Damn this video is good, have been trying to get my head around how these modes work and I guess my instructor has been banging his head against a brick wall with me!! With the lock downs, I havent seen him in 6 months so couldnt ask. Yet that one sentence you said about "just look at the chart... with Myxolydian, juat flatten the 7th". That one phrase just made it all clear! It's just all sunk in now! Gonna have to spend time on practice but the theory makes sense now. Thanks Chris, your videos and teaching style are top notch!
Hey Chris :) I just wanted to add something... The intervalic building blocks will never change and each modes formula helps us identify each chords diatonic extensions. Ionian- 1 chord 1-2-3-4-5-6-7 Dorian- 2 Chord 1-2-b3-4-5-6-b7 Phrygian- 3 chord 1-b2-b3-4-5-b6-b7 Lydian- 4 chord 1-2-3-#4-5-6-7 Mixolydian- 5 chord 1-2-3-4-5-6-b7 Aeolian- 6 chord 1-2-b3-4-5-b6-b7 Locrian- 7 chord 1-b2-b3-4-b5-b6-b7 In traditional music education, they use the mode to understand each individual diatonic chord. And is how they would expect you to observe the changes. Say a 4-1-6-5 Lydian on the 4 Ionian on the 1 Aeolian on the 6 Mixolydian on the 5 You could in theory play all the right notes just thinking in reference to the key, you'll play all the right notes this way. The problem is you might not play the right notes at the right time... Sorry for bugging you :)
"I was confused until I wasn't confused" so simple, but it's like "you don't know what you don't know" People who don't understand this are stuck, and probably can't learn/progress. Thanks for applying it to something we all love. Music. PS: display on bottom helps a lot.
Great lesson Chris. I think you just made a few guitar lesson books obsolete. Can you do a lesson on application of modes in music and how they might be considered.
Thank you so much Chris. You're an awesome instructor / teacher. God bless you always 🙏❤. I'm not putting down on any other teacher on TH-cam but I have picked up more from you. Thanks 😊 Friend
I am at a loss as to why you don't have more subscribers Chris. You really are one the best at explaining/demonstrating/teaching music theory. The way you described the modes is as eye opening as it is beautiful. The amazing thing about the modes for me is how different each sounds. Thank you.
Well done video! Love the thought that looking at modes from several different perspectives brings clarity and that clarity helps to use the modes musically.
I had to really bring it to my guitar to understand it. The way I look at it is you’re starting with the regular major scale(Ionian). Take the second note you play of the major scale and that will be your new starting point. Starting with that note, continue the same major scale shape you’re familiar with but add a new note at the end of the run which will be the octave of the first note you played. That is Dorian. For Phrygian you’re starting with the third note of the major scale and just continue the scale like you did for Dorian but the end of the run will end on the note you added for Dorian, then add the last note which will be the octave of the note you started on.(third note of the major scale). That would be Phrygian. Do the same and add the octaves for all the other modes. Hopefully this helps some people. It’s very hard to explain but this is what helps my mind get it
It is incredible how succint your lessons are. This is the first time I see how modes relate with the arquitecture of the scale. And it all makes sense thanks to you Chris. So, for example, and correct me if I am wrong. For Dorian we start to play B (Key of A) as a single note or a Bminor chord, depending on the choice of playing the single note or the chord. I will recommend you as well! Have a great day!
❤ Exactly what I was looking for in the key of C to start with thanks a lot ❤ Can we play Dorian all across fretboard pls make a lesson on this and also on how to construct blues scale across fretboard ❤
Nicely done. I've used modes for a very long time but I fear in a very wrong way. I memorized the patterns up and down the neck and use them horizontally. Example. A ionian at 5th fret B Dorian at 7th fret C Phrygian at 8th etc. Then I bounce around. I never used them as you did - all at the same fret. Hence I probably am using them in a wrong way. So the upshot - I know the modes but only have a slight idea how to use them in the most effective way. They've helped me alot despite this, mixed with pentatonic, blues, harmonic minor and diminished scales. So, if you haven't already, a tutorial on how to use modes would be helpful.
You’re using them perfectly. There are other applications, but yours is actually the best method to put the entire matrix on the fretboard. Look at the “modes as chords” video form some application. And I’ll be doing a “modes over the blues” video soon. That will have a good bit of application.
Hey Chris, hi from Australia & thanks for another great video. I’m an older guy relearning guitar & I get the modes but what are you thinking while playing for example E Phrygian. Are you thinking the scale degrees of E Phrygian or the C major scale starting on the E or playing the A minor pentatonic over a song starting on the Em? Kind regards, Phil
Such a great question! For Phrygian specifically I’m looking at the altered scale degrees and especially trying to fit in that flat second and use it as a tension point for creating and resolving.
OK Chris, from your description of the major scale intervals WWHWWWH steps I get the feeling (and I’m sure I’m wrong!) the half steps should be BC and EF. But the way these 12 notes of western music are set up, the Major Mode (Ionian) can start any where on the Chromatic scale and not really use the BC , EF rule right? Ie, it could go from B to B# or E to F # or other variations? Gee how crazy a question is that? (I have a weird mind being a dyslexic Left Hander playing Right Handed!)
You are exactly correct my Dyslexiclefthandrighthand man! In fact, the full answer to your question is available if you simply move the scale shape anywhere, grab a pencil, and write down the notes. The only rule is that every scale must contain some variation of each of the 7 letters. It's a lot of fun actually.
Either me missunderstood the role of the yellow triangle or there is an error in the editing . I belive the placing of the triangle is wrong. Please correct me if im wrong! Edited: Rute is shifting and the Yellow arrow shows where the 'mother scale' A major - remains in place! Lost in translation, but I get it now! Sorry!
No worries, I really appreciate you checking it. I usually take a lot of time to make sure there aren't any errors, but sometimes they might sneak in! Also, this is a very complex subject and easy to get confused about!
@@curiousguitarist it also confusing because it can be explained from two different perspective at the same time. But the truth that the matter is, the scale itself or the melody what a player plays in the scale is not the one that determines the mode. It's the chord progression and whatever I come up with when I play along is either fits or not to that progression. We not make music with theory. We make music with our feelings, and use theory to analize, and understand what just happened, but sure if I know my theory I can also controll things and helps to express the message of the music. It's a two way road.
So, what made this finally click for me is this excellent lesson from Chris and another video by Brian Kelly called Understanding Modal Chords. if you watch the two videos it will all make sense (I think!)
I think it’s clicking. I’ve understood that the chord progression defines the mode, B Dorian (Key of A). I guess I couldn’t get over trying to understand the scale for each mode and trying to remember what changes occurred for each. But this helps make this more concrete. It’s clicking... Will rewatch this a few times and then play an A chord on the looper and then play the different modes over to hear the differences and see what appeals to my ear. Chris, you continue to put out great lessons! Thank you!
For chords to play in this key, play A major over Ionian, B minor over Dorian, C# minor over Phyrgian, D major over Lydian, E7 over Mixolydian, F# minor over Aeolian and G# diminished over Locrian :)
Here's what I can't bring myself to understand. Even though I have a pretty good knowledge of this material. What does it mean this different scales are built off of a certain degree? And.... how come you start your root of the different scale modes, on a different note for each participant scale mode? With each of the modes being from the key of A? This is confusing. Does the degree the mode is built off of determine the root of each of the scale modes, even though all of these examples of each of the modes for still in the key of A? And if so, how do you know where to start each of them, based on the degree of the scale that the mode is built off of? Perhaps I need to go back and see if there is something I have missed, or not seen in a previous video. If there is, please send me a link or give me the name of the video(s) I should watch to get up to speed on this subject. I understand that all the modes are built off of the major scale. But what exactly determines what parts of the scale are its designated degrees? This is what has me confused most about the modes. Thanks for you great videos and helping all of us who seek out this knowledge be able to find it, through your channels content. I really want to start music school soon. But until I can. I will continue to use your videos to learn all I can. Its really one of the best channels for learning music theory on guitar and I wish there was more like it.
hi Chris great explanation. Question could you list actual compositions that demo these? my question...is D Dorian the D major scale from the second degree. E or i D Dorian the C major scale tones starting on D thanks
D dorian is the C (edit) major scale starting and ending on D. A great dorian song is Oye Como Va by Santana. Also watch this video...th-cam.com/video/AqVltMLJVus/w-d-xo.html Good to have you on board Ned!
Great Video, as usual, Chris. Just one question about nomenclature. Key of A Ionian uses the same notes as Key of B Dorian, is that correct? The root just pushes up the scale and subsequent Modes using the same musical notes as the key (root) shifts upward? So C Phrygian Mode uses A Ionian notes but starts on C as the root? Thanks again, Chris! I’m going to have to watch this again but I think I understand now.
Couldn’t be more confused. I know that each note in the Major scale represents a mode. Starting at the 1st note is the Major Scale and the Ionian Mode Starting at the second note of the Major Scale is the Dorian Mode. Starting with the third note o the Major Scale is the Phrygian Mode etcetera. What I need to know is which finger to use on the starting note of each mode and which chords go with each mode? Nice and slow!
The finger doesn’t matter, it’s the formula that does. From wherever you start, no matter what finger you use, play the scales formula to really understand modes. Decouple them from the “parent” scale as soon as you can so you can reduce your cognitive load and focus on the intervals in the mode.
Another great vid Chris, I've learned most of the "used" modes and got use to playing them out of the key position, Dorian at 7 fret key of A (but still sounds like A maj. until I focus playing the B note?? I'm still a little confused about the application process can you use a minor mode i.e. Dorian against a major chord in the progression and vise versa 🤔.
Yeah you can...but you've got to pay attention to what the chord is in the progression. Try this: Blues progression in A. When you get to the D7 chord, play A Dorian over that. That might help you get started on where to play them. I'm writing up a vid for modes usage next...should be up in a week or 2
You are showing all the modes here in A major scale, but when I play B Dorian mode it's this same A major scale but I'm starting it from now root note B ?
So I’ve heard classic players who read music, don’t use modes. They just look at the staff to see what key they are in. So I just pulled up a circle of fifths diagram to see that two flats is the key of Bb. Wouldn’t it be easier to say the key of Bb than the Dorian mode or D Dorian?
With a system like this, there are multiple ways of looking at it. Whatever lens feels right for you to see it all is the right one. Ultimately the road to the kind of familiarity you're talking about starts with a full fretboard map of the architecture that is independent of any key...moveable to wherever you need it. Then the knowledge of the key you need simply dictates where on the neck you project that map. Thanks for the comment and insight SG~
Actually in this instance we are staying in the same key the entire time. Since I’m using successive scale tones from the same major scale as the new “root” note, even though all the relative relationships change, all the notes remain the same.
Oye Como Va by Santana is a good example of a vamp (repeating progression) in Dorian, while “Miss You” by The Rolling Stones is a very good example of that same basic progression, but uses chords built by the Aeolian mode. The theme song for the character “Maria” in the musical West Side Story is written in Lydian. The truth is that a large percentage of popular music is “modal” in that songs remain in the same tonal center and just go back and forth between a couple of chords. That type of music can be considered modal as well.
Having been through this concept in multiple ways on piano, bass guitar, cello and guitar, I'm thinking that idea behind the little yellow triangle, and what it represents, is part of what makes the system confusing and, as such, a challenge to explain. The triangle points to the *Ionian* base (in this case, the A), but the words used to describe its function could be (mis)interpreted. That is, "the little yellow triangle that shows you where that architecture begins" could be heard as "where the *next mode* begins". In that case, seeing the triangle move to the 7 for Dorian, instead of the 2, for example, is confusing.
Great point! It's all the damned lenses...So while the concept is still mysterious any of the lenses adds to that complexity, but once it clicks any lens is clear as a bell. But yeah I agree, that triangle could be left behind and it wouldn't hurt. But I also recall when I understood that the architecture had a starting point within every mode, that helped me get the whole thing. So I thought I'd add it in case that helps anyone else click. Thanks for the comment and suggestion!
@@curiousguitarist FWIW, I prefer your lens / explanation (with maybe just a little more clarification on what the triangle is pointing to), because in doing this, one is actually constructing the modes in essentially the same way they're constructed on a piano keyboard which - at least in the key of C - is very straightforward and easy to see, hear and understand. Some instructors show successive scale patterns, or "positions", going up and down the neck - the Dorian "position", the Phrygian "position", etc. - and while those are also technically correct, it makes for a very confusing intro to the whole system, at least IMHO, until one really 'gets it'. Great stuff, Chris - thanks for this one!
@@uzer_zero completely agree. Those "positions" are so much better leveraged as "ways to play this architecture" so they aren't chained to a mode or starting point. Really glad you're here!
Hi, I'm confused with aeolian mode, it's natural minor of major scale.C natural minor is A min , it has no flats or sharps, but C aeolian has Eb Ab Bb. Please help 🙏
4:06 How long I was confused before I figured out that, oops I just changed keys. I tend to move to other positions on the fretboard to play, say, an E mixolydian pattern. Which was really good for me because it taught me to navigate the fretboard and stay in key. But like anything else, it gets stale and I wonder why I don’t just stay at the 5th fret and noodle around an A major scale pattern. I get the same note output, so why bother with modal patterns.
My clue on from the learning of your lesson is just better for me to rely on the structrue, let the flat 4 and 7 leave behind my head first. my cut in point is here.
For some reason my comment didn’t post.. get over to Patreon and subscribe to get the tabs, they are a great help. More importantly it supports Chris, who is a LEGEND, by remunerating him for his efforts.
I could not agree more. Become a Patrion member, I promise you, it will be the best ten bucks you will spend every month. I’ve been a member for the past few months and my playing and understanding has gone through the roof. The best teacher I have found over the past 50 years !! Come on now, ten bucks a month for the best instruction available, what are waiting for ? ?
Hi Chris, I'm a huge of yours. I taught myself the modes in the last couple of years. I'm finding that people that have an excellent understanding of music don't always explain things in the best way (or that they take a traditional 'musical' approach). This is certainly not a criticism as you have great ways of putting information across. I'm just a little surprised that modes aren't described more as a 'relative' idea to whatever chord you're playing. Say I want Bm dorian sound. Well I know it's the 2 chord so I play A maj scale over Bm and I get a dorian feel. That way, I don't have to think about the intervalic structure at all - I just play A maj and focus on the notes I like. If I'm playing A over Bm, the third is already flattened RELATIVE to a normal B major scale. Same for any of the other diatonic chords. The structures are taken care of just by knowing what major scale to play for that modal vibe. Secondly, I have never seen anyone (maybe they have, I just haven't seen it) explain that all the chords in a particular key use notes from that major scale. So for key of G, as you know, G, Am, Bm, C, D, Em and F#dim ALL have their chord notes in the key of G. That's WHY modes work. Anyhoo, don't see too many educators explain it this way as much but it certainly helped me understand that it is really a case of knowing which major scale to play over a chord. I guess it's kinda the reverse engineered way of how most people explain it. Cheers Love your channel, keep it up.
I've got that Harmonizing vid that does that, so yeah it's a fundamental part of the modes. But I don't see any major scale position as a mode I see it as a structure, a highway of notes in a key. I see that structure as being applicable to ANY mode built from it, anywhere on the neck. Your method is correct, but ultimately there's another step wherein you don't need to think about another key...you're just using the architecture that you need. Watch the Modes as chords video to see what I'm talking about. Eventually there's no real difference between chords and scales, they're all part of a fabric.
Hi Chris, thanks for the video. To me it just looks like you’re playing the A major scale but shifting the starting point. Is that all there is to modes? Seems too simple. 😅
I’m a little confused actually. In the explanation Chris says that the yellow triangle is pointing to the starting point. Yet when he plays Dorian, off second degree, the triangle is pointing to a different degree. What have I missed? Apologies if this has been covered
@@iaindavies-moore5061 there’s a lot to track here for sure! The yellow triangle shows you where the major scale architecture begins. So for Dorian, since it’s built off of the second degree of a major scale, that architecture starts BEHIND Dorian’s root, on its 7th degree. I hope that helps! If not there are a few other videos on the channel about modes that look at them from different perspectives, one of those might be more enlightening if this one is too dense.
@@curiousguitarist Thanks for your response Chris, much appreciated. I’ll look at that video again as I think the content is important. I’ve also watched your specific video on Dorian off the key of G, I understand that A is Dorian in this case
@@curiousguitarist, I get it now (took a while and a few sleepless moments😂). As you progress through the different modes the starting point “gets further away” from the original parent scale tonic, or “architecture” as you eloquently described it. I think that’s what I’ve learned. Disavow me if I’m incorrect here.
@@iaindavies-moore5061 that’s correct! The modes are inherently confusing due to the fact that you can see the structure from a few different perspectives. Glad this landed well for you!
Nice Lesson Chris, I am right in thinking that to play A Dorian- I can just think in G Ionian and target the 2? A Mixolydian, play D Ionian & target the 5? etc... That way the intervals are always WWHWWWH
Sure Darren, Think of that arrow pointing to the origin of this structure: W W H W W W H So in Ionian the arrow is below the "R" for root. When you switch to Dorian that architecture now starts BEHIND the Dorian tonic, at it's "b7" Make sense?
I think I get it. I’ve just been switching between Ionian and Dorian and when I play through to the root of Dorian, the B note, I keep wanting to resolve back to the A, it’s b7, because this mode is being built off the key of A. I’ve just played through the rest of the modes and every time I get to the ‘root’ of the mode, I keep wanting to resolve back to the A, which just happens to be the interval the yellow arrow is pointing at.
@@darreneden ok, it sounds like your ear is “stuck” in Ionian, in that WWHWWWH architecture I think. Try this for the Dorian mode. End on the B note then play a B min chord…see if that shakes you loose.
Thanks Chris, playing the Bm helped to anchor me within the tonality of the Dorian mode. I still have to get my head around the yellow arrow. However, taking the time to build the modes from each interval today, really helped to bring them alive for me on the neck.
@@curiousguitarist The penny just dropped! I just watched the video again and instead of focusing on the arrow, I focused on the WWHWWWH architecture moving as you went through each mode....then the yellow arrow position becomes obvious!! A wonderful Ah Ha moment. Thanks Chris.
Decided to remove my previous comment with the PDF, since my intention could be misunderstood. Just wanted to point out, that I see Modes technically as major scale positions all over the neck (more horizontal). Soundwise different story and hard to express as a guitarist.
@@curiousguitarist Thanks. I'll keep at it. It means a lot that you actually responded. I'm just starting out. My old man left me a bunch of his guitars; his fender strat is the same colour as yours - teal - and I've got this James Tyler Variax that hooks up to the computer that I feel I'll never understand, and thousands of dollars worth of equipment like his V-amp (Pod HD) or the Line6 spiderjam amp... equalizers and pedals... it's all very intimidating and I feel like I have the equipment to make my memory come alive, but no idea how to do it - he was a master of the guitar so I want to honor his memory by finally learning... it's hard to know where to begin. I'm glad Marty featured your channel, because theory's obviously important, but I guess I just don't know where to start. I did the major scale exercise and the triad exercise. "Memories From her" From the diatonic video was such a beautiful song, I wish I could learn it. I've followed along every video from your "start from here" playlist, and it's already been very helpful, but I guess I'm still left with... wanting to know what the path is, I guess, if that makes sense. Do this, then do this, then learn this. I don't want to end up fifty years old, just knowing how to play specific songs from youtube without understanding how and why they sound good to the ear. I can't even look to hire a guitar teacher because I don't know enough to even know what a good guitar teacher looks like - well, except that you are clearly the model of one, so you're the first person I feel I can safely ask: what's a basic path? Is that a fair question?
@@curiousguitarist This was the only recording my old man ever made. He'd play all the time, endlessly all straight from his head. He'd tell me about arpegios and scales and try to get me to learn, but it all just seemed impossible. I'm willing to scrape and bloody my knees now, to learn how to ride the bike. I might not learn how to do fancy tricks or do the Tour de france, but just to ride the bike would mean the world to me. So.. Where do I start? If you have the time, here's a short song, the only recording my dad ever made. His music equated to the feeling of being home; that's gone now, and the only way to get it back is to do it myself, but I don't know where to begin. What's the path? th-cam.com/video/kk_ASQfRzKE/w-d-xo.html
Why o why? The second degree from A is B. Dorian. Which is minor. B minor right? But the B minor scale is not the same. B minor scale has a G and the Dorian has a G#. My head hurts
The major scale modes create 7 scales. Each one of them is either major or minor depending on the 3rd degree of that scale. What we classically call “the” major scale is Ionian. The classic minor scale is Aeolian. But Dorian, Phrygian, Aeolian and Locrian all have minor 3rds, so they are all minor. Ionian, Lydian and Mixolydian all have major 3rds so they are all major scales. More confused?
You're right. It's relative. If you play A major scale over Bm, you have magically already flattened the third. That's how the modes work. You want, say, Bm phyrgian? Easy. It's the 3 chord of G. You play G major over it, all the flats and sharps etc are all taken care of. What if it was Bm aeolian you wanted. It's the 6 chord. Find the one chord which is D. Play D maj scale over Bm and you get Bm aeolian. All the notes taken care of. So, it's ALL major scale. Just gotta know which one to play. If you can count to seven, you can quickly figure any mode for any chord.
@@curiousguitarist I just understood what the triangle is. When I first watched I thought the triangle was tracking the root of the scale. But what it’s actually tracking is the first whole step of the major scale. That’s why I was thinking “Dorian in A would start on B so why is the triangle on G#?”
I self taught myself the modes by focusing on the shapes. I created a chart to help me and during the creation I realized some interesting relationships about the modes but I still feel like I lack some deeper understanding to fully utilize them. But hey, I can play them at least. Here's my chart I created if I'm allowed to post links... it shows the different patterns for the key of A and then a diagram of how they fit together. www.editor.guitarscientist.com/diagrams/6joark4
That's a cool chart...in some ways. One thing I really try to do is separate shapes from theoretical information. I see each one of those shape diagrams for example as a way of playing the entire architecture, independent of frets or keys or names. While the architecture Whole steps and half steps you provide) is mode-specific as is your sonic interpretation. And a piece of constructive feedback, those modes are not in the key of A, only the first one is. More confusion will arise there! be careful. Thanks for sharing that chart though Cory, it's nice to see evidence of the curious guitarist at work!!
Your lessons have really opened up my playing and helped my understanding of the guitar immensely. Also you break the TH-cam mold by not wearing a goofy hat. That's cool too.
Best lesson on the modes I’ve ever seen. In 13 mins it all came together.
Great to hear!! Thanks for the view!
I literally was just asked who is teaching this, so I'll go and recommend you to them. Hopefully it'll get you another sub.
Happy guitaring!
Thanks Timmy, really appreciate it!
Damn this video is good, have been trying to get my head around how these modes work and I guess my instructor has been banging his head against a brick wall with me!!
With the lock downs, I havent seen him in 6 months so couldnt ask. Yet that one sentence you said about "just look at the chart... with Myxolydian, juat flatten the 7th". That one phrase just made it all clear! It's just all sunk in now! Gonna have to spend time on practice but the theory makes sense now.
Thanks Chris, your videos and teaching style are top notch!
That's great to hear Stuart! Modes are weird like that, totally opaque until they are as clear as a bell sometimes :)
Best description of modes yet. Thanks!
You bet Gwyn! Glad you’re here!
The value of this lesson is very great. I have always worried about modes until now. You have opened my eyes, Thank you
Oh yeah! This is what I love to hear Roy! Thanks for this comment, and I'm so glad this was helpful!
Hey Chris :) I just wanted to add something... The intervalic building blocks will never change and each modes formula helps us identify each chords diatonic extensions.
Ionian- 1 chord 1-2-3-4-5-6-7
Dorian- 2 Chord 1-2-b3-4-5-6-b7
Phrygian- 3 chord 1-b2-b3-4-5-b6-b7
Lydian- 4 chord 1-2-3-#4-5-6-7
Mixolydian- 5 chord 1-2-3-4-5-6-b7
Aeolian- 6 chord 1-2-b3-4-5-b6-b7
Locrian- 7 chord 1-b2-b3-4-b5-b6-b7
In traditional music education, they use the mode to understand each individual diatonic chord. And is how they would expect you to observe the changes.
Say a 4-1-6-5
Lydian on the 4
Ionian on the 1
Aeolian on the 6
Mixolydian on the 5
You could in theory play all the right notes just thinking in reference to the key, you'll play all the right notes this way. The problem is you might not play the right notes at the right time...
Sorry for bugging you :)
Great context! Not bugging me at all
"I was confused until I wasn't confused" so simple, but it's like "you don't know what you don't know" People who don't understand this are stuck, and probably can't learn/progress. Thanks for applying it to something we all love. Music. PS: display on bottom helps a lot.
Truth.
Holy shit, a minute into the lesson it finally clicked. Take my money 💰.
Hahaha! The modes are like that, murky as hell, until they're not suddenly!
Seriously, you may be the best teacher (and player) ever!
Blush-
Thanks Marion!
"I was confused, until I wasn't confused." Ha. I love that. Thanks for the lesson.
You bet, John. Thanks for the views and comments!
Thanks for the great video! Succinct and to the point. Much appreciated. You never disappoint with easy to follow videos, every time!
So glad to hear that Andrew, really appreciate the comment and glad these are working for you!
Great explanation! Applying it is also confusing at times for me!
yeah...it's like the modes refuse to be easy to understand...up until the point you understand them.
Weird!
Great lesson Chris. I think you just made a few guitar lesson books obsolete. Can you do a lesson on application of modes in music and how they might be considered.
th-cam.com/video/AqVltMLJVus/w-d-xo.html
Thank you so much Chris. You're an awesome instructor / teacher. God bless you always 🙏❤. I'm not putting down on any other teacher on TH-cam but I have picked up more from you. Thanks 😊 Friend
You’re welcome, John!
Beautiful modes playing.
Many thanks Yongchao!
I am at a loss as to why you don't have more subscribers Chris. You really are one the best at explaining/demonstrating/teaching music theory. The way you described the modes is as eye opening as it is beautiful. The amazing thing about the modes for me is how different each sounds. Thank you.
You are so welcome!
I’ll second that!
Well done video! Love the thought that looking at modes from several different perspectives brings clarity and that clarity helps to use the modes musically.
We can only hope for things to work that well :)
While filming this I re-kindled my love of Phrygian ♥
This is a really good channel, love what you do!
Thank you so much 😀
I had to really bring it to my guitar to understand it. The way I look at it is you’re starting with the regular major scale(Ionian). Take the second note you play of the major scale and that will be your new starting point. Starting with that note, continue the same major scale shape you’re familiar with but add a new note at the end of the run which will be the octave of the first note you played. That is Dorian. For Phrygian you’re starting with the third note of the major scale and just continue the scale like you did for Dorian but the end of the run will end on the note you added for Dorian, then add the last note which will be the octave of the note you started on.(third note of the major scale). That would be Phrygian. Do the same and add the octaves for all the other modes. Hopefully this helps some people. It’s very hard to explain but this is what helps my mind get it
Nice context, glad it landed well for you!
Love all these modes videos, thanks Chris!
Mind blowing but your language is keeping me tuned in and fascinated. Thank you.
Glad to hear that! The other modes lessons are also very informative, from different points of view.
Well done. Thanks Chris.
Thank you Don!
Another great video @chrissherland I've got this bookmarked for easy reference!
Sounds great! keep watching it till it totally clicks!
You explain it so well! Respect!
Thanks Scott! Glad you’re enjoying this one!
Excellent lesson Chris, thanks!
Thanks, glad you like it Michael!
@@curiousguitarist Marty turned me onto you, like him much and now liking you, too!
@@michaelgreen5206 Welcome to the channel! Much more to come!
It is incredible how succint your lessons are. This is the first time I see how modes relate with the arquitecture of the scale. And it all makes sense thanks to you Chris. So, for example, and correct me if I am wrong. For Dorian we start to play B (Key of A) as a single note or a Bminor chord, depending on the choice of playing the single note or the chord. I will recommend you as well! Have a great day!
Edited-
Thanks for the kind words Fernando! I’m glad you’re finding these informative and useful!
Thank you Chris. You're welcome! But if the video is in the key of A, doesn't it mean: A ionian, B dorian, C# phrygian?
@@lourinho yes indeed! You are correct!
I was thinking of the Blues modes video in my initial reply, sorry if that confused you.
You’ve got it!!!
@@curiousguitarist that is cool!🤗
❤ Exactly what I was looking for in the key of C to start with thanks a lot ❤ Can we play Dorian all across fretboard pls make a lesson on this and also on how to construct blues scale across fretboard ❤
These are great ideas!
Great video!
Nicely done. I've used modes for a very long time but I fear in a very wrong way. I memorized the patterns up and down the neck and use them horizontally. Example. A ionian at 5th fret B Dorian at 7th fret C Phrygian at 8th etc. Then I bounce around. I never used them as you did - all at the same fret. Hence I probably am using them in a wrong way. So the upshot - I know the modes but only have a slight idea how to use them in the most effective way. They've helped me alot despite this, mixed with pentatonic, blues, harmonic minor and diminished scales. So, if you haven't already, a tutorial on how to use modes would be helpful.
You’re using them perfectly. There are other applications, but yours is actually the best method to put the entire matrix on the fretboard.
Look at the “modes as chords” video form some application.
And I’ll be doing a “modes over the blues” video soon. That will have a good bit of application.
Time well spent with this vid
Yup....I get it....wait...I don't think I do...well....maybe I do? Watch again. Great stuff Chris!!
Hahaha! Love it!
Hey Chris, hi from Australia & thanks for another great video. I’m an older guy relearning guitar & I get the modes but what are you thinking while playing
for example E Phrygian. Are you thinking the scale degrees of E Phrygian or the C major scale starting on the E or playing the A minor pentatonic over a song starting on the Em?
Kind regards, Phil
Such a great question!
For Phrygian specifically I’m looking at the altered scale degrees and especially trying to fit in that flat second and use it as a tension point for creating and resolving.
OK Chris, from your description of the major scale intervals WWHWWWH steps I get the feeling (and I’m sure I’m wrong!) the half steps should be BC and EF. But the way these 12 notes of western music are set up, the Major Mode (Ionian) can start any where on the Chromatic scale and not really use the BC , EF rule right?
Ie, it could go from B to B# or E to F # or other variations?
Gee how crazy a question is that? (I have a weird mind being a dyslexic Left Hander playing Right Handed!)
You are exactly correct my Dyslexiclefthandrighthand man! In fact, the full answer to your question is available if you simply move the scale shape anywhere, grab a pencil, and write down the notes.
The only rule is that every scale must contain some variation of each of the 7 letters.
It's a lot of fun actually.
This is fantastic! Thank you!
Of course Christian!
Either me missunderstood the role of the yellow triangle or there is an error in the editing . I belive the placing of the triangle is wrong.
Please correct me if im wrong!
Edited: Rute is shifting and the Yellow arrow shows where the 'mother scale' A major - remains in place!
Lost in translation, but I get it now!
Sorry!
No worries, I really appreciate you checking it. I usually take a lot of time to make sure there aren't any errors, but sometimes they might sneak in! Also, this is a very complex subject and easy to get confused about!
@@curiousguitarist it also confusing because it can be explained from two different perspective at the same time.
But the truth that the matter is, the scale itself or the melody what a player plays in the scale is not the one that determines the mode.
It's the chord progression and whatever I come up with when I play along is either fits or not to that progression.
We not make music with theory. We make music with our feelings, and use theory to analize, and understand what just happened, but sure if I know my theory I can also controll things and helps to express the message of the music. It's a two way road.
So, what made this finally click for me is this excellent lesson from Chris and another video by Brian Kelly called Understanding Modal Chords. if you watch the two videos it will all make sense (I think!)
Fantastic. Thanks for the tip on Brian's vid too!
I think it’s clicking. I’ve understood that the chord progression defines the mode, B Dorian (Key of A). I guess I couldn’t get over trying to understand the scale for each mode and trying to remember what changes occurred for each. But this helps make this more concrete. It’s clicking... Will rewatch this a few times and then play an A chord on the looper and then play the different modes over to hear the differences and see what appeals to my ear.
Chris, you continue to put out great lessons! Thank you!
For chords to play in this key, play A major over Ionian, B minor over Dorian, C# minor over Phyrgian, D major over Lydian, E7 over Mixolydian, F# minor over Aeolian and G# diminished over Locrian :)
@@curiousguitarist ha......just when I thought it was clicking...it’s not. Thank you for setting me straight!
Here's what I can't bring myself to understand. Even though I have a pretty good knowledge of this material. What does it mean this different scales are built off of a certain degree? And.... how come you start your root of the different scale modes, on a different note for each participant scale mode? With each of the modes being from the key of A? This is confusing.
Does the degree the mode is built off of determine the root of each of the scale modes, even though all of these examples of each of the modes for still in the key of A? And if so, how do you know where to start each of them, based on the degree of the scale that the mode is built off of?
Perhaps I need to go back and see if there is something I have missed, or not seen in a previous video. If there is, please send me a link or give me the name of the video(s) I should watch to get up to speed on this subject. I understand that all the modes are built off of the major scale. But what exactly determines what parts of the scale are its designated degrees? This is what has me confused most about the modes.
Thanks for you great videos and helping all of us who seek out this knowledge be able to find it, through your channels content. I really want to start music school soon. But until I can. I will continue to use your videos to learn all I can. Its really one of the best channels for learning music theory on guitar and I wish there was more like it.
You’re getting the idea, and that confusion is pretty natural. Try the video on this channel called ‘Still confused about modes?’ I’ll grab the link…
th-cam.com/video/v01pGRHdng0/w-d-xo.html
hi Chris great explanation. Question could you list actual compositions that demo these? my question...is D Dorian the D major scale from the second degree. E or i D Dorian the C major scale tones starting on D thanks
D dorian is the C (edit) major scale starting and ending on D. A great dorian song is Oye Como Va by Santana. Also watch this video...th-cam.com/video/AqVltMLJVus/w-d-xo.html
Good to have you on board Ned!
@@curiousguitarist Thanks for the reply...I am confused... thought the D dorian was the second mode of the C major scale...
@@NedBerndt whoops! You are correct sir! Was typing too fast! Edited-
Great Video, as usual, Chris. Just one question about nomenclature. Key of A Ionian uses the same notes as Key of B Dorian, is that correct? The root just pushes up the scale and subsequent Modes using the same musical notes as the key (root) shifts upward? So C Phrygian Mode uses A Ionian notes but starts on C as the root?
Thanks again, Chris! I’m going to have to watch this again but I think I understand now.
Maybe that was posed as a question but it was perfectly explained :)
@@curiousguitarist Great! Thanks, Chris!
Couldn’t be more confused. I know that each note in the Major scale represents a mode.
Starting at the 1st note is the Major Scale and the Ionian Mode
Starting at the second note of the Major Scale is the Dorian Mode.
Starting with the third note o the Major Scale is the Phrygian Mode etcetera.
What I need to know is which finger to use on the starting note of each mode and which chords go with each mode?
Nice and slow!
The finger doesn’t matter, it’s the formula that does.
From wherever you start, no matter what finger you use, play the scales formula to really understand modes. Decouple them from the “parent” scale as soon as you can so you can reduce your cognitive load and focus on the intervals in the mode.
Another great vid Chris, I've learned most of the "used" modes and got use to playing them out of the key position, Dorian at 7 fret key of A (but still sounds like A maj. until I focus playing the B note?? I'm still a little confused about the application process can you use a minor mode i.e. Dorian against a major chord in the progression and vise versa 🤔.
Yeah you can...but you've got to pay attention to what the chord is in the progression.
Try this:
Blues progression in A. When you get to the D7 chord, play A Dorian over that. That might help you get started on where to play them.
I'm writing up a vid for modes usage next...should be up in a week or 2
You are showing all the modes here in A major scale, but when I play B Dorian mode it's this same A major scale but I'm starting it from now root note B ?
You are exactly correct.
So I’ve heard classic players who read music, don’t use modes. They just look at the staff to see what key they are in. So I just pulled up a circle of fifths diagram to see that two flats is the key of Bb. Wouldn’t it be easier to say the key of Bb than the Dorian mode or D Dorian?
With a system like this, there are multiple ways of looking at it. Whatever lens feels right for you to see it all is the right one.
Ultimately the road to the kind of familiarity you're talking about starts with a full fretboard map of the architecture that is independent of any key...moveable to wherever you need it.
Then the knowledge of the key you need simply dictates where on the neck you project that map.
Thanks for the comment and insight SG~
When you start running through the modes at 7:30, aren’t you changing the root, and therefore the key with each mode change?
Actually in this instance we are staying in the same key the entire time. Since I’m using successive scale tones from the same major scale as the new “root” note, even though all the relative relationships change, all the notes remain the same.
Hello Chris. What popular songs are good examples of mode usage?
Oye Como Va by Santana is a good example of a vamp (repeating progression) in Dorian, while “Miss You” by The Rolling Stones is a very good example of that same basic progression, but uses chords built by the Aeolian mode.
The theme song for the character “Maria” in the musical West Side Story is written in Lydian.
The truth is that a large percentage of popular music is “modal” in that songs remain in the same tonal center and just go back and forth between a couple of chords. That type of music can be considered modal as well.
@curiousguitarist Much Appreciation Chris! Love your channel sir!
Having been through this concept in multiple ways on piano, bass guitar, cello and guitar, I'm thinking that idea behind the little yellow triangle, and what it represents, is part of what makes the system confusing and, as such, a challenge to explain.
The triangle points to the *Ionian* base (in this case, the A), but the words used to describe its function could be (mis)interpreted. That is, "the little yellow triangle that shows you where that architecture begins" could be heard as "where the *next mode* begins". In that case, seeing the triangle move to the 7 for Dorian, instead of the 2, for example, is confusing.
Great point! It's all the damned lenses...So while the concept is still mysterious any of the lenses adds to that complexity, but once it clicks any lens is clear as a bell.
But yeah I agree, that triangle could be left behind and it wouldn't hurt. But I also recall when I understood that the architecture had a starting point within every mode, that helped me get the whole thing. So I thought I'd add it in case that helps anyone else click.
Thanks for the comment and suggestion!
@@curiousguitarist FWIW, I prefer your lens / explanation (with maybe just a little more clarification on what the triangle is pointing to), because in doing this, one is actually constructing the modes in essentially the same way they're constructed on a piano keyboard which - at least in the key of C - is very straightforward and easy to see, hear and understand. Some instructors show successive scale patterns, or "positions", going up and down the neck - the Dorian "position", the Phrygian "position", etc. - and while those are also technically correct, it makes for a very confusing intro to the whole system, at least IMHO, until one really 'gets it'. Great stuff, Chris - thanks for this one!
@@uzer_zero completely agree. Those "positions" are so much better leveraged as "ways to play this architecture" so they aren't chained to a mode or starting point.
Really glad you're here!
Hi, I'm confused with aeolian mode, it's natural minor of major scale.C natural minor is A min , it has no flats or sharps, but C aeolian has Eb Ab Bb. Please help 🙏
C Aeolian is the natural minor scale in the key of Eb.
onlineguitarbooks.com/c-aeolian-mode/
4:06 How long I was confused before I figured out that, oops I just changed keys. I tend to move to other positions on the fretboard to play, say, an E mixolydian pattern. Which was really good for me because it taught me to navigate the fretboard and stay in key. But like anything else, it gets stale and I wonder why I don’t just stay at the 5th fret and noodle around an A major scale pattern. I get the same note output, so why bother with modal patterns.
My clue on from the learning of your lesson is just better for me to rely on the structrue, let the flat 4 and 7 leave behind my head first. my cut in point is here.
For some reason my comment didn’t post.. get over to Patreon and subscribe to get the tabs, they are a great help. More importantly it supports Chris, who is a LEGEND, by remunerating him for his efforts.
Mark, that's so kind. I really appreciate the boost sir! Thanks for the plug!
I agree, @Mark Stapleton, 100%
I could not agree more. Become a Patrion member, I promise you, it will be the best ten bucks you will spend every month. I’ve been a member for the past few months and my playing and understanding has gone through the roof. The best teacher I have found over the past 50 years !! Come on now, ten bucks a month for the best instruction available, what are waiting for ? ?
Can you do a video on sitar like scales, such as Joe bonamassa’s mountain time intro?
Hmmm...maybe. I have a series planned on the "other scales" beyond just major/modes and pentatonic. I'll see if I can add in that specific scale.
Hi Chris, I'm a huge of yours. I taught myself the modes in the last couple of years. I'm finding that people that have an excellent understanding of music don't always explain things in the best way (or that they take a traditional 'musical' approach). This is certainly not a criticism as you have great ways of putting information across.
I'm just a little surprised that modes aren't described more as a 'relative' idea to whatever chord you're playing. Say I want Bm dorian sound. Well I know it's the 2 chord so I play A maj scale over Bm and I get a dorian feel. That way, I don't have to think about the intervalic structure at all - I just play A maj and focus on the notes I like. If I'm playing A over Bm, the third is already flattened RELATIVE to a normal B major scale. Same for any of the other diatonic chords. The structures are taken care of just by knowing what major scale to play for that modal vibe.
Secondly, I have never seen anyone (maybe they have, I just haven't seen it) explain that all the chords in a particular key use notes from that major scale. So for key of G, as you know, G, Am, Bm, C, D, Em and F#dim ALL have their chord notes in the key of G. That's WHY modes work.
Anyhoo, don't see too many educators explain it this way as much but it certainly helped me understand that it is really a case of knowing which major scale to play over a chord. I guess it's kinda the reverse engineered way of how most people explain it.
Cheers
Love your channel, keep it up.
I've got that Harmonizing vid that does that, so yeah it's a fundamental part of the modes.
But I don't see any major scale position as a mode I see it as a structure, a highway of notes in a key. I see that structure as being applicable to ANY mode built from it, anywhere on the neck.
Your method is correct, but ultimately there's another step wherein you don't need to think about another key...you're just using the architecture that you need.
Watch the Modes as chords video to see what I'm talking about. Eventually there's no real difference between chords and scales, they're all part of a fabric.
@@curiousguitarist Yes! Modes as chords. I will definitely watch it. I'm sure it will give me another way of looking at it.
😃🌟Thank you!
Of course!
Hi Chris, thanks for the video. To me it just looks like you’re playing the A major scale but shifting the starting point. Is that all there is to modes? Seems too simple. 😅
That is a perfectly precise way to look at it!
I’m a little confused actually. In the explanation Chris says that the yellow triangle is pointing to the starting point. Yet when he plays Dorian, off second degree, the triangle is pointing to a different degree. What have I missed? Apologies if this has been covered
@@iaindavies-moore5061 there’s a lot to track here for sure! The yellow triangle shows you where the major scale architecture begins. So for Dorian, since it’s built off of the second degree of a major scale, that architecture starts BEHIND Dorian’s root, on its 7th degree. I hope that helps! If not there are a few other videos on the channel about modes that look at them from different perspectives, one of those might be more enlightening if this one is too dense.
@@curiousguitarist Thanks for your response Chris, much appreciated. I’ll look at that video again as I think the content is important. I’ve also watched your specific video on Dorian off the key of G, I understand that A is Dorian in this case
@@curiousguitarist, I get it now (took a while and a few sleepless moments😂). As you progress through the different modes the starting point “gets further away” from the original parent scale tonic, or “architecture” as you eloquently described it. I think that’s what I’ve learned. Disavow me if I’m incorrect here.
@@iaindavies-moore5061 that’s correct! The modes are inherently confusing due to the fact that you can see the structure from a few different perspectives. Glad this landed well for you!
@@curiousguitarist I can sleep now 😂😂
Nice Lesson Chris,
I am right in thinking that to play A Dorian- I can just think in G Ionian and target the 2? A Mixolydian, play D Ionian & target the 5? etc... That way the intervals are always WWHWWWH
Perfect.
Chris, could you explain why the yellow arrow is going backwards? This is the one thing I can’t get my head around.
Sure Darren,
Think of that arrow pointing to the origin of this structure:
W W H W W W H
So in Ionian the arrow is below the "R" for root. When you switch to Dorian that architecture now starts BEHIND the Dorian tonic, at it's "b7"
Make sense?
I think I get it. I’ve just been switching between Ionian and Dorian and when I play through to the root of Dorian, the B note, I keep wanting to resolve back to the A, it’s b7, because this mode is being built off the key of A.
I’ve just played through the rest of the modes and every time I get to the ‘root’ of the mode, I keep wanting to resolve back to the A, which just happens to be the interval the yellow arrow is pointing at.
@@darreneden ok, it sounds like your ear is “stuck” in Ionian, in that WWHWWWH architecture I think.
Try this for the Dorian mode. End on the B note then play a B min chord…see if that shakes you loose.
Thanks Chris, playing the Bm helped to anchor me within the tonality of the Dorian mode. I still have to get my head around the yellow arrow. However, taking the time to build the modes from each interval today, really helped to bring them alive for me on the neck.
@@curiousguitarist The penny just dropped! I just watched the video again and instead of focusing on the arrow, I focused on the WWHWWWH architecture moving as you went through each mode....then the yellow arrow position becomes obvious!! A wonderful Ah Ha moment. Thanks Chris.
Decided to remove my previous comment with the PDF, since my intention could be misunderstood. Just wanted to point out, that I see Modes technically as major scale positions all over the neck (more horizontal). Soundwise different story and hard to express as a guitarist.
Next time leave it Sascha! I like all the discussion that happens around this stuff.
I love it !!!!!!
Okay, out of all the videos on this playlist, this one completely confused me. But it's just day one. Maybe tomorrow it'll make sense.
"Modes can be confusing" is truth. Watch it a few times and I bet it gets clear.
@@curiousguitarist Thanks. I'll keep at it. It means a lot that you actually responded.
I'm just starting out. My old man left me a bunch of his guitars; his fender strat is the same colour as yours - teal - and I've got this James Tyler Variax that hooks up to the computer that I feel I'll never understand, and thousands of dollars worth of equipment like his V-amp (Pod HD) or the Line6 spiderjam amp... equalizers and pedals... it's all very intimidating and I feel like I have the equipment to make my memory come alive, but no idea how to do it - he was a master of the guitar so I want to honor his memory by finally learning... it's hard to know where to begin. I'm glad Marty featured your channel, because theory's obviously important, but I guess I just don't know where to start. I did the major scale exercise and the triad exercise. "Memories From her" From the diatonic video was such a beautiful song, I wish I could learn it. I've followed along every video from your "start from here" playlist, and it's already been very helpful, but I guess I'm still left with... wanting to know what the path is, I guess, if that makes sense. Do this, then do this, then learn this. I don't want to end up fifty years old, just knowing how to play specific songs from youtube without understanding how and why they sound good to the ear.
I can't even look to hire a guitar teacher because I don't know enough to even know what a good guitar teacher looks like - well, except that you are clearly the model of one, so you're the first person I feel I can safely ask: what's a basic path? Is that a fair question?
@@curiousguitarist This was the only recording my old man ever made. He'd play all the time, endlessly all straight from his head. He'd tell me about arpegios and scales and try to get me to learn, but it all just seemed impossible.
I'm willing to scrape and bloody my knees now, to learn how to ride the bike. I might not learn how to do fancy tricks or do the Tour de france, but just to ride the bike would mean the world to me. So.. Where do I start?
If you have the time, here's a short song, the only recording my dad ever made. His music equated to the feeling of being home; that's gone now, and the only way to get it back is to do it myself, but I don't know where to begin. What's the path?
th-cam.com/video/kk_ASQfRzKE/w-d-xo.html
Wait. One is the B Dorian and one is B Aeolian. My best stab at it.
Why o why?
The second degree from A is B. Dorian. Which is minor. B minor right? But the B minor scale is not the same. B minor scale has a G and the Dorian has a G#.
My head hurts
The major scale modes create 7 scales. Each one of them is either major or minor depending on the 3rd degree of that scale.
What we classically call “the” major scale is Ionian. The classic minor scale is Aeolian.
But Dorian, Phrygian, Aeolian and Locrian all have minor 3rds, so they are all minor.
Ionian, Lydian and Mixolydian all have major 3rds so they are all major scales.
More confused?
You're right. It's relative. If you play A major scale over Bm, you have magically already flattened the third. That's how the modes work. You want, say, Bm phyrgian? Easy. It's the 3 chord of G. You play G major over it, all the flats and sharps etc are all taken care of. What if it was Bm aeolian you wanted. It's the 6 chord. Find the one chord which is D. Play D maj scale over Bm and you get Bm aeolian. All the notes taken care of. So, it's ALL major scale. Just gotta know which one to play. If you can count to seven, you can quickly figure any mode for any chord.
Is the triangle moving the wrong way?
No, but try this video instead, see if it clicks for you here Still Confused by the Modes?
th-cam.com/video/v01pGRHdng0/w-d-xo.html
@@curiousguitarist I just understood what the triangle is. When I first watched I thought the triangle was tracking the root of the scale. But what it’s actually tracking is the first whole step of the major scale. That’s why I was thinking “Dorian in A would start on B so why is the triangle on G#?”
@@joeland87 Thats it exactly. The triangle points to the root of the "Ionian", or parent Major scale.
Got no link for tabs
Hot dang! Thanks!!
Tab link added.
I know what I'm doing as soon as I get home 🎸
get some food first! You don't want to "mode-angry!"
@@curiousguitarist ill make a stop at the phryg lol
I self taught myself the modes by focusing on the shapes. I created a chart to help me and during the creation I realized some interesting relationships about the modes but I still feel like I lack some deeper understanding to fully utilize them. But hey, I can play them at least.
Here's my chart I created if I'm allowed to post links... it shows the different patterns for the key of A and then a diagram of how they fit together.
www.editor.guitarscientist.com/diagrams/6joark4
That's a cool chart...in some ways.
One thing I really try to do is separate shapes from theoretical information. I see each one of those shape diagrams for example as a way of playing the entire architecture, independent of frets or keys or names. While the architecture Whole steps and half steps you provide) is mode-specific as is your sonic interpretation.
And a piece of constructive feedback, those modes are not in the key of A, only the first one is.
More confusion will arise there! be careful.
Thanks for sharing that chart though Cory, it's nice to see evidence of the curious guitarist at work!!
@@curiousguitarist Thanks for the feedback!
Chris, can you see the previous comment I posted?
Yup, thanks man!
I’ve been upsetting the fabric of the universe most of my adult life...🎸🔊🎼🎶🎵
I think that *might* be why we're all here in the first place :D
Your lessons have really opened up my playing and helped my understanding of the guitar immensely. Also you break the TH-cam mold by not wearing a goofy hat. That's cool too.
Ha! I was _just_ about the get a hat (kidding).