I've been actively avoiding learning modes for some 50 years. I was always afraid they would make my playing sound too scalar. Thank you so much Tim and Allen for helping me see the light. I'm about to have a lot more at my disposal that will help to vary my playing and become more fluid in another fashion. Great lesson!
Thanks, guys. Not overcomplicating things is very much appreciated. Because I can’t think all the time during a cool solo… i need all my attention to feel along. 🙏🏻❤️
Thanks for having Allen supplement the video instruction. Since seeing him in your videos, he's become one of my favorite players. It seems, that considering all the modes of a key are the same notes in a different order, "playing" in a mode can be defined by what notes would be the 3rd and 5th. Once you know that, you can actually play in a mode, yet not have to know the name.
Back around 1990 I was deep into ancient music, mainly transition music (Renaissance to Baroque transition). I bought this one album by Atrium Music of Madrid, (Musique de la Grecque Antique which you can find on You Tube btw so you won't have to blow $20 on it like I did). It was all the remaining fragments of music that survived the collapse of the Roman Empire. It went into some erudite discussion of Modal Music in the album notes, particularly the emotional and spiritual implications of each mode. I became fascinated. I was a member of the Vancouver Early Music Society and there was an ad in the annual program that was sent out to me, by a woman that had her PhD in Music and was offering lessons. I phoned her up and told her I would pay her for a one hour more or less lecture on modal music since the internet was still in its infancy and there were no resources. Fine. I went to the mansion she lived in and she was a beautiful blond doll. She had a magnificent grand piano. Her husband was loaded. She didn't tell me anything about modal music. Instead she tried to sell me on weekly piano lessons at $65 a pop. Why do I tell you this tale? Because you two guys know a hell of a lot more about the technical theory of music than a bona fide university music PhD, that's why. I never thought I'd hear two rock/ jazz guitarists discussing modal music and Dorian mode etc in such an erudite way. Really impressive. I'm in awe of your command of it all, not just theoretically but in the fact that you've so deeply immersed yourself in it that you can just think it and play it on impulse ex tempore without having to be all analytical about it, though you sure can do one hell of a deep analysis when called upon.
I originally learned modes by their names in order, IDPLMAL: I Don't Play Loud Music Any Longer. But that didn't help me play them. Recently I saw a web site that reordered the modes: Lydian, Ionian, Mixolydian, Dorian, Aolean, Phrygian and Locrian - all but Lydian add a flat. So I am using C as the example. Lydian is the outlier with a #4. Ionian is all naturals (CDEFGAB). Each subsequent mode adds a flat. Mixolydan, b7. Dorian is b7b3. Aolean is b7b3b6. Phrygian is b7b3b6b2. Locrian is b7b3b6b2b5. See the pattern. This really helped me visualize all the modes. But in the end, I do agree that Ionian, Dorian and Mixolydian are all you need for most of popular music.
Love that you are rocking that Silver Sky. And that was great insight about the modes. Fantastic. I spent much of my years trying to make everything Dorian. Love it.
I always thought it best to learn every mode from the same root note so you will truly know them and their individual characteristics. With these three, learning C Ionian, C Dorian and C Mixolydian will help you to understand what makes them different from each other. Maybe things are taught differently now? I'm not disagreeing with these two great players, just curious.
also wildly underrated is harmonising a whole key in triads (1 3 5) and their inversions all over the neck. first find them and practice them horizontally. then go to each degree of the key (C major always good as a start) that represents one of the modes and play through the known scale pattern (the 5 boxes) but with those triad inversions. i dunno how else to put it. like play them in the boxes like you would play a scale up and down but have each note be harmonised in a triad of one inversion type. you will end up with a scale of chords rather than just single notes. also make sure to explore the neighboring boxes the same way and connect things so you get larger areas you can move freely in without gaps. not only will this give you a crazy amount of chord riff possibilities and allow you to harmonise all the single note lines you've been playing but it also will make you learn the fretboard and the modes in a deeper way than just "D-dorian goes over Dm7 so i use this voicing and this scale pattern either with bass on E or A string". it will also allow you to express the modes through chord sequences to help you understand their color/sound better. and as mentioned above, do this for each mode in C (or whatever key) to make it really sink in. i know it sounds trivial but that's how you really go hendrix and beyond. fusing melody and chords seamlessly instead of either playing only the common E or A string voicings everyone uses OR playing single note solos. i've just started doing this and it already opened up a whole new world. triad inversions are something everyone knows exist but rarely do we take them seriously and try to cover the whole neck and play them like we do with single notes. maybe this helps someone like it helped me :D
@@ryanpayne7796 sadly there are a million videos on single note scale shapes for guitar but chord scales are severely underrepresented. as if the guitar was just for lead playing. all you need to know is how chord inversions work and then you need to start mapping things out. i'm just starting to do this myself but it opens up things a lot. you need basic theory knowledge and how to apply it to the guitar but once you have some triad shapes (you just need 3 to start you off) you can do a lot with it. is there anything specific that confuses you? because what i wrote down there is mostly about the importance of it rather than how to do it in detail. i'm willing to point you to stuff. i wrote that essay of a comment because i realised that should've done this way earlier so i wanted to share how important i think it is since it relates to the video.
@@sebbo1496 I've been learning to map out triad inversions in a sense that i will find all the shapes on the neck to play a Cm chord. When you talk about harmonising a whole key using triads do you mean (in the case of Cm) Playing all the chords of that specific key? Like if i was going to mess around with a i iv v progression i would play with Cm, Fm, Gm using triad shapes?
Great as always! I think the foremost goals I have when soling is to try and stay away from sounding like I'm playing scales.....always a yawner. So yeah, incorporating all of the ideas of modes/relationships and then inject personality into it. Great playing.......as always.
dobby and Diabolical, you're not alone. They really just scratched the surface on the modes, and said a lot that presupposes we understand a lot about chords and modalities, e.g., they just glossed over which modalities to play with what chord progressions, and didn't even hint at why. Still, every little bit adds to the knowledge base. I figure, if I don't completely understand it now, it will (hopefully) make sense later on.
They did play over Dm7 and G7 though (C major) What i would recommend you is to get a book on basic music theory on the library It is fairly simple stuff once you've learned the elementary
Hey Tim, always enjoy your posts. Yeah, agree with those three but would still put Lydian in that group. It works great over Dorian, also over Mixolydian. Even works over this one: key of G, when you get F#m7b5 to B7 to Em, use C Lydian instead of a F#m7b5 scale or arpeggio, resolve to B7 to Em. Also works when IIm chord becomes a II7, play the tonic as Lydian. Anyway, sounds great. Did you do the Oscars show?? Somebody was nailing the Brian May tone.....
WOW it's like you are speaking another language I got some of the words. I gotta learn common chord progressions and why they are. Thanks Tim you are amazing.
You can also use every mode from the C Major Scale to be more melodic (except the Locrian mode), and target the notes of the chord progression in the whole fretboard.
I love this Tim. When you play Cmaj7 and Em, My mind wants to play the C diatonic with the maj 7th in the respective mode positions but more interestingly, the Em is the 3 chord of C so I would want to use the Em pentatonic on the neck to spire up some different sounding improvisonal melodies. Thanks for the brain inspirations. Frank Dempsey, Albuquerque boy.
Understanding these principle of what modes to play with what chords are a must, I have never really understood the relationship between the chords to be able to know what modes to play on what chords. I know that when I understood the Pentatonic scale and learned that and it just opened up a world of playing, and this would do the same thing.
Allen's phrasing is just divine...thanks for that cool demo Tim! Btw the scale you played at 9:36: isn't it also called the Dom. 7th Bebop scale...add maj.7 to Mixolydian 1-2-3-4-5-6-b7-7? Sounds cool...
OMG!!! I've got a new JP Music Man that should be here any minute now (on the truck for delivery!) So I know what I'm doing for the rest of the day. Landing on 3s. holy shit that's a gorgeous sound
I mean, sure, Chord Progressions suggest modes, but only if you have already memorised the Chords (Min/Maj or Dim) that appear in each key right? I only know that (Dm) to (G), or (Am) to (F) are modal, if I know for sure that I'm in the Key of C. If I hear (Am-)-(D/F#)--(G), my first thought might be "I'm starting on Am, so maybe the C-Ionian or A-Aeolian will work?", but actually I need to know, quickly, that those chords are all from G-Major, and therefore as the chord progression is starting on the second chord of G-Major, (Am) then I must be in Dorian. If you heard (G)-(C)-(Em) then you could be in the Key of G OR C, which might make my brain explode trying to figure out the right mode. Thinking like this on the fly feels like it can take many years. All shortcuts to this learning welcome please! :)
i try to understand the modes and it seemed not to complicated... Until today... At 10:20 a minor is the same as D7 (?) How does this work? D7 has a F sharp, a minor does not. Can please someone explain? Thanks in advance.
Thanks for connecting the theory to something practical. Question, if I understand it correctly, the modes are just shifts (rotations actually) of the major scale (TTSTTTS i.e T=Tone, S=Semi-tone), so then looking at the circle of fifths for the progression the two align to represent the set of notes that essentially fit the chords. The rest is about making the lead lines musical and not to repetitive. But, there are other scales such as the 5 tone pentatonic (major -minor) and blues (b5, b7) that fit a different space of musical progression. Is there a way of "seeing" this and knowing which is more appropriate? For instance if I play a 1-4-5 in G, then how do I know whether to go with G maj or G pentatonic (or something else)? It seems that the melody line controls which sound right - for instance Johnny B Goode - pentatonic m7; where as I'm a Believer - the Monkees would be G Ionian (G maj). Both use the same chords, but the choice of scales is remarkably different and would clash if you swapped the scales of the lead lines. Any comments on what I'm missing - THANKS!
So... I don't think modes: I think major scale starting on different roots. By that I mean a D Dorian is just a C scale starting on D. I know the harmonized major scale by heart, so when I see a chord change like Dm to G7, or Em/Am,/F, I know I'm in C major and I blast away on a C scale, occasionally hitting altered tones (flat/sharp 5/9s, flat 3rds if it's blues), or mess around with a pentatonic riff to be simple. My thought process is never "this is a D dorian scale", it's always "we're in the key of C, play a C scale starting on D". I know that this isn't the 'wrong' way to think, but I wonder -- am I missing something - some phrasing, some feel - by NOT thinking/playing a dorian scale?
I want to understand where to go on the board. After twenty years, I have good mechanics but I'm enslaved to patterns and restricted knowledge. This was a great video
I never understand why people inquire about learning modes. If one knows a major scale, they also know the other six modes. What makes that group of notes modal is context, i.e. the chords they are used over. Using C as an example, playing the notes of C major over an Fmaj chord (the IV of C) gives you Lydian. Assuming the chord progression of a piece of music stays diatonic to the key, one need not worry about playing modally as this is happening already as the chords change. If one must think modally, this is the easiest way for me. If the chord is major, you can play Ionian, Lydian and Mixolydian over it. If the chord is minor, you can play Dorian, Phrygian and Aeloian over it.
Daniel Barry If by extensions, you mean 2nd, 4th and 6th/9th, 11th and 13th, tones, then yes, of course. Depending on the chord and key signature, those tones could take you "out". For example, using the key of C major again, Emin is the III chord. If you add the 9 to that chord, the F# may clash with the F of the C major scale. But what I mentioned will always ensure the core chord tones will be in the the scale/mode you are playing.
I disagree 1:10, the melodic minor and the harmonic minor require exotic modes (but at this point the line between a mode and a scale is very blurred).
Tim Pierce Guitar Superb, brilliant album. Your performance is first rate! So sad that Kevin Gilbert left us way too soon! Brilliant composer. Thank you, Tim! Mark Lansing
Can someone explain how they automatically know what mode based on the chord progression? When they play Dmaj7 to Em, he said he knew D dorian would work for that progression
Is it because if D is the root, since you're going to E (the second step), you know it's dorian (because dorian starts on the second step of Ionian)? Am I just talking nonsense? haha
Well, I'm still trying to learn this, but that's how I understand it, too. I'd love to hear somebody with a different explanation, if there is one that makes (more or equal) sense.
ii V I ii = Dorian V = Mixolydian I = Ionian/Major Cool other ways to look at it, *** I have created a new way to make licks I call “Triadic Beat Phrasing”. I’m hoping to find a way to make a video to share it some day. Thanks!!! 😁👍👍👍
A mode is simply a 'modality', a family of musical tones - hopefully you would be following the chords, and choosing musical reasons to play, not slavishly following modal templates.
Knowing the correct notes to play over any chord in any key is good stuff. Valuable and fundamental information. If you know the modes, chord scales or whatever you want to call them you can then develop melodic ideas from that group of notes. Eventually your ears ( the most important instrument) will take over and you won't get caught with your pants down ; ) I'm amazed by the school of thought that knowing what your doing will take away your creativity and is looked down upon. In what other business could you get away with that? How would you like to get your car, house or GUITAR fixed by someone who isn't fundamentally sound? There's much more to making music than learning your modes but they give you a group of notes to make a melodic statement over any type of chord. Then you can develop that idea and hey, now we're improvising. This is simply the beginning folks. If you want to be a player it's a long road to doing this all in real time so strap in..
There is good sense in all you have said above, and sure it does not hurt to know your theory, but i know of players who just play modal choices from their innate musical sense, they couldn't tell you why they choose the notes they do, but they sound beautiful, original and authentic.
Sigh...I don't get it. C Ionian , D Dorian, G mixo all share the same notes as C Ionian but just starting from a different tonic. When you solo why does it matter to use these 3 modes when I actually am just playing the notes of a C major scale?
Because by thinking about them as different things helps you shift your mental focus and the sound of your playing with it, because you start to direct everything towards the stronger points of that specific mode. In the case of Ionian is the major seventh, for Dorian is the major sixth, and for Mixolydian is the mix of the major third and minor seventh.
Allen is the most delicate player in the world. his taste and sweetness is really unsurpassed. Thanks a million Tim, you made it AGAIN!
I've been actively avoiding learning modes for some 50 years. I was always afraid they would make my playing sound too scalar. Thank you so much Tim and Allen for helping me see the light. I'm about to have a lot more at my disposal that will help to vary my playing and become more fluid in another fashion. Great lesson!
I use to play with Allen Hinds, actually to see him when I was studying at MI, really nice guitar player and nice guy!! Congrat
Thanks, guys. Not overcomplicating things is very much appreciated. Because I can’t think all the time during a cool solo… i need all my attention to feel along. 🙏🏻❤️
Great stuff! I could watch Tim and Allen have these conversations all day.
Thanks for having Allen supplement the video instruction. Since seeing him in your videos, he's become one of my favorite players. It seems, that considering all the modes of a key are the same notes in a different order, "playing" in a mode can be defined by what notes would be the 3rd and 5th. Once you know that, you can actually play in a mode, yet not have to know the name.
I've never heard of him, it's a big world, but he is an exceptional player. Beautiful.
Ignore the dislikes you guys.
This is very useful for many of us bamboozled by mode application.
Who in the hell put a dislike on this!!! Fantastic lesson!!!
Back around 1990 I was deep into ancient music, mainly transition music (Renaissance to Baroque transition). I bought this one album by Atrium Music of Madrid, (Musique de la Grecque Antique which you can find on You Tube btw so you won't have to blow $20 on it like I did). It was all the remaining fragments of music that survived the collapse of the Roman Empire. It went into some erudite discussion of Modal Music in the album notes, particularly the emotional and spiritual implications of each mode. I became fascinated. I was a member of the Vancouver Early Music Society and there was an ad in the annual program that was sent out to me, by a woman that had her PhD in Music and was offering lessons. I phoned her up and told her I would pay her for a one hour more or less lecture on modal music since the internet was still in its infancy and there were no resources. Fine. I went to the mansion she lived in and she was a beautiful blond doll. She had a magnificent grand piano. Her husband was loaded. She didn't tell me anything about modal music. Instead she tried to sell me on weekly piano lessons at $65 a pop.
Why do I tell you this tale? Because you two guys know a hell of a lot more about the technical theory of music than a bona fide university music PhD, that's why. I never thought I'd hear two rock/ jazz guitarists discussing modal music and Dorian mode etc in such an erudite way. Really impressive. I'm in awe of your command of it all, not just theoretically but in the fact that you've so deeply immersed yourself in it that you can just think it and play it on impulse ex tempore without having to be all analytical about it, though you sure can do one hell of a deep analysis when called upon.
I originally learned modes by their names in order, IDPLMAL: I Don't Play Loud Music Any Longer. But that didn't help me play them. Recently I saw a web site that reordered the modes: Lydian, Ionian, Mixolydian, Dorian, Aolean, Phrygian and Locrian - all but Lydian add a flat. So I am using C as the example. Lydian is the outlier with a #4. Ionian is all naturals (CDEFGAB). Each subsequent mode adds a flat. Mixolydan, b7. Dorian is b7b3. Aolean is b7b3b6. Phrygian is b7b3b6b2. Locrian is b7b3b6b2b5. See the pattern. This really helped me visualize all the modes. But in the end, I do agree that Ionian, Dorian and Mixolydian are all you need for most of popular music.
Guess I should be standing up 'cause, even after playing for 35 years, this just went right over the top of my head.
Thanks Tim and Alan, this explained a lot in a short space of time, love you guys \m/
I love your videos Tim but this is a really special one that I keep coming back to. Thanks.
Lovely no-nonsense teaching and approach
Love that you are rocking that Silver Sky. And that was great insight about the modes. Fantastic. I spent much of my years trying to make everything Dorian. Love it.
I'd say the most important modes/scales to me is penta and mixolydian
You can play pretty much any jazz standard with those 2
Knowledge is power..thanks
Cool, simplified explanations...Thanks guys !
Great lesson. Thanks Tim and Allen!
Great vid!! Insightful!!
Wow. Super nice concepts!
Good stuff. Thanks guys.
Them Les Paul Customs look amazing!
Thank u Tim!
I always thought it best to learn every mode from the same root note so you will truly know them and their individual characteristics. With these three, learning C Ionian, C Dorian and C Mixolydian will help you to understand what makes them different from each other. Maybe things are taught differently now? I'm not disagreeing with these two great players, just curious.
I am with you Chuck! greetings from former Columbia Co NY resident bassist and guitarist!
also wildly underrated is harmonising a whole key in triads (1 3 5) and their inversions all over the neck. first find them and practice them horizontally. then go to each degree of the key (C major always good as a start) that represents one of the modes and play through the known scale pattern (the 5 boxes) but with those triad inversions. i dunno how else to put it. like play them in the boxes like you would play a scale up and down but have each note be harmonised in a triad of one inversion type. you will end up with a scale of chords rather than just single notes.
also make sure to explore the neighboring boxes the same way and connect things so you get larger areas you can move freely in without gaps.
not only will this give you a crazy amount of chord riff possibilities and allow you to harmonise all the single note lines you've been playing but it also will make you learn the fretboard and the modes in a deeper way than just "D-dorian goes over Dm7 so i use this voicing and this scale pattern either with bass on E or A string". it will also allow you to express the modes through chord sequences to help you understand their color/sound better.
and as mentioned above, do this for each mode in C (or whatever key) to make it really sink in.
i know it sounds trivial but that's how you really go hendrix and beyond. fusing melody and chords seamlessly instead of either playing only the common E or A string voicings everyone uses OR playing single note solos. i've just started doing this and it already opened up a whole new world. triad inversions are something everyone knows exist but rarely do we take them seriously and try to cover the whole neck and play them like we do with single notes.
maybe this helps someone like it helped me :D
@@sebbo1496 do you know of any video demonstrations of this? I think i'm following but a littl confused.
@@ryanpayne7796 sadly there are a million videos on single note scale shapes for guitar but chord scales are severely underrepresented. as if the guitar was just for lead playing. all you need to know is how chord inversions work and then you need to start mapping things out. i'm just starting to do this myself but it opens up things a lot.
you need basic theory knowledge and how to apply it to the guitar but once you have some triad shapes (you just need 3 to start you off) you can do a lot with it.
is there anything specific that confuses you? because what i wrote down there is mostly about the importance of it rather than how to do it in detail.
i'm willing to point you to stuff.
i wrote that essay of a comment because i realised that should've done this way earlier so i wanted to share how important i think it is since it relates to the video.
@@sebbo1496 I've been learning to map out triad inversions in a sense that i will find all the shapes on the neck to play a Cm chord. When you talk about harmonising a whole key using triads do you mean (in the case of Cm) Playing all the chords of that specific key? Like if i was going to mess around with a i iv v progression i would play with Cm, Fm, Gm using triad shapes?
Great as always! I think the foremost goals I have when soling is to try and stay away from sounding like I'm playing scales.....always a yawner. So yeah, incorporating all of the ideas of modes/relationships and then inject personality into it. Great playing.......as always.
I almost understood some of that. Interesting none the less. thanks for sharing.
Me too, almost but didn't.
dobby and Diabolical, you're not alone. They really just scratched the surface on the modes, and said a lot that presupposes we understand a lot about chords and modalities, e.g., they just glossed over which modalities to play with what chord progressions, and didn't even hint at why. Still, every little bit adds to the knowledge base. I figure, if I don't completely understand it now, it will (hopefully) make sense later on.
They did play over Dm7 and G7 though (C major)
What i would recommend you is to get a book on basic music theory on the library
It is fairly simple stuff once you've learned the elementary
smooth daddyo!. that les paul has an excellent clean tone!
6:08 is a fantastic exercise!
Great video
I love it when you guys get together!
I hear this snd think Larry coryell. God bless him and Mr Hind is great.
Hey Tim, always enjoy your posts. Yeah, agree with those three but would still put Lydian in that group. It works great over Dorian, also over Mixolydian. Even works over this one: key of G, when you get F#m7b5 to B7 to Em, use C Lydian instead of a F#m7b5 scale or arpeggio, resolve to B7 to Em. Also works when IIm chord becomes a II7, play the tonic as Lydian. Anyway, sounds great. Did you do the Oscars show?? Somebody was nailing the Brian May tone.....
WOW it's like you are speaking another language I got some of the words. I gotta learn common chord progressions and why they are. Thanks Tim you are amazing.
such class to play!
Great lesson and video Tim (and Allen)!
Allen Hinds' right hand it amazing ..
You can also use every mode from the C Major Scale to be more melodic (except the Locrian mode), and target the notes of the chord progression in the whole fretboard.
Both of you are just awesome players! Really interesting video btw! ;)
Tim, some easy practice tips for hitting chord tones when they change during the 12 bar blues
Damn, those beautiful lines!
I wish I could like it more than once! Thank you Tim for sharing everything... I truly appreciate all you've done and continue to do. 🤘🤘🤘❤❤❤🤘🤘🤘
I love this Tim. When you play Cmaj7 and Em, My mind wants to play the C diatonic with the maj 7th in the respective mode positions but more interestingly, the Em is the 3 chord of C so I would want to use the Em pentatonic on the neck to spire up some different sounding improvisonal melodies. Thanks for the brain inspirations. Frank Dempsey, Albuquerque boy.
Understanding these principle of what modes to play with what chords are a must, I have never really understood the relationship between the chords to be able to know what modes to play on what chords. I know that when I understood the Pentatonic scale and learned that and it just opened up a world of playing, and this would do the same thing.
See my comment just below to FleeTheHerd. It might help you with chord/scale relationships. Have a good one!
Thank You will do.
No problem. One correction though...Don Latarski's book/CD is called "Practical Theory for Guitarists." My mistake.
Thanks, I think I have one of those on a old VHS tape.
Allen's phrasing is just divine...thanks for that cool demo Tim! Btw the scale you played at 9:36: isn't it also called the Dom. 7th Bebop scale...add maj.7 to Mixolydian 1-2-3-4-5-6-b7-7? Sounds cool...
OMG!!! I've got a new JP Music Man that should be here any minute now (on the truck for delivery!) So I know what I'm doing for the rest of the day. Landing on 3s. holy shit that's a gorgeous sound
You boys rock.
Really enjoyed this one. Thanks Tim & Allen :)
Dorian, Mixolydian and Ionian - need the 3rds and 5th - down beat 1 and 3 nail the 3rd, note resolved to the root when out there.
Thank you Gentlemen!
I mean, sure, Chord Progressions suggest modes, but only if you have already memorised the Chords (Min/Maj or Dim) that appear in each key right? I only know that (Dm) to (G), or (Am) to (F) are modal, if I know for sure that I'm in the Key of C. If I hear (Am-)-(D/F#)--(G), my first thought might be "I'm starting on Am, so maybe the C-Ionian or A-Aeolian will work?", but actually I need to know, quickly, that those chords are all from G-Major, and therefore as the chord progression is starting on the second chord of G-Major, (Am) then I must be in Dorian. If you heard (G)-(C)-(Em) then you could be in the Key of G OR C, which might make my brain explode trying to figure out the right mode. Thinking like this on the fly feels like it can take many years. All shortcuts to this learning welcome please! :)
i try to understand the modes and it seemed not to complicated... Until today... At 10:20 a minor is the same as D7 (?) How does this work? D7 has a F sharp, a minor does not. Can please someone explain? Thanks in advance.
Allen Hinds has a way with that Les Paul that few others do... cheers.
Excellent advice, really helpful, thanks.
Do you have to play a black Les Paul to make this work?
Allen Hinds is one of those players that seems to go where he wants to go effortlessly.
I am praying for all ya’ll’s safety out there, those mudslides look terrible on tv. Keep safe, GOD bless and thanks for the post.
Thanks for connecting the theory to something practical. Question, if I understand it correctly, the modes are just shifts (rotations actually) of the major scale (TTSTTTS i.e T=Tone, S=Semi-tone), so then looking at the circle of fifths for the progression the two align to represent the set of notes that essentially fit the chords. The rest is about making the lead lines musical and not to repetitive. But, there are other scales such as the 5 tone pentatonic (major -minor) and blues (b5, b7) that fit a different space of musical progression. Is there a way of "seeing" this and knowing which is more appropriate? For instance if I play a 1-4-5 in G, then how do I know whether to go with G maj or G pentatonic (or something else)? It seems that the melody line controls which sound right - for instance Johnny B Goode - pentatonic m7; where as I'm a Believer - the Monkees would be G Ionian (G maj). Both use the same chords, but the choice of scales is remarkably different and would clash if you swapped the scales of the lead lines. Any comments on what I'm missing - THANKS!
Howdy Tim ,dude of much wisdom! Did you do the "Friends" show soundtrack? Just hit me. ?
The playing is beautiful and I kinda get what they’re talking about but I still have no idea when to use what modes
Are there any alternate tunings one might use with these 3 modes ???
Does the blue note work over the Myxolydian?
So... I don't think modes: I think major scale starting on different roots. By that I mean a D Dorian is just a C scale starting on D. I know the harmonized major scale by heart, so when I see a chord change like Dm to G7, or Em/Am,/F, I know I'm in C major and I blast away on a C scale, occasionally hitting altered tones (flat/sharp 5/9s, flat 3rds if it's blues), or mess around with a pentatonic riff to be simple. My thought process is never "this is a D dorian scale", it's always "we're in the key of C, play a C scale starting on D". I know that this isn't the 'wrong' way to think, but I wonder -- am I missing something - some phrasing, some feel - by NOT thinking/playing a dorian scale?
The Dmaj7 to Emin7.... why couldn't you use Dmaj scale vs D Dorian?
Think he just misspoke, I'm sure he meant E dorian.
Robin Mathisen yes obviously
It would be E Dorian...😁
Knowing how to resolve the end of your runs are as important as knowing the modes inside out in my opinion.....
Haha, too good Tim! Last video I've watched of you two you guys had the beards the other way round ;-)
I want to understand where to go on the board. After twenty years, I have good mechanics but I'm enslaved to patterns and restricted knowledge. This was a great video
Please explain (briefly) how you recognize what key or how it”relates?
dudes' right hand is unbelievable
Tim what was that progression you played with Alan in the beginning of the video?
0:57 what a beautiful run.
I never understand why people inquire about learning modes. If one knows a major scale, they also know the other six modes. What makes that group of notes modal is context, i.e. the chords they are used over. Using C as an example, playing the notes of C major over an Fmaj chord (the IV of C) gives you Lydian. Assuming the chord progression of a piece of music stays diatonic to the key, one need not worry about playing modally as this is happening already as the chords change.
If one must think modally, this is the easiest way for me. If the chord is major, you can play Ionian, Lydian and Mixolydian over it. If the chord is minor, you can play Dorian, Phrygian and Aeloian over it.
Daniel Barry If by extensions, you mean 2nd, 4th and 6th/9th, 11th and 13th, tones, then yes, of course. Depending on the chord and key signature, those tones could take you "out". For example, using the key of C major again, Emin is the III chord. If you add the 9 to that chord, the F# may clash with the F of the C major scale. But what I mentioned will always ensure the core chord tones will be in the the scale/mode you are playing.
I disagree 1:10, the melodic minor and the harmonic minor require exotic modes (but at this point the line between a mode and a scale is very blurred).
you skipped the maj6 out of your D dorian demonstration in the first octave - what the heck?
Oops so sorry about that, i'm going to have a hard time getting out of bed from now on :)
sharpen your sixth sense :D
Haha, unforgettable advice! will do !
All joking aside, it is THE defining element of the Dorian mode ...
Gray...
sick
Tim, did you work on the "Toy Matinee" album?
Yes I did the electric guitars, and Kevin Gilbert and myself shared the acoustic duties
Tim Pierce Guitar
Superb, brilliant album. Your performance is first rate!
So sad that Kevin Gilbert left us way too soon! Brilliant composer.
Thank you, Tim!
Mark Lansing
Isn't that list of 3 modes also a 251 progression in chord terms?
Tim says, I listen.
11 02 mins with 2 geniuses what more can you ask for?
I just found it interesting that he plays with all upstrokes...
Can someone explain how they automatically know what mode based on the chord progression? When they play Dmaj7 to Em, he said he knew D dorian would work for that progression
Is it because if D is the root, since you're going to E (the second step), you know it's dorian (because dorian starts on the second step of Ionian)? Am I just talking nonsense? haha
Well, I'm still trying to learn this, but that's how I understand it, too. I'd love to hear somebody with a different explanation, if there is one that makes (more or equal) sense.
ii V I
ii = Dorian
V = Mixolydian
I = Ionian/Major
Cool other ways to look at it,
*** I have created a new way to make licks I call “Triadic Beat Phrasing”. I’m hoping to find a way to make a video to share it some day.
Thanks!!! 😁👍👍👍
I like the altered scale as well really useful on 251 progressions.
no love for Lydian? Steve Vai wants to know your location 😜
I have found that the Lydian mode sounds just as 'strong' as the other modes, through listening to Satch and Vai! So I agree!
I thought this was that ad for Virgil Arlo pickups for a minute there..
He uses Throbak SLE 101 plus in black Les Paul and Virgilarlo in gold les paul
0:02
Droolworthy guitar playing guys! I am not worthy
mmm, I'd have thought Aeolian would be kinda necessary too.
oh, that perfect 4th on the Cmaj hurts.
you can play 7 modes on one chord 😎
Ah, yes of coarse now i understand. Not! I'll stick with the minor pentatonic, i like my rut.
A mode is simply a 'modality', a family of musical tones - hopefully you would be following the chords, and choosing musical reasons to play, not slavishly following modal templates.
Knowing the correct notes to play over any chord in any key is good stuff. Valuable and fundamental information. If you know the modes, chord scales or whatever you want to call them you can then develop melodic ideas from that group of notes. Eventually your ears ( the most important instrument) will take over and you won't get caught with your pants down ; ) I'm amazed by the school of thought that knowing what your doing will take away your creativity and is looked down upon. In what other business could you get away with that? How would you like to get your car, house or GUITAR fixed by someone who isn't fundamentally sound? There's much more to making music than learning your modes but they give you a group of notes to make a melodic statement over any type of chord. Then you can develop that idea and hey, now we're improvising. This is simply the beginning folks. If you want to be a player it's a long road to doing this all in real time so strap in..
There is good sense in all you have said above, and sure it does not hurt to know your theory, but i know of players who just play modal choices from their innate musical sense, they couldn't tell you why they choose the notes they do, but they sound beautiful, original and authentic.
Michael Gorman gvvgv gvcgvgggg
gotta start somewhere.
Waiting for ads, guessing the modes are Ionian, aeolian and mixolydian
2 outta 3
They both just had to play black Les Paul Customs?
Or, you recognize the cadence Dm7/G7/C and just hang around in C. However, just use chord tones. Modes are only interesting when you play modal music.
Why is he skipping the B note in the first octave of D Dorian? This is a first class musician. What am I missing?
Sigh...I don't get it. C Ionian , D Dorian, G mixo all share the same notes as C Ionian but just starting from a different tonic. When you solo why does it matter to use these 3 modes when I actually am just playing the notes of a C major scale?
Because by thinking about them as different things helps you shift your mental focus and the sound of your playing with it, because you start to direct everything towards the stronger points of that specific mode. In the case of Ionian is the major seventh, for Dorian is the major sixth, and for Mixolydian is the mix of the major third and minor seventh.
FFS Alan Hyndes must have played a shit ton of guitar - master
Someone should tell Allen to turn his guitar around....he's picking in the wrong direction. :o)
Nah! Aeolian mode used more