It's just ridiculous how good of a teacher you are. Some of your individual courses are pricey, but they are long, thorough and easy to understand. Damn fine work.
One of the most important things as a guitarist is to be able to play a few notes and know where you are on the fretboard, which is really hard to memorize without knowing how to approach it. Small tricks like these are extremely helpful in that regard. Thank you so much for these lessons.
Wow. . . That was an incredibly insightful lesson David! I will be reviewing that one more than a few times.. I've been studying music theory and how it applies to the guitar for quite some time now and feel I'm at a pretty high level of understanding now. However, it's lessons like this that really help me to fill in those little gaps that still exist in my knowledge to help me really see the big picture from all angles. More than any other instructors on TH-cam you and Claus in particular have been invaluable to me in this regard so I find it kind of ironic that you two are now actually working together.. Your approach of helping people "find their own voice on the instrument" is exactly what I want in an instructor. I started learning other people's riffs and licks many years ago and I'm sort of done with that. Learning the "tools"(as Claus calls them) needed to be able to improvise freely across the entire fretboard has been so incredibly rewarding and it's lessons like this that have helped me to get there. Let me just say thank you sooo much for all that you do! It is very much appreciated!
Just spent a solid 1 1/2 hours on this exercise. Thanks David! Another angle to attack modes and chords means finding cool new phrases and finally getting more harmony in my playing.
3:31 in with your Major modes graphic "shift to one side" it should show the Ionian Lydian and Mixolydian in the Church mode formula table. It instead shows the minor mode table. Please check. Otherwise enjoying your posts. Learning a lot. Thanks...
If I understand it rightly, one way to trigger a mode in the listener's ear is by playing two modes next to each other. In other words, a minor triad that by itself can be referred to as dorian, phrygian, aeolian - since they share the same pattern (1 - 3m- 5P) - can be clarified by playing the modes next to it. Or the other way around: A ionian + locryan, which makes the major triad a ionian and excludes lydian and mixolydian. Thanks for this beautiful video!!!!
Hey David, super leçon! Il y a juste une petite faute à 3:41 : le tableau des modes affiché est le tableau des modes mineurs, alors que tu parles des modes majeurs. J'ai découvert tes cours il y a quelques jours et j'aime beaucoup ton approche. Merci!
What if you have a progression that has a major triad, followed by a minor triad and then a different major triad. How would you determine the mode? There is no sequence where that combination occurs in the intervals of the major scale. BTW, I have your Guitar Infusion course (loving it!) please let me know if you cover this in a lesson I haven't reviewed yet.
+D Fence, check around the "neighbor tones" and the "secondary dominante chords" to understand. The "major" chord which you speak is maybe the fifth or the fourth degree of another key ;). If it's the fifth then you can play mixolydian, and if it's the fourth you can play Lydian...
Hi David, great video as always! I followed most of it, but didn't quite understand the bit about using triads at the end? Any chance of a diagram to help visualise how you're using the triads to isolate each mode? Thanks
There is one one thing. For example we have two major chords. Depending which way we play it changed a mode. Major chord and another major one two frets up makes Lydian mode. Vice versa makes Mixolydian. How to figure out in this case what is the mode? Thanks.
To see if I got the idea; In the first example of the Ionian mode. Instead of playing a diminished below the major triad, including two consequitive minor triads above it in a progression. Would that also enforce Ionian ?
Love to get your take on using "parallel modes"? I think it's called, to create modal progressions (ie C Ionian Cdorian C Phrygian etc) using chords from the other modes.
Thank you for this great explenation it cleared some things out but it also made some more questions. Does this mean that if you want to make a Modal triad progression you have to start with the first triad for that mode and then go to the next one? Like if i want to make a D dorian Mode triad progression then i Have to start with the II chord and then go to the III chord? what if i Want to start on the I chord and go to the IV and V chord and make it sound Dorian? Does a triad chord progression that starts on the I chord and then the III chord and then the IV chord Always sound Ionian then?
Great question! No, you don’t need to start with the first triad. As long as you have enough triads to suggest the mode you are working in you are good to go!
Ok thank you man! So you mean that if i want to create a Dorian triad progression i could start with the V chord and then go to the II chord and then the III Chord (Major-Minor-Minor) because I get that Minor-Minor progression within even though I start with a Major? but that would give the Ionian sound because Ionian also got Major-minor-minor? So I have to go V-II-III-IV-V? hm.. probably not? maby V-II-I-VII? I just wanted to say that I really appreciate your lessons they give me hope that I may be able to accually play the guitar one day :P Sorry for the many questions and long comment but its important to me: I started to play guitar many years ago and i didnt study theory at all I just started to learn songs by tabs. I had heroes like Paul Gilbert, Steve Vai, Joe satriani.. Then I realised i really sucked because all i knew was some technique/licks and to visually imitate. Now a couple of years later I decided to start from the beginning and really learn the theory first. I now dont remeber One song but i have some theory in my head and Ive been working on the 5 pentatonic positions and the triad shapes from Root position and the major scale/modes positions (Only in the C major scale). It feels like i have bits here and there and I dont really know how to make music out of it. Do you have a video for me to start with and to go on from there?
To know the parent scale is to know all of the mode scales. All of the modes are the skeleton of the parent key. You’re trying to convince people that knowing 7 patterns is easier than knowing one. Modes don’t exist without the parent key. It’s what makes them modes to begin with. To know the parent scale is to know them all. You don’t send someone to an address and tell them, “Sorry, but you don’t get to use the map.” The parent key is the entire map. It’s how you know what chords are major or minor. It’s how you know what notes you can hit to solo with. Why are you hell bent on making this as confusing as possible? The parent key is how you know what mode you’re in to begin with. It’s the notes of the parent scale that give each mode chord their distinct sound not the other way around. Key of D parent scale is what gives B Aeolian it’s distinct sound. Key of A parent scale is what gives B Dorian it’s distinct sound. B Aeolian and B Dorian are both minor chords that are given their distinct sound BY THE PARENT SCALE You make this way more confusing than it has to be.
The problem with developing an 'educated ear', is that you end up playing to 'knowlegeble' crowds. At some point, you become bored by the types of notes and harmonies that 'regular' people enjoy, and must push into ever more esoteric realms. One day you look up and it's just a bunch of young guitarists in the audience. And they're all guys.
+Dave Morrison That's what I was so scared of before taking theory classes. But I found it not to be the case. I still love AC/DC even if I understand what they are doing. For me understanding music theory didn't take away my appreciation for "simpler forms" of music, it just enhanced it. :)
I have not found that to be true. Unless of course, one knows to watch out for it. I'm seeing the rise of 'music-school' bands. They were harmonizing and orchestrating and complicating, full-time in school. And THAT was how their musical growth was evaluated. Humans will always seek status. Rare is the person who works long and hard to play the hard stuff - and the 'sophisticated' stuff, and then sets it aside to play what will go easily into the untrained ear. Not meant as a criticism. But I do think it's something to be wary of if one wants to reach a lot of civilians with his or her music.
![Demonstrating All 7 Modes in Parallel [MODAL MUSIC THEORY]](/img/n.gif)
It's just ridiculous how good of a teacher you are. Some of your individual courses are pricey, but they are long, thorough and easy to understand. Damn fine work.
Thank you very much, means a lot!
agreed, DOC is the man!
"The real goal is to express yourself...." Brilliant David. You are a master teacher. I appreciate your work!
Sûrement la meilleure vidéos sur les modes de tout Internet ! Merci David
One of the most important things as a guitarist is to be able to play a few notes and know where you are on the fretboard, which is really hard to memorize without knowing how to approach it.
Small tricks like these are extremely helpful in that regard.
Thank you so much for these lessons.
Simply Clever !
and the Pedal point on the A opened string 11:17 is the Key to reveal the Modes.
Thanks David
Wow. . . That was an incredibly insightful lesson David! I will be reviewing that one more than a few times.. I've been studying music theory and how it applies to the guitar for quite some time now and feel I'm at a pretty high level of understanding now. However, it's lessons like this that really help me to fill in those little gaps that still exist in my knowledge to help me really see the big picture from all angles. More than any other instructors on TH-cam you and Claus in particular have been invaluable to me in this regard so I find it kind of ironic that you two are now actually working together.. Your approach of helping people "find their own voice on the instrument" is exactly what I want in an instructor. I started learning other people's riffs and licks many years ago and I'm sort of done with that. Learning the "tools"(as Claus calls them) needed to be able to improvise freely across the entire fretboard has been so incredibly rewarding and it's lessons like this that have helped me to get there. Let me just say thank you sooo much for all that you do! It is very much appreciated!
You answered my prayers with this video. Finally starting to understand modes thru practical application. Thanks so much, David!
Thank you man!
Just spent a solid 1 1/2 hours on this exercise. Thanks David! Another angle to attack modes and chords means finding cool new phrases and finally getting more harmony in my playing.
3:31 in with your Major modes graphic "shift to one side" it should show the Ionian Lydian and Mixolydian in the Church mode formula table. It instead shows the minor mode table. Please check. Otherwise enjoying your posts. Learning a lot. Thanks...
+Robert Loudon Indeed! Thanks for the nice comment!
Thanks for that, i just thought i was getting the hang of it, then saw that and thought oh, im back to square one then! 😂😅
Another perspective. Great info.
So easy and so useful!
Phenomenal lesson David! Thanks for posting.
Very clear David! Thanks a lot for sharing!
Thanks for watching! :)
this was helpful dave. just added to the model pieces I been putting together .. more of this would be great.. thanks buddy!
Makes total sense and I am enrolled in the music theory DNA course. I love your teaching approach, David.
You're the go-to mode man!
If I understand it rightly, one way to trigger a mode in the listener's ear is by playing two modes next to each other. In other words, a minor triad that by itself can be referred to as dorian, phrygian, aeolian - since they share the same pattern (1 - 3m- 5P) - can be clarified by playing the modes next to it. Or the other way around: A ionian + locryan, which makes the major triad a ionian and excludes lydian and mixolydian. Thanks for this beautiful video!!!!
Great lesson!
Definitely useful info. Took until 12 minutes to realize there wasn't anything about how to 'hear' triads in this video
I hope this channel blows up; if that is what you wish :)
U r really a good teacher!! I love your videos! They r really helpful
Great job on this one david.
Thanks Mike!
Thank you.
Love your way to teach 👍
Nice sound. Chrs for that lesson
Hey David, super leçon! Il y a juste une petite faute à 3:41 : le tableau des modes affiché est le tableau des modes mineurs, alors que tu parles des modes majeurs. J'ai découvert tes cours il y a quelques jours et j'aime beaucoup ton approche. Merci!
Lydian is the easiest to understand by ear. The 4th is the.most distinct note. When a track feels sci fi ir dreamy or magical its always lydian
Gotta love this guy
Awesome thks for the lesson!
Did this video ever get the follow up video talking about the problems with referring back to the major scale instead of using modes?
Excellent! Have you considered covering the non-church modes?
sweet guitar and great info thanks dw
What if you have a progression that has a major triad, followed by a minor triad and then a different major triad. How would you determine the mode?
There is no sequence where that combination occurs in the intervals of the major scale.
BTW, I have your Guitar Infusion course (loving it!) please let me know if you cover this in a lesson I haven't reviewed yet.
Thanks a lot for being a student!
That would mostly mean that you are dealing with a modulation (change of key)
We'll cover it later in the course! :)
+D Fence, check around the "neighbor tones" and the "secondary dominante chords" to understand. The "major" chord which you speak is maybe the fifth or the fourth degree of another key ;). If it's the fifth then you can play mixolydian, and if it's the fourth you can play Lydian...
Hi David, great video as always! I followed most of it, but didn't quite understand the bit about using triads at the end? Any chance of a diagram to help visualise how you're using the triads to isolate each mode? Thanks
Hey, this helped a lot. But do u have any advice on the use of chords and learning scales?
U r the best
Thanks man!
There is one one thing. For example we have two major chords. Depending which way we play it changed a mode. Major chord and another major one two frets up makes Lydian mode. Vice versa makes Mixolydian. How to figure out in this case what is the mode? Thanks.
To see if I got the idea; In the first example of the Ionian mode. Instead of playing a diminished below the major triad, including two consequitive minor triads above it in a progression. Would that also enforce Ionian ?
yes
Hey David, great lesson. Using this method you must you the triad that the progression resolves on as the reference point? Is that correct?
Very cool guitar you are playing this vid, what is it?
Here is DOC's review of the one he's playing: th-cam.com/video/PYsrmNX8oNo/w-d-xo.html
Great vid 🔥🔥 any chance of a vid on Modal Interchange in the works ?
Thanks! What do you mean by modal interchange?
Love to get your take on using "parallel modes"? I think it's called, to create modal progressions (ie C Ionian Cdorian C Phrygian etc) using chords from the other modes.
Ah ok! I'll add this to the list of suggestions. Thank you! :)
What guitar is that?Looks cool! =)
Thanks! That's a Vola Oz. Here is my review: th-cam.com/video/PYsrmNX8oNo/w-d-xo.html
wrong graph displayed at 3:37 BUT great content as usual.
so if I play the diatonic triads of D major starting from the 2nd degree (minor) I will be hearing E dorian triads?
Thank you for this great explenation it cleared some things out but it also made some more questions. Does this mean that if you want to make a Modal triad progression you have to start with the first triad for that mode and then go to the next one? Like if i want to make a D dorian Mode triad progression then i Have to start with the II chord and then go to the III chord? what if i Want to start on the I chord and go to the IV and V chord and make it sound Dorian? Does a triad chord progression that starts on the I chord and then the III chord and then the IV chord Always sound Ionian then?
Great question! No, you don’t need to start with the first triad. As long as you have enough triads to suggest the mode you are working in you are good to go!
Ok thank you man! So you mean that if i want to create a Dorian triad progression i could start with the V chord and then go to the II chord and then the III Chord (Major-Minor-Minor) because I get that Minor-Minor progression within even though I start with a Major? but that would give the Ionian sound because Ionian also got Major-minor-minor?
So I have to go V-II-III-IV-V? hm.. probably not? maby V-II-I-VII?
I just wanted to say that I really appreciate your lessons they give me hope that I may be able to accually play the guitar one day :P Sorry for the many questions and long comment but its important to me: I started to play guitar many years ago and i didnt study theory at all I just started to learn songs by tabs. I had heroes like Paul Gilbert, Steve Vai, Joe satriani.. Then I realised i really sucked because all i knew was some technique/licks and to visually imitate. Now a couple of years later I decided to start from the beginning and really learn the theory first. I now dont remeber One song but i have some theory in my head and Ive been working on the 5 pentatonic positions and the triad shapes from Root position and the major scale/modes positions (Only in the C major scale). It feels like i have bits here and there and I dont really know how to make music out of it. Do you have a video for me to start with and to go on from there?
Excellents questions, Oskar! I really would to see the answers!
The chart showing the triads is confusing, maybe it should be in the same direction as the actual guitar
+x2mars I know what you mean, but that's not the standard way of notation unfortunately.
one subscribe comin up
Me being greek made a hell lot easier to learn by name the modes as the names are all greek. Still the etymology sounds cool. Lol
To know the parent scale is to know all of the mode scales.
All of the modes are the skeleton of the parent key.
You’re trying to convince people that knowing 7 patterns is easier than knowing one.
Modes don’t exist without the parent key. It’s what makes them modes to begin with.
To know the parent scale is to know them all.
You don’t send someone to an address and tell them, “Sorry, but you don’t get to use the map.”
The parent key is the entire map. It’s how you know what chords are major or minor. It’s how you know what notes you can hit to solo with.
Why are you hell bent on making this as confusing as possible?
The parent key is how you know what mode you’re in to begin with.
It’s the notes of the parent scale that give each mode chord their distinct sound not the other way around.
Key of D parent scale is what gives B Aeolian it’s distinct sound.
Key of A parent scale is what gives B Dorian it’s distinct sound.
B Aeolian and B Dorian are both minor chords that are given their distinct sound BY THE PARENT SCALE
You make this way more confusing than it has to be.
The problem with developing an 'educated ear', is that you end up playing to 'knowlegeble' crowds. At some point, you become bored by the types of notes and harmonies that 'regular' people enjoy, and must push into ever more esoteric realms. One day you look up and it's just a bunch of young guitarists in the audience. And they're all guys.
+Dave Morrison That's what I was so scared of before taking theory classes. But I found it not to be the case. I still love AC/DC even if I understand what they are doing. For me understanding music theory didn't take away my appreciation for "simpler forms" of music, it just enhanced it. :)
I have not found that to be true. Unless of course, one knows to watch out for it. I'm seeing the rise of 'music-school' bands. They were harmonizing and orchestrating and complicating, full-time in school. And THAT was how their musical growth was evaluated. Humans will always seek status. Rare is the person who works long and hard to play the hard stuff - and the 'sophisticated' stuff, and then sets it aside to play what will go easily into the untrained ear. Not meant as a criticism. But I do think it's something to be wary of if one wants to reach a lot of civilians with his or her music.
Nah. I had it before - this (to me) is a confusing way of looking at modes.Sorry.
No need to be sorry man, as long as you are getting them that's what matters! :)