really well done, thank you! As a followup question: Would you ever play a modal scale over the chords of a different mode? For example, when the song uses modal interchange, do you have to switch the melody to that parallel mode?
@@wulfenii64 not all the time…you can play a minor pentatonic over a dom7th chords…most of the time yes but there are many options and sometimes playing the “wrong” scale can add interesting color
Enjoyed this and some of your leads here had a Motown/funk kind of feel which inspired me to incorporate some of it. Question is the E Mixolydian graphic correct? Not to question the master but the A# I thought would be an A.
Great catch GSlide! I thought I'd made all of the images correctly, but I did screw that one up. It's written correctly on the fretboard diagram as far as the fingering, but you should ignore the "A#" I (incorrectly) left in the spelling of the scale. DOH! I HATE making mistakes like that. Thanks again!
![ละลาย (LALALYE) - DAOU PITTAYA ต้าห์อู๋ พิทยา [OFFICIAL MV]](http://i.ytimg.com/vi/wo6r9TgausI/mqdefault.jpg)
One more thing, but it should be pretty obvious that I'm just casually walking through this material.
I'm noticeably not shredding through anything here, as I'm not trying to impress anyone - I'm trying to help/inspire those out there that are having trouble getting this information under their belt.
Connecting with and understanding this material is WAY more important than attempting to shred/fly through it.
If you go too fast through this material, I can almost assure you that you'll miss something important or not fully understand the material.
So once again - slow and steady wins the race.
Good luck and have some fun!
🙂👍
I'm still confused
What about (writing) riff's and progressions in Modes? usually it's a two chord vamp emphasizing the unique note of the mode ie Am D = A dorian, maj6. I'm not sure I look at it (writing/understanding) the same way as with soloing in modes, which the concept seems easier. Great stuff!
Harmonic major would be awesome.
I'm so appreciative that I stumbled across your videos, as you mostly have the same taste in music as me, but your fretboard knowledge is so much better than mine. I'm a relic from the 70s & 80s, who has recently started playing again.
Fantastic video lesson !! Definitely bring on Part 3 !! Harmonic minor & the more exotic scales are of great interest to me & many other viewers I'm sure !! Thanks Dave !!
Yes ... Part 2 and SO fast. Killer lesson and great graphics. I will be going over these for a minute, that's for sure, and looking over my shoulder for Part 3 🎵
Thanks Dave keep em coming. With these last two episodes I'm finally getting a grasp of modes😄. Cool stuff!
Your improve jam on the mixo was sick!
Thanks this is great. Looking forward to more of this in the future.
Seriously top drawer work this David. Fantastic and a lot to dig into. Cheers!
Thank you, David 🙏
Much appreciated.
Great post as usual. You get my brain going so wanted to bring up something about Ionian. That melody was brilliant, real organic. Some folks talk about “the avoid note” meaning the 4th note or A note in your example. You treat the A note perfectly as simply a passing note in that little sequence and sounds great. I wish “educators” would stop using the “avoid note” crap, especially when they don’t include note duration in that same discussion. Sorry for the rant but your example shows exactly why the 4th note fits so well. Thanks
All of these pocket series videos are so helpful deconstructing and then reconstructing scale tones without focusing on the pattern but on knowing the root and highlighting the distinct modal chord tone. Idea for part 3 is how to move this concept horizontally on the fretboard, sort of like you did with pentatonic pockets. Keep ‘‘em coming :)
yeah, I have to agree. Instead of pattern learning this highlights the modal "shifts" of raising or lowering the scale tones which makes my ear hear the changes under the chords better. This really makes you learn the notes on the fretboard!
These are great resources David. Thanks.
I like how you present your approach to modes. It's very clear and direct. Thanks a ton!
Great follow up Dave ... I am really getting alot out of these lessons. And am in awe of your teaching and playing abilities .
I like the pool ball graphics. Thanks for sharing your knowledge. If you are ever on Maui and want to hike or learn to surf, SUP, wing or kite, just let me know.
These “pockets” are absolutely amazing
Great lesson the harmonic modes would be cool the cord examples are a great way to bring out the sounds a drone note is good but that way works so much better 👏🤘👍
This is great. You really can hear the possible melody choices. . I can really hear what Max Middleton was saying about the mixolydian on Freeway Jam.. Great diagrams.
It's critical to use your ear here. This isn't at all about shredding fast licks. Pick a mode, and listen to each note, and always bring it back to the root (E in this case). When Dave has us drop the root back to the 7th degree and back up to E, that's a critical moment. Returning to the root note is the key (no pun intended).
Love your lessons! thanks for improving my playing!
a melodic minor one would be cool especially the lydian dom and altered scale pocket -great lesson
Wow. Heavy stuff, Brewtermeiser! So in part one we played E major scale in different keys based on the underlying chords, which made different modes. Does that mean that here we could also be said to be playing different major scales (Ionian) of other keys while keeping the underlying chord in E major? In other words, can all the modes of E we played here be considered as Ionian scales with different key centers? (brain explodes)
great as always Could you make something from April Wine?.
What about doing a Lesson about Modal Progressions for relative modal pockets and for parallel modal pockets?
Oh yeah I have a gig this weekend can't wait to try this out. I love these lessons. If you ever get a chance can you do a Mark Tremonti lesson. He is a beast. I'm still kind of new to the channel so I'm not sure if you already did one ??? I saw a video of him last week singing a Frank Sinatra tune and he nailed it. Check it out if you haven't seen it. I'm going to check this lesson out tonight and the porcupine tree chord play. Thanks for everything. You're a great instructor and player
Really well done, thank you! As a followup question: Would you ever play a modal scale over the chords of a different mode? For example, when the song uses modal interchange, do you have to switch the melody to that parallel mode?
The scale has to fit the chord.
@@wulfenii64 not all the time…you can play a minor pentatonic over a dom7th chords…most of the time yes but there are many options and sometimes playing the “wrong” scale can add interesting color
Enjoyed this and some of your leads here had a Motown/funk kind of feel which inspired me to incorporate some of it. Question is the E Mixolydian graphic correct? Not to question the master but the A# I thought would be an A.
Looks correct to me.
Great catch GSlide!
I thought I'd made all of the images correctly, but I did screw that one up.
It's written correctly on the fretboard diagram as far as the fingering, but you should ignore the "A#" I (incorrectly) left in the spelling of the scale.
DOH! I HATE making mistakes like that.
Thanks again!
@@LateNightLessons of course. Thank you for all the insights.