Finally! This was the video that made it click for me. Watched probably 75% of your lessons more than once and missed this one until now! Finally found a modal lesson that makes sense for me. Thank you!
I watched first three lessons by far BEST BEST BEST introduction to modes its fundamental straight to the point and not confusing lots of information but explained so well so clear!I just wanna tell im really thankful for this channel and 60 percent of usic theory i learnt on this channel I ended up printing out both ebooks on music theory and on CAged system thos are my table books alsways look into them if i doubth something! Really thank you so much and if i can do anything to support on my side let me know!
Thank you very much for your excellent music theory e book its brilliant anyone learning the guitar should have this, go download it people, you won't be sorry!
Donn Goodside Not sure what you mean by A Major's Tonal Center is Eb...Maybe you could elaborate. But I can answer your question about why it's important to understand the info in this lesson. Really the main point of understanding Modes in Parallel is to understand the character of each mode. It allows you to quickly see and hear the differences and the unique character each mode has to offer. This is important because in a lot of playing situations you will have options between different modes. For example, if you're playing over a static Am7 chord you could use A Dorian, A Phrygian, or A Aeolian to solo over it. Your choice will just depend on the color you want to create over the chord. Or if you want to play Jazz, it's really important to understand the unique character of each mode because there will be many times when you have a choice between modes. So this lesson is really just to help you easily see and hear the differences between modes. It's much harder when you just look at them in Series. Hope that helps. Thanks! -Chad
Ah I get it even more now. Wrote out a bunch and then read this comment. So basically Am7, you can treat it as the minor 2,3 or 6 chord of the scale you're soloing in. Is that an ok way to look at it?
On the otherhand if you want to hear the modes in great detail you can also change your Chord diatonically.. IE Play the # 1 scale figure related to Ionian Starting on the 8th fret play a "C" tone underneeth ....you are hearing IONIAN. Now keep your fingers on the 8th fret and play the same scale Scape but change your tone to "D" You are now hearing Dorian.. Change the underneeth chord to f and play the same notes starting on 8th fret yoyu now hear phrygian... Parallel Modes re useful for education but also contibutes to comnfusion.
Its interesting that if you take one 3 note per BOX across all 6 strings for any Key and play pretty much all notes in that 3 note BOX , you would end up playing all 7 modes for that KEY in that BOX
Great Lesson!... What about playing all the modes in one mode; like Ionian for instance.. ? If my chords are G and C.. in G Ionian, I Start on the G note over the G chord in Ionian, when the chord changes to C; I play C lydian (in the Ionian, 1st mode position).. Changing modes for each chord change. (all within the same key, or parent scale) ? This is new to me, its more structured, than just doing what I was, jamming away in one mode, playing any notes in that mode regardless of the chord changes. I have to think more now, but it's preparing me to target notes. I have a couple books on modes. they are good information, but they don't teach how to apply the theory. just formulas and scale patterns, common chord progressions for each mode. anyways, my question is; Does a person change the mode over each chord? because G Ionian works over a 6-1-4-5 chord progression. Any note over any chord works technically. I was wondering your thoughts.. Thanks
If you're playing something that's diatonic I don't find it useful to think about the modes except for understanding my avoid notes. If you're thinking about changing modes over a diatonic progression it will probably sound stiff. I recommend using your ear, using arpeggios as your most stable landing tones, and knowing your avoid notes. Thanks! -Chad
Trying to understand... so basically as you go up through the modes, you're really going down in major scales? So G ionian is G maj, then G Dorian is F maj (with emphasis on the G) and so on? So the next mode would really just be Eb Maj (again pushing the G note) and so on. Did I get that correctly?
Not 100% sure I know how you're looking at it. It's correct that G Dorian is really just the notes of the F Major Scale but rearranged to revolve around the G and so on but not exactly sure what you mean by going down the major scales. It does work out that G Dorian has PMS of F, G Phrygian has PMS of Eb, G Lydian has PMS of D and so on. So the Parent Major Scales are going down the musical alphabet by letter name G, F, Eb, D etc... but that doesn't take into consideration flats, sharps or naturals. For example it's G, F, Eb instead of G, F, E etc... so not exactly sure how that would help. Interesting way to look at it though. Hope I understood what you are asking. Thanks! -Chad
That did answer my question. I should have said alphabet instead of major scale. I'm trying to give myself a simple way to see it for the purpose of creating melodies, especially on the spot. I think I understand what you mean about the flats too. I should write these all out to get more comfortable. Thank you for your reply.
Click the link to access our FREE Music Theory For Guitar eGuide, along with the rest of our courses: moveforwardguitar.teachable.com/
Finally! This was the video that made it click for me. Watched probably 75% of your lessons more than once and missed this one until now! Finally found a modal lesson that makes sense for me. Thank you!
It took me so long to figure this out. Your videos ate grant, and thanks for not monetizing them.
I watched first three lessons by far BEST BEST BEST introduction to modes its fundamental straight to the point and not confusing lots of information but explained so well so clear!I just wanna tell im really thankful for this channel and 60 percent of usic theory i learnt on this channel I ended up printing out both ebooks on music theory and on CAged system thos are my table books alsways look into them if i doubth something! Really thank you so much and if i can do anything to support on my side let me know!
Thanks so much! Really glad you like the lessons and eGuides. Thanks for the positive feedback and for being part of the MFG community! -Chad
The two boards you drew are fantastic. This video only lacks audio examples to back it up. Thanks a lot for the upload Sir!
Thanks! Our new music theory courses do have audio examples. -Chad
Thank you very much for your excellent music theory e book its brilliant anyone learning the guitar should have this, go download it people, you won't be sorry!
Donn Goodside Not sure what you mean by A Major's Tonal Center is Eb...Maybe you could elaborate. But I can answer your question about why it's important to understand the info in this lesson.
Really the main point of understanding Modes in Parallel is to understand the character of each mode. It allows you to quickly see and hear the differences and the unique character each mode has to offer. This is important because in a lot of playing situations you will have options between different modes. For example, if you're playing over a static Am7 chord you could use A Dorian, A Phrygian, or A Aeolian to solo over it. Your choice will just depend on the color you want to create over the chord. Or if you want to play Jazz, it's really important to understand the unique character of each mode because there will be many times when you have a choice between modes.
So this lesson is really just to help you easily see and hear the differences between modes. It's much harder when you just look at them in Series.
Hope that helps. Thanks! -Chad
Ah I get it even more now. Wrote out a bunch and then read this comment. So basically Am7, you can treat it as the minor 2,3 or 6 chord of the scale you're soloing in. Is that an ok way to look at it?
I love the “order of brightness” chart! Thank you
another great lesson. i'm glad i found your channel
+Gato L. I'm glad too:) -Chad
Mr. Chad you are Great Professor...
I appreciate it enormously .
Josef Inigo Thanks! -Chad
On the otherhand if you want to hear the modes in great detail you can also change your Chord diatonically.. IE Play the # 1 scale figure related to Ionian Starting on the 8th fret play a "C" tone underneeth ....you are hearing IONIAN.
Now keep your fingers on the 8th fret and play the same scale Scape but change your tone to "D" You are now hearing Dorian.. Change the underneeth chord to f and play the same notes starting on 8th fret yoyu now hear phrygian... Parallel Modes re useful for education but also contibutes to comnfusion.
hy, please what program do you use for this guitar examples?
I create all the charts with Illustrator. Thanks! -Chad
Its interesting that if you take one 3 note per BOX across all 6 strings for any Key and play pretty much all notes in that 3 note BOX , you would end up playing all 7 modes for that KEY in that BOX
Great video nice charts 👍🏽
Thanks! -Chad
Great Lesson!... What about playing all the modes in one mode; like Ionian for instance.. ? If my chords are G and C.. in G Ionian, I Start on the G note over the G chord in Ionian, when the chord changes to C; I play C lydian (in the Ionian, 1st mode position).. Changing modes for each chord change. (all within the same key, or parent scale) ? This is new to me, its more structured, than just doing what I was, jamming away in one mode, playing any notes in that mode regardless of the chord changes. I have to think more now, but it's preparing me to target notes. I have a couple books on modes. they are good information, but they don't teach how to apply the theory. just formulas and scale patterns, common chord progressions for each mode. anyways, my question is; Does a person change the mode over each chord? because G Ionian works over a 6-1-4-5 chord progression. Any note over any chord works technically. I was wondering your thoughts.. Thanks
If you're playing something that's diatonic I don't find it useful to think about the modes except for understanding my avoid notes. If you're thinking about changing modes over a diatonic progression it will probably sound stiff. I recommend using your ear, using arpeggios as your most stable landing tones, and knowing your avoid notes. Thanks! -Chad
I just want to say thank you, your channel is excellent!
No problem. Glad you like it. Thanks for the positive feedback! -Chad
Eres un gran maestro!!!!
Trying to understand... so basically as you go up through the modes, you're really going down in major scales? So G ionian is G maj, then G Dorian is F maj (with emphasis on the G) and so on? So the next mode would really just be Eb Maj (again pushing the G note) and so on. Did I get that correctly?
Not 100% sure I know how you're looking at it. It's correct that G Dorian is really just the notes of the F Major Scale but rearranged to revolve around the G and so on but not exactly sure what you mean by going down the major scales. It does work out that G Dorian has PMS of F, G Phrygian has PMS of Eb, G Lydian has PMS of D and so on. So the Parent Major Scales are going down the musical alphabet by letter name G, F, Eb, D etc... but that doesn't take into consideration flats, sharps or naturals. For example it's G, F, Eb instead of G, F, E etc... so not exactly sure how that would help. Interesting way to look at it though.
Hope I understood what you are asking. Thanks! -Chad
That did answer my question. I should have said alphabet instead of major scale. I'm trying to give myself a simple way to see it for the purpose of creating melodies, especially on the spot. I think I understand what you mean about the flats too. I should write these all out to get more comfortable. Thank you for your reply.
No problem. Glad it helped. Thanks! -Chad
Excellent lessons!
+downhill240 Thanks! -Chad
Cool
Thanks! -Chad