I find most of his videos very educational. This one is just frustrating! At the 11:00 mark he's just dancing around without any explanation. Enjoying his own theory knowledge, but not passing it along.
Scott, Thank you so much! That simple suggestion of mixing modes around a single note rather than referencing the modes back to the root major, may have been the key to finally breaking me out of my mode mental-lock. Like you, when working on the different modes for a given key, it always sounded like the major scale just starting and stopping in different places. It was difficult to her the personality of the different modes in that context. Thank you very much!
After watching this video I've come up with an easy way (for me) to remember the modes without leaving the root chord and without reference to specific notes (a vestige of years of playing by ear): Memorize the order of the modes, then memorize the "numbers" in the modes where the scale moves a half tone. (Click "Read More.") Ascending: Ionian 4, 8 Dorian 3, 7 Phrygian 2, 6 Lydian 5, 8 Mixolydian 4, 7 Aeolian 3, 6 Locrian 2, 5 Notice that, from the top, the half-tone positions begin with 4 & 8, they descend in pairs from Ionian through Phrygian, then they begin again at Lydian with 5 & 8, descending again in pairs to the end. Think opposite; if you're ascending in the scale, then the half-tone locations descend in general from Ionian to Locrian (but with the "reset" at Lydian). Descending: Ionian 2, 6 Dorian 3, 7 Phrygian 4, 8 Lydian 2, 5 Mixolydian 3, 6 Aeolian 4, 7 Locrian 5, 8 Again, notice the pattern of the half-step positions, this time ascending in pairs Ionian through Phrygian, then from Lydian through Locrian.
Nice idea! Another way to think about it is imagine playing a major scale but only stepping whole tones (aka whole steps). You can't. Instead, you need to take a half tone (or half step) on the fourth and eighth note. This brings you up against the 3rd and 7th. After the fourth and eighth half steps you start moving whole steps again. Hence the 4,8 for that "chord scale" of Ionian. For another example, on the Lydian, you have to only do a half step on the 5th and 8th.
my english is not very good lucking... but your videos, this video, it changes my vision for my instrument et for read the music... THANKS A LOT SCOTT.
I've studied modes quite a bit but just knew I'd get something new from this lesson and taking the modes from one starting point is something I hadn't tried out. Quite a good revision lesson too.
Absolutely fantastic. I've been doing modes alot, and felt the same about not really distinguishing them and this just opened my eyes (and ears!) Such great practice
A long time ago, I made a word out of it. ALIDPLM. Then I start the aolian scale on the A and end the mixolydian on G. Helped me memorize and learn each scale.
I really like your videos. Very, very fun to watch and learn with the best. I wonder how someone can click not liking but the support SBL get shows that you are on the spot. Thank you and I will join soon!
Thank you, thank you, thank you. Scott you're worth a million bucks in my books. I understand all the theory of the modes and where they came from but nobody was able to explain to me how to apply this thing in the "real life situation". I'm going back to the shed now to start hearing them. Screw all the theory in the world if one cannot sing/hear them...
oh man, you made my day. i really had the same problem of totally understanding the theory but not hearing the characteristics… because of always referring it back to the "root". Thanx a lot. Great lesson!
Mnemonic Device....just because my brain likes them............. I Don't Play Like Many Artists Love .......... Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian Great info and delivery as usual Scott......looking forward to each video.
Whoa! Thanks a lot Scott! I've been struggling with modes because I never understood how to apply them. This hack really helped me understand. Thanks alot!
@@klousealbers7300 A chord progression would stay within the mode (key) it is in. So a 1-4-5 is first degree of Major scale, 4th degree, 5th degree. All major. BUT, you could start on the second degree of a major scale and play through and it would be Dorian mode.
This lesson is fantastic because he emphasizes the importance of viewing modes independently of any particular key. You can write entire songs based around modes, where you simply shift the I chord up the major scale. So the ii minor chord of a normal major scale is the i minor tonic chord of the dorian scale, and you can write a tune in dorian around i minor where the cadences and harmonic rhythm imply a different tonic "home" chord (i minor). This can give a whole composition the "flavor" of a particular mode, which can really open up your options when it comes to songwriting. Everything doesn't have to be in major (ionian) or minor (aeolian) all the time!
This worked for me. Know the major scale then memorize what is different about each mode. Ionian = major scale Dorian = b3 b7 Phrygian = b2 b3 b6 b7 Lydian = #4 Myxolidian = b7 Aeolian = b3 b6 b7 locrian = b2 b3 b5 b6 b7 practice the scale starting on any note and modify the pattern depending on the mode you are attempting. Each one has its own flavor.
What a cool hack! The way I used to practice the modes always sounded like I was just playing the major scale. This could really open up some doors for me. Great video!
Scott - Great Exercise! My first teacher was a jazz guy (Dave Field) who showed me this for much the same reason. Thanks for sharing (and great shout-out for Toronto).
Wow Scott! This is one of my favorite videos you've done. I'm gonna get a million miles off of this. Between messing with the modes and getting dudes Zawinol moves and finding out about a crazy good bass player, I can't make up my mind what I want to do first. Lol. Thanks Scott! You're the man.
Haha Those are the “la la la la” warm up scales we used in high school choir. Never heard them referred to as modes but I already know them. We would even mix them around vocally. So cool
The way I practice them in both guitar and bass is... Well I play each of the seven modes for a particular tonality-through ALL octaves. Then, practice it through all scales and start blending the seven modes and start composing without dissonances, I mean NOT outside the seven modes for the minor or major scale of the chosen tonality or key center. And then MANY chord options come; that, plus the diatonic circle of fifths chords-I practice for the relative major and the relative minor of the tonality I chose and what you chose on this vid too-then blend ALL together it`s like painting with many different colors your oeuvre. This practice gives you-finger strength, a tendinitis to be proud of lol, hands elegance and if you want to commit dissonances (chromatisms) at least you chose them more consciously. Thanks you very much!
Richard Brown: 1: I Saw your song Nguyen some year ago but didn't recognize you...it blew my mind! 2: 2 min on your Major 3th below licks... Mind Blown! 3: Allan Holdsworth? Who is it?... Daaamn! Mind Blown X 3! Seriously ! Just 10 min surching info on your music and i have work for a decade ( at least...) Thanks!
You should post the Spanish one too! pneumonic devices work because they click with people. If someone is more comfortable with Spanish, perhaps it will help them out.
Spencer Hale I will, but it really only works with me. Ivo (that's me) Debe (Must) Parecer (Look) Listo (Smart) Mea ([he] Pisses) Amando (Loving) Lombrices (Earthworms) Ivo is me, people in real life think I'm smart and the sheer absurdism of the phrase makes me remember it.
To think, if I didn’t watch this lesson then I would not have came up with this awesome bass line tonight. Playing like a good old jazzy son of a mother funker over here thanks to one lesson lol. Excellent channel
I found it easier to learn the modes starting with the major or minor patterns, Ionian) Play the Major Scale pattern. Dorian) Play the Minor pattern but raise the 6th note. Phrygian) Play Minor pattern but flatten the 2nd note. Lydian) play a major pattern but raise the 4th note Mixilodian) play the major pattern but flatten the 7th note Aolian) play the minor pattern Locrian) play the minor pattern but flatten the 2nd and 5th notes (seems to me almost like a inverted minor pattern) This had the advantage of letting me chain these patterns to get myself up and down the fretboard in the one key. for example I can play Ionian to the third note then pivot to the Phrygian pattern from that note, play up to the 6th note of the scale pivot to Aolian etc. I did this instead of learning the whole fretboard for a given key. I like you suggestion I am gonig to give it a go :)
Excellent stuff Scott and Rich! Seeing your recent videos and especially your artist loft video Rich has made me want to work on solo phrasing like you a lot more! Thanks for the inspiration :)
Damn! Once again a great video, I played for two hours all the modes in C major and they all sounded the same, now I saw this video and I will do what you just suggested, thanks again Scott!
Ha! After watching your videos on & off for many years, this is the first one I found useful :-) Really great idea to keep the same root note but shift into a different scale (mode) since the contrast between the two modes is really emphasised and sounds so much more musical than playing each mode within the same key. I can see myself having fun with this for quite a while. Will try this tomorrow. Thanks Scott...
I found that for days that you want to use your brain mixing this exercise/study with the one on things to do every time you pick up your bass, IE scales arpeggios intervals.... combining the two is a really good overall bass exercise. it combines muscle memory with brain memory.
I don't understand why people treat major/minor as the only valid "keys" and treat modes as these esoteric things. They're all the same thing, you just take the interval distance between the major scale and rotate through it to get the permutations. It seems like a false dichotomy to discuss modes as a separate thing from keys. Minor isn't seen as something special and confusing, but it's a mode just like anything else. Likewise, major is just a mode of minor. I also don't understand why people say modes only take on their character in context of the chord they're played over. A-minor has a distinct character which is different from C-major when played in isolation, and so do all the other modes. The concept of relative key is separate from modes, yet it seems like when people talk about relative keys outside of simple major/minor relationships then they all of a sudden become "modes". People over-complicate modes, it seems to me. Maybe it is all relative to how you conceptualize music, but I don't get the voodoo. To me, modes are just more moods to pick from instead of just major = happy, minor = sad. Pick the key flavor you want (major, minor, phrygian, etc.) and then if you want to combine flavors, just find the additional flavor(s) in a relative key. Mix to taste. Example: play E-Phrygian for some dark stuff and then morph to C-major if you want a sudden burst of happy. Super-easy because it's the same exact notes, just stressed differently.
Ok, this is new territory for me, but I'm afraid that what you said here actually made sense...after I read it the third time, (with the Pocket Manual of Musical Terms), it became a bit clearer. I'm going to keep on plowing through this until I get it. But thanks a lot. You really actually were a big help...professor!!😉😁
I'm new to this and correct me if I'm wrong but natural minor is aeolian and major is ionian. I think the terms vary from source to source and gives it unnecessary complexity. If someone is telling you their song is in the key of E minor, the scale is E aeolian, all the playable notes on the fretboard are written in stone before the song even starts! And I recently found that these 7 modes have all the same pattern, so you only need to learn one pattern (shape and fingering) and choose your root note accordingly. When I found out how simple it was I could play any mode in any root without much practice. This topic is really complex to teach it seems.
@@virgilelafontaine3586 yea I think that’s the trick. Music theory has a funny way of saying the same thing different ways. Like E flat major is c natural minor and c aeolian, excep root changes on the minor. I suspect “modes” are the same, essentially if you know the major scales then you know all the modes just not where they start yet. Likewise if you know all the major scales then you know all the minor scales just not where then begin, which is easy to learn.
@@zacbotham9476 it’s an “over water Scotty signature jazz bass” He talks about it here: th-cam.com/video/JZhv2IgkuOo/w-d-xo.html It’s the last bass he shows in his collection.
C Maj7, Dm7, Em7 (flat9), Fmaj(sharp 4), G7, Am7, Bm7(flat5). Now arpeggiate the chord tones and stay in the same key (I.e. Cmaj7, Cm7, Cm7 (Flat 9), etc...
The arpeggios are already within the modes themselves.An arpeggio is a triad, like a chord, but played one note at a time.As long as you can count up to 7 you're good. ie: C Major = 1,3,5 = C,E,G and C minor =1,b3,5 = C,bE,G
Cy Brunel - thank you for your help also. I get the arpeggio creation thing, where I fall down is in being as creative with them as I am with the modes. ultimately I think my issue is more practice and application of. but should a fix come along then I'm all over it. planning to join SBL end of April but wanted arpeggios and rhythm under my belt first. Really appreciate your input dude, thanks.
I've never learned a single mode but eversince I was a very young kid, I've always been able to "feel" them and play in the direct direction 100 % of the time. I Can't explain how, maybe the fact I was almost blind at this time is part of the explanation... But this is definitely what got me into music for a durable time, because I'm so lazy I would have never been able to work it out... That being said, this "hack" is a real KEY, because here you have a very smart and sensitive approach of music and particularly modulation. When it comes to teach such a subtle thing, it's very hard to be understood and this is by far the best introduction to modes I've ever watched here on youtube.
I love these lessons Scott. I'm not getting it yet but I'm trying. My wife hates that I play as well as i do ( for the passed 15 years) and don't even know the notes I'm playing. Keep it up maybe one day I'll get it.
Great to hear Rich at the end re Zawinul who I saw at his last London gig at the Jazz Cafe, a night I'll never forget! There's one thing about your vids Scott that put me off... You don't have harmony going on, harmony that puts your parts into more context. Yeah, you mentioned using an E drone but I mean doing it like Rich did... Harmony behind the example. I believe it's essential...:-))
At the end of the clip I had heard something from you which goes into this "Allan Holdsworth- John Scofield direction" .... that is simply a fantastic direction ... the beat goes on.
Hi Scott, I was trying to figure out a way to practice the modes and make them sink in my mind really well, I'm not there yet, but the same thing you say in this video was suggested to me by a guitar teacher, I don't know if it is useful because I haven't really practiced the modes yet, but I figured something can help me memorize them better, what I will do is to arrange the modes by the number of accidentals and then go through them as you suggest but by the number of accidentals with a logical ordering, for example, I'd like to start doing let's say C Lydian mode, since it has 1 accidental and it is an augmented 4th, then I do C Ionian with no accidentals, next I would play a C Mxolydian which has 1 accidental and it is the flat 7th, then a C Dorian, which adds the flat 3rd to the flat 7th we already had, an so on, from there it is like a pattern, so I think I'll make like an exercise doing that and trying to arrange them in the pattern of accidentals, I think that will be a better way to remember the modes since I really learn something better when I comprehend it rather than just mindlessly memorizing, hope this helps anybody and if you think this is a worst method to learn the modes let me know, maybe I got it wrong. Thanks.
Emphasizing the characteristic notes of each mode (#4 for lydian, b7 for mixo, etc..) also really helped me. Play them all in the same key and ALSO hit the characteristic notes often, and make sure they appear in your melodic phrasing. A "lydian" phrase without a #4 in it will not sound lydian.
So the trick for bass is the same as for guitar, good to know Probably the same for every instrument I guess Gonna crank out some creepy locrian bass riffs and rock out! 🤘
Very useful information Scott! Thank you a lot from Venezuela. I personally recommend to all of you guys to search for Frank Gambale's "modes no more mystery" video lessons, they are all on youtube :)
Very valuable. I have taught piano for over 30 years, and I never realized how staying with the same starting note would (of course) train your ear better. My one input would be to not immediately start soloing between to different modes all over the place, but instead, simply playing one mode slowly, then the other mode slowly, so that the new notes could be clearly heard before going “crazy”. 😉🎸🎹 Thanks, Scott!
5:50 for the modes lesson. Scott, seriously, we like your vlogs, but sometimes we are more interested in the musical information. Why don't you just put the time stamp on the description for the viewer to decide what to watch? (or at least what to watch first) Thank you anyways, we love you, just my opinion and suggestion. Respect always, keep up the good work :)
The lesson starts at 5:49, anytime
...and ends at 14:40
🤟👌🏼👌🏼👌🏼
THANKS THANKS THANKS
THANK YOU
Abu 3reefi ... Scott likes to chat.
5:50 definition of modes
9:45 the hack
It does work wonders, especially with the drone note. It's also a marvellous way to train the ear.
Unreal. To be such a monster bassist, brilliant musician and gifted teacher! Every time I watch you I have a break through. And I'm 45!
I find most of his videos very educational. This one is just frustrating! At the 11:00 mark he's just dancing around without any explanation. Enjoying his own theory knowledge, but not passing it along.
@@samn5564 right! we need more specific explanation for that
I feel exactly the same way
So true
@@samn5564 Yes he Just dancing around without any explanation,
Scott, Thank you so much! That simple suggestion of mixing modes around a single note rather than referencing the modes back to the root major, may have been the key to finally breaking me out of my mode mental-lock. Like you, when working on the different modes for a given key, it always sounded like the major scale just starting and stopping in different places. It was difficult to her the personality of the different modes in that context.
Thank you very much!
It still sounds like the major scale just a different major scale.
After watching this video I've come up with an easy way (for me) to remember the modes without leaving the root chord and without reference to specific notes (a vestige of years of playing by ear): Memorize the order of the modes, then memorize the "numbers" in the modes where the scale moves a half tone. (Click "Read More.")
Ascending:
Ionian 4, 8
Dorian 3, 7
Phrygian 2, 6
Lydian 5, 8
Mixolydian 4, 7
Aeolian 3, 6
Locrian 2, 5
Notice that, from the top, the half-tone positions begin with 4 & 8, they descend in pairs from Ionian through Phrygian, then they begin again at Lydian with 5 & 8, descending again in pairs to the end. Think opposite; if you're ascending in the scale, then the half-tone locations descend in general from Ionian to Locrian (but with the "reset" at Lydian).
Descending:
Ionian 2, 6
Dorian 3, 7
Phrygian 4, 8
Lydian 2, 5
Mixolydian 3, 6
Aeolian 4, 7
Locrian 5, 8
Again, notice the pattern of the half-step positions, this time ascending in pairs Ionian through Phrygian, then from Lydian through Locrian.
I'm not sure what you mean by "scale moves a half tone". Yours seems like a good system, I just don't understand it.
When you play a progression are you playing through different modes?
Nice idea! Another way to think about it is imagine playing a major scale but only stepping whole tones (aka whole steps). You can't.
Instead, you need to take a half tone (or half step) on the fourth and eighth note. This brings you up against the 3rd and 7th. After the fourth and eighth half steps you start moving whole steps again. Hence the 4,8 for that "chord scale" of Ionian.
For another example, on the Lydian, you have to only do a half step on the 5th and 8th.
@@JoeDeanPedro like in C major there’s a half step between E and F (3 & 4) and a half step between B and C (7 & 8 or 1)
my english is not very good lucking... but your videos, this video, it changes my vision for my instrument et for read the music... THANKS A LOT SCOTT.
Your tone with this bass is so smooth and satisfying
Chord scales - genius! Just unblocked 20 years of mystery. Thanks :-)
Awesome when you drone around the root note in each and try to find a melody....reveals the character of the mode....great tip! Thanks
I've studied modes quite a bit but just knew I'd get something new from this lesson and taking the modes from one starting point is something I hadn't tried out. Quite a good revision lesson too.
Absolutely fantastic. I've been doing modes alot, and felt the same about not really distinguishing them and this just opened my eyes (and ears!) Such great practice
A long time ago, I made a word out of it. ALIDPLM. Then I start the aolian scale on the A and end the mixolydian on G. Helped me memorize and learn each scale.
This is the video that cracked the modes open for me. Thank you Scott. You are a great teacher.
wicked lesson Scott...and i love Rich Brown too...i saw a youtube video of him playing Bach...that's when i first learned of him.
Thank you SO much for this lesson.
You managed to summarize all my frustrations learning mods!
Thanks for sharing Scott! You've truly made me a better bassist! God bless you!
These lessons are awesome! I am teaching myself to play bass off of your videos! Keep up the work! (Well, you make it not look like work!)
I really like your videos. Very, very fun to watch and learn with the best. I wonder how someone can click not liking but the support SBL get shows that you are on the spot. Thank you and I will join soon!
Fantastic. The years of experence teaching really show.
Thank you, thank you, thank you. Scott you're worth a million bucks in my books. I understand all the theory of the modes and where they came from but nobody was able to explain to me how to apply this thing in the "real life situation". I'm going back to the shed now to start hearing them. Screw all the theory in the world if one cannot sing/hear them...
oh man, you made my day. i really had the same problem of totally understanding the theory but not hearing the characteristics… because of always referring it back to the "root".
Thanx a lot. Great lesson!
Scott, even these excercices sound like the fine music! Such a talent
Mnemonic Device....just because my brain likes them.............
I Don't Play Like Many Artists Love .......... Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian
Great info and delivery as usual Scott......looking forward to each video.
Whoa! Thanks a lot Scott! I've been struggling with modes because I never understood how to apply them. This hack really helped me understand. Thanks alot!
I learned them best when I switched from guitar to BASS
I
Don't
Play
Loud
Marshals
Any
LOnger
😎
Welcome to the Dark Side.
When you play a progression are you playing through the different modes
@@klousealbers7300 A chord progression would stay within the mode (key) it is in. So a 1-4-5 is first degree of Major scale, 4th degree, 5th degree. All major. BUT, you could start on the second degree of a major scale and play through and it would be Dorian mode.
@@coryflintoff9872 thanks much!
What you said about modes being called chord scales answered a lot of questions for me. Thanks!
Oh! This is very helpful, Scott. I was just working on modes. Relating them in this way makes them instantly useful. Thanks!
This lesson is fantastic because he emphasizes the importance of viewing modes independently of any particular key. You can write entire songs based around modes, where you simply shift the I chord up the major scale. So the ii minor chord of a normal major scale is the i minor tonic chord of the dorian scale, and you can write a tune in dorian around i minor where the cadences and harmonic rhythm imply a different tonic "home" chord (i minor). This can give a whole composition the "flavor" of a particular mode, which can really open up your options when it comes to songwriting. Everything doesn't have to be in major (ionian) or minor (aeolian) all the time!
This worked for me.
Know the major scale then memorize what is different about each mode.
Ionian = major scale
Dorian = b3 b7
Phrygian = b2 b3 b6 b7
Lydian = #4
Myxolidian = b7
Aeolian = b3 b6 b7
locrian = b2 b3 b5 b6 b7
practice the scale starting on any note and modify the pattern depending on the mode you are attempting. Each one has its own flavor.
ty Scott:) fantastic tone and tech and teacher! The modes are slowly sinking in so this is perfect
So awesome to hear dude, thanks for tuning in to the lesson!
As a saxophone player I know use this system to practice playing modes, fantastic method!
Maybe someone else asked, or I missed it, but what on earth kind of bass is Rich playing? Love the humorous bits too, Scott, thanks.
Hey, Daisy. I'm playing a Unity 6-String made by my friend Kenneth Lawrence.
Daisy Rothschild hahahaha whaaaaaaaat. Rich just answered !!!! What a community scott has. Crazy !!
Always struggled understanding the concept of the ' mode sketch ' this has eased my pain a little! Cheers Scott!
Wonderful tip for learning the real power of the modes!
What a cool hack! The way I used to practice the modes always sounded like I was just playing the major scale. This could really open up some doors for me. Great video!
Scott - Great Exercise! My first teacher was a jazz guy (Dave Field) who showed me this for much the same reason. Thanks for sharing (and great shout-out for Toronto).
Wow Scott! This is one of my favorite videos you've done. I'm gonna get a million miles off of this. Between messing with the modes and getting dudes Zawinol moves and finding out about a crazy good bass player, I can't make up my mind what I want to do first. Lol. Thanks Scott! You're the man.
Great idea Scott, Just in the middle of trying to re-learn my modes. Thanks for the different angle, this should make things a little easier
Haha
Those are the “la la la la” warm up scales we used in high school choir. Never heard them referred to as modes but I already know them. We would even mix them around vocally. So cool
The way I practice them in both guitar and bass is... Well I play each of the seven modes for a particular tonality-through ALL octaves. Then, practice it through all scales and start blending the seven modes and start composing without dissonances, I mean NOT outside the seven modes for the minor or major scale of the chosen tonality or key center. And then MANY chord options come; that, plus the diatonic circle of fifths chords-I practice for the relative major and the relative minor of the tonality I chose and what you chose on this vid too-then blend ALL together it`s like painting with many different colors your oeuvre. This practice gives you-finger strength, a tendinitis to be proud of lol, hands elegance and if you want to commit dissonances (chromatisms) at least you chose them more consciously. Thanks you very much!
As you said-we can play each chord for the seven modes of the chose tonality and then their respective mode througout the octaves and it`s magic...
Also try playing them all in increasing/decreasing order of brightness:
*Brightest*
Lydian
Ionian
Mixolydian
Dorian
Aeolian
Phrygian
Locrian
*Darkest*
This is a brilliant approach!
Thanks for the education and inspiration!!! 😎🎸
Another spectacular lesson, Scott.
I don't know why I never tried this. It's genius! Can't wait until I have some time over the weekend to start working on this.
Great lesson Scott : )
great way of explaining it it helped so much!! as a bassist i truly appreciate it.
Richard Brown:
1: I Saw your song Nguyen some year ago but didn't recognize you...it blew my mind!
2: 2 min on your Major 3th below licks... Mind Blown!
3: Allan Holdsworth? Who is it?... Daaamn! Mind Blown X 3!
Seriously ! Just 10 min surching info on your music and i have work for a decade ( at least...)
Thanks!
The ultimate hack for remembering these modes:
I
Don't
Particularly
Like
Modes
A
Lot
Nice!
Spencer Hale I was thinking of one of these and just when I had it (in spanish, because that's my mother tongue) I come down and see this one. *sigh*.
You should post the Spanish one too! pneumonic devices work because they click with people. If someone is more comfortable with Spanish, perhaps it will help them out.
Spencer Hale I will, but it really only works with me.
Ivo (that's me)
Debe (Must)
Parecer (Look)
Listo (Smart)
Mea ([he] Pisses)
Amando (Loving)
Lombrices (Earthworms)
Ivo is me, people in real life think I'm smart and the sheer absurdism of the phrase makes me remember it.
Haha! I love it! It's so non-sensical!
Brilliant, as usual Scott. Thanks!
Excellent..... what a break through... thanks
Rich Brown has to be one of the best bass players I've ever seen, my new hero as a bass player myself.
To think, if I didn’t watch this lesson then I would not have came up with this awesome bass line tonight. Playing like a good old jazzy son of a mother funker over here thanks to one lesson lol. Excellent channel
I found it easier to learn the modes starting with the major or minor patterns,
Ionian) Play the Major Scale pattern.
Dorian) Play the Minor pattern but raise the 6th note.
Phrygian) Play Minor pattern but flatten the 2nd note.
Lydian) play a major pattern but raise the 4th note
Mixilodian) play the major pattern but flatten the 7th note
Aolian) play the minor pattern
Locrian) play the minor pattern but flatten the 2nd and 5th notes (seems to me almost like a inverted minor pattern)
This had the advantage of letting me chain these patterns to get myself up and down the fretboard in the one key.
for example I can play Ionian to the third note then pivot to the Phrygian pattern from that note, play up to the 6th note of the scale pivot to Aolian etc. I did this instead of learning the whole fretboard for a given key.
I like you suggestion I am gonig to give it a go :)
That seems wrong???
Thanks you so much for this important modes on Guitar Bass.
Excellent stuff Scott and Rich!
Seeing your recent videos and especially your artist loft video Rich has made me want to work on solo phrasing like you a lot more! Thanks for the inspiration :)
Damn! Once again a great video, I played for two hours all the modes in C major and they all sounded the same, now I saw this video and I will do what you just suggested, thanks again Scott!
Glad to hear this has helped!!
Ha! After watching your videos on & off for many years, this is the first one I found useful :-) Really great idea to keep the same root note but shift into a different scale (mode) since the contrast between the two modes is really emphasised and sounds so much more musical than playing each mode within the same key. I can see myself having fun with this for quite a while. Will try this tomorrow. Thanks Scott...
I found that for days that you want to use your brain mixing this exercise/study with the one on things to do every time you pick up your bass, IE scales arpeggios intervals.... combining the two is a really good overall bass exercise. it combines muscle memory with brain memory.
and then always just play around and listen, That's where the rubber hits the road.
FANTASTIC ...thanks
Omg, thank you very much, u've really helped me to get out of the major sound! Very useful!
Killin' it as usual!
I don't understand why people treat major/minor as the only valid "keys" and treat modes as these esoteric things. They're all the same thing, you just take the interval distance between the major scale and rotate through it to get the permutations. It seems like a false dichotomy to discuss modes as a separate thing from keys. Minor isn't seen as something special and confusing, but it's a mode just like anything else. Likewise, major is just a mode of minor.
I also don't understand why people say modes only take on their character in context of the chord they're played over. A-minor has a distinct character which is different from C-major when played in isolation, and so do all the other modes. The concept of relative key is separate from modes, yet it seems like when people talk about relative keys outside of simple major/minor relationships then they all of a sudden become "modes".
People over-complicate modes, it seems to me. Maybe it is all relative to how you conceptualize music, but I don't get the voodoo. To me, modes are just more moods to pick from instead of just major = happy, minor = sad. Pick the key flavor you want (major, minor, phrygian, etc.) and then if you want to combine flavors, just find the additional flavor(s) in a relative key. Mix to taste. Example: play E-Phrygian for some dark stuff and then morph to C-major if you want a sudden burst of happy. Super-easy because it's the same exact notes, just stressed differently.
Well spoken
Ok, this is new territory for me, but I'm afraid that what you said here actually made sense...after I read it the third time, (with the Pocket Manual of Musical Terms), it became a bit clearer. I'm going to keep on plowing through this until I get it. But thanks a lot. You really actually were a big help...professor!!😉😁
I'm new to this and correct me if I'm wrong but natural minor is aeolian and major is ionian. I think the terms vary from source to source and gives it unnecessary complexity.
If someone is telling you their song is in the key of E minor, the scale is E aeolian, all the playable notes on the fretboard are written in stone before the song even starts!
And I recently found that these 7 modes have all the same pattern, so you only need to learn one pattern (shape and fingering) and choose your root note accordingly.
When I found out how simple it was I could play any mode in any root without much practice.
This topic is really complex to teach it seems.
@@virgilelafontaine3586 yea I think that’s the trick. Music theory has a funny way of saying the same thing different ways. Like E flat major is c natural minor and c aeolian, excep root changes on the minor. I suspect “modes” are the same, essentially if you know the major scales then you know all the modes just not where they start yet. Likewise if you know all the major scales then you know all the minor scales just not where then begin, which is easy to learn.
Excellent lesson on Scott's sweetest sounding bass.
Do you know what that bass is? I can't make out the name on the headstock
@@zacbotham9476 it’s an “over water Scotty signature jazz bass”
He talks about it here:
th-cam.com/video/JZhv2IgkuOo/w-d-xo.html
It’s the last bass he shows in his collection.
@@eds6889 I should have known that, I actually have an overwater jazz. Thanks!!
@@zacbotham9476 You’re welcome
I'm a guitarist, but this information that youve shared is GREAT! Thanks!
Thanks a lot! You can really teach ! I’m just a home hobby guitarist so this is very helpful...
This makes so much more sense, thank you!
tried, tested - just what the doctor ordered!!!! what I need now is an arpeggio equivalent, but don't let me rush you Scott, I know you're busy ;o)
C Maj7, Dm7, Em7 (flat9), Fmaj(sharp 4), G7, Am7, Bm7(flat5). Now arpeggiate the chord tones and stay in the same key (I.e. Cmaj7, Cm7, Cm7 (Flat 9), etc...
Lorisco W - thanks for dropping knowledge man! putting what you've said to use right now!!!!
Good luck bro.
The arpeggios are already within the modes themselves.An arpeggio is a triad, like a chord, but played one note at a time.As long as you can count up to 7 you're good.
ie: C Major = 1,3,5 = C,E,G and C minor =1,b3,5 = C,bE,G
Cy Brunel - thank you for your help also. I get the arpeggio creation thing, where I fall down is in being as creative with them as I am with the modes. ultimately I think my issue is more practice and application of. but should a fix come along then I'm all over it. planning to join SBL end of April but wanted arpeggios and rhythm under my belt first. Really appreciate your input dude, thanks.
I've never learned a single mode but eversince I was a very young kid, I've always been able to "feel" them and play in the direct direction 100 % of the time. I Can't explain how, maybe the fact I was almost blind at this time is part of the explanation... But this is definitely what got me into music for a durable time, because I'm so lazy I would have never been able to work it out... That being said, this "hack" is a real KEY, because here you have a very smart and sensitive approach of music and particularly modulation. When it comes to teach such a subtle thing, it's very hard to be understood and this is by far the best introduction to modes I've ever watched here on youtube.
This tip is worth a Million dollars. It’s what I was missing awesome
So true this is a break through lesson for me and now I just need to learn a couple of modes in a key at a time
Getting a cool "Back to the future" vibe from the Lydian
I love these lessons Scott. I'm not getting it yet but I'm trying. My wife hates that I play as well as i do ( for the passed 15 years) and don't even know the notes I'm playing. Keep it up maybe one day I'll get it.
hey Scott, really lovely video, it helped me a lot
"42 is a good approximation."
HAHAHA!! Hitch hikers guide to the Galaxy.
Great to hear Rich at the end re Zawinul who I saw at his last London gig at the Jazz Cafe, a night I'll never forget! There's one thing about your vids Scott that put me off... You don't have harmony going on, harmony that puts your parts into more context. Yeah, you mentioned using an E drone but I mean doing it like Rich did... Harmony behind the example. I believe it's essential...:-))
you guys are great i love watching you
Thanks Scott. Nice explanation.
Rich Brown....Allen Holdsworth on Bass.....great Video! Thanks for this one Scott!!
I'm not worthy! Thank you, Andreas. That's very kind of you to say.
At the end of the clip I had heard something from you which goes into this "Allan Holdsworth- John Scofield direction" .... that is simply a fantastic direction ... the beat goes on.
omg this lesson is so EPIC! my mind is blown!! O__O
I'm picking up base after about a 10-year break and my hands are picking things up quicker than my brain is. this was a huge help.
Fantastic ear the modes in this way. Thanks
Brilliant Scott 👊🏿♥️
Hi Scott, I was trying to figure out a way to practice the modes and make them sink in my mind really well, I'm not there yet, but the same thing you say in this video was suggested to me by a guitar teacher, I don't know if it is useful because I haven't really practiced the modes yet, but I figured something can help me memorize them better, what I will do is to arrange the modes by the number of accidentals and then go through them as you suggest but by the number of accidentals with a logical ordering, for example, I'd like to start doing let's say C Lydian mode, since it has 1 accidental and it is an augmented 4th, then I do C Ionian with no accidentals, next I would play a C Mxolydian which has 1 accidental and it is the flat 7th, then a C Dorian, which adds the flat 3rd to the flat 7th we already had, an so on, from there it is like a pattern, so I think I'll make like an exercise doing that and trying to arrange them in the pattern of accidentals, I think that will be a better way to remember the modes since I really learn something better when I comprehend it rather than just mindlessly memorizing, hope this helps anybody and if you think this is a worst method to learn the modes let me know, maybe I got it wrong. Thanks.
The lesson starts at 5:50
great theory opened my mind to the modes and there beauty thxs
I love you Scott !! : )
Great lesson!
That's great and very cool!! Thanks!!
Emphasizing the characteristic notes of each mode (#4 for lydian, b7 for mixo, etc..) also really helped me. Play them all in the same key and ALSO hit the characteristic notes often, and make sure they appear in your melodic phrasing. A "lydian" phrase without a #4 in it will not sound lydian.
So the trick for bass is the same as for guitar, good to know
Probably the same for every instrument I guess
Gonna crank out some creepy locrian bass riffs and rock out! 🤘
This is great! Thank you Scott!! .......And Joe LOL!
I would agree that musically the diatonic scale doesn't help much but it's a huge help in remembering the scales.
That is how string players practice them. One cello teacher told me about this method!
Bloody love you scooter!
Very useful information Scott! Thank you a lot from Venezuela. I personally recommend to all of you guys to search for Frank Gambale's "modes no more mystery" video lessons, they are all on youtube :)
Very valuable. I have taught piano for over 30 years, and I never realized how staying with the same starting note would (of course) train your ear better.
My one input would be to not immediately start soloing between to different modes all over the place, but instead, simply playing one mode slowly, then the other mode slowly, so that the new notes could be clearly heard before going “crazy”. 😉🎸🎹 Thanks, Scott!
Wow, it's amazing how long your E string kept going!
15:55....kinda sounding wicked Lydian , (not Dorian) no? Thanks Scott and Rich wonderful video!!!
5:50 for the modes lesson. Scott, seriously, we like your vlogs, but sometimes we are more interested in the musical information. Why don't you just put the time stamp on the description for the viewer to decide what to watch? (or at least what to watch first)
Thank you anyways, we love you, just my opinion and suggestion. Respect always, keep up the good work :)
No glove today! Are you cured? ;-)
wow, I usted play the modes over the key center, but thats some great advice, let me try it out.. thx