Members Knottyhed Posted May 16, 2007 Members Share Posted May 16, 2007 Hi! Wondering why to learn so many patterns, like Dorian, Aeolian etc, as if you know already Ionian you Link to comment Share on other sites More sharing options...
Members wessman Posted May 16, 2007 Members Share Posted May 16, 2007 Hello Knottyhed! You are right, modes are not patterns. I just ment that you don Link to comment Share on other sites More sharing options...
Members Knottyhed Posted May 16, 2007 Members Share Posted May 16, 2007 That's a rather limiting approach, if you simply move a pattern up and down the fretboard you're forcing yourself to play at a higher/lower pitch on a different section of the fretboard. If you want to really understand what you're doing, forget modes for now. Learn chord construction (harmonizing a scale). Once you understand how chords are 'built' read up about modes... the logic behind them will suddenly become alot more obvious. I don't think you can fully understand modes until you understand chord construction. Link to comment Share on other sites More sharing options...
Members wessman Posted May 16, 2007 Members Share Posted May 16, 2007 I didn Link to comment Share on other sites More sharing options...
Members quackzed Posted May 25, 2007 Members Share Posted May 25, 2007 another aproach is to pair up the modes with their chord counterparts...major chords can be ionian or lydian...minor chords can be dorian or aoliandominant chords (ie g7) are mixolidianand half diminished chords are locrian then you can find the mode as it starts on the root of the chord your playing..you see the relationships of the chords and modes better.cM dm em FM G7 am bm cM Cion Ddor Ephry Flyd Gmixo Aaolian B locplay the 6th string versions of these chords right up the neck!then the 5th string root versions...then play 2 bars of the chord and 2 bars of the corresponding mode!start the mode at the root note of its corresponding chord, that way, when you play any chord in any key, you will have its relating mode right under your fingers! you will start to see the chords as they relate to their modes!on the 5th string roots the exaple would be to play ...Cmajor chord(3rd fret A bar shape) then play c major scale box at the same position(cdefgabc)then D minor chord(5th fret Am shape)then play d dorian(defgabcd) mode starting at 5th fret! same for e! E minor ch(7th fret Am shape)then e phryg mode (efgabcde) starting from 7th fret e! they are all just c major scales that begin on different notes but once you remember the shapes of the modes/scales as they relate to the chords in the key it will be easier to move them around and substitute them at will... if you jump to a random 7th chord way up the neck, you won't need to know what key your in now,or what mode of what key etc... you can just play the mixo scale(dominant) where you are and worry about getting back into key later, or at the turnaround! simplify!hope that makes sense! btw there are only 2 major chord modes to remember,3 minor chord modes and one dominant(mixo) ! i'll leave diminished chords (vii) for another rant! they' a bit...odd! Link to comment Share on other sites More sharing options...
Members guitaristhelp Posted July 27, 2007 Members Share Posted July 27, 2007 Cheers quackzed, that's a really useful approach for learning the shapes and how they relate to the chords going on Link to comment Share on other sites More sharing options...
Members jonfinn Posted November 18, 2007 Members Share Posted November 18, 2007 This is an awesome topic! I haven't read all the posts, only the last few. But one important point that's been raised is that many of the "God's" tell us they nothing of theory. So years ago I did an experiment w/ Jeff Beck. I had read an interview where he said, "I don't follow the rules, I break them." (I'm actally paraphrasing, but that was the essence). That made me curious. The experiment: Transcribe one of his solos and do a full analysis of it as if I were studying the works of a schooled, technical player with full knowledge of theory. The result: Even tho JB claims he knows nothing, his solos tend to follow all the "rules" to the letter. Almost everything he plays can be explained in some way. My opinion: Theory does nothing for your creativity. What it does is help you understand what others have done, and why things sound the way they do. JB doesn't seem to care much about what others do, therefore has no use for theory knowledge. His criteria is probably something like, "play stuff that sounds good" No matter how much you know or don't know, that's a good paradigm to follow I think. Link to comment Share on other sites More sharing options...
Members Bill Brown Posted November 22, 2007 Members Share Posted November 22, 2007 Some excellent information here!! Thanks all!! Link to comment Share on other sites More sharing options...
Members lorenv963 Posted November 23, 2007 Members Share Posted November 23, 2007 Hi Jack, lorenv963 here. You are correct regarding the modes, remember though if you learn all seven patterns you are able to solo all over the fretboard. Would be my pleasure to discuss this in length with you. Hope to talk to you soon, PS, the patterns are available in several books Good luckKeep on jamming! Lorenv963Awesome post. Over the last few months I have really started to grasp the modes. This was a very good post to understand the differeces between each mode and that they are just variants on the Major and Minor scales. In trying to learn the "patterns" (if I have this correct) if I was to play something in E Dorian, I would just play the D major scale from E note to E note. Or if I was to play something in G Mixolydian, I would just play the C major scale from G note to G note. That way you really just learn the Major scale pattern and then adjust for what ever key/mode you want to play in.If I already know the C major scale, by default I already know the A natural minor scale notes, (I just have to adjust my starting point for the tonic of A) same notes.Am I on the right track with using the major scale pattern and adjusting for mode/key?Jack Link to comment Share on other sites More sharing options...
Members mosiddiqi Posted February 14, 2008 Members Share Posted February 14, 2008 I tend to "see" all the major scale modes as additions to the major/minor pentatonic scale...so, If I want a Dorian flavour(and that's a whole different topic!), I just add the major6 and major9 to the minor pentatonic and emphasise those notes in whatever licks I'm playing.. Link to comment Share on other sites More sharing options...
Members gennation Posted February 14, 2008 Members Share Posted February 14, 2008 I tend to "see" all the major scale modes as additions to the major/minor pentatonic scale...so, If I want a Dorian flavour(and that's a whole different topic!), I just add the major6 and major9 to the minor pentatonic and emphasise those notes in whatever licks I'm playing.. That'll work for helping memorization for sure. Link to comment Share on other sites More sharing options...
Members mosiddiqi Posted February 14, 2008 Members Share Posted February 14, 2008 I should say that I spent a LOT of time learning all the diatonic mode "shapes" in every key before I figured out that I could just relate them to the pentatonic shapes that were second nature to me. What I got out if though was a hopefully good ear for the very distinct sound of each mode against it's parent chord, i.e. D dorian against Dmin7(NOT Cmaj). Also, learning all the different shapes really helped me to learn the whole fingerboard, not just my comfort zone boxes.. Link to comment Share on other sites More sharing options...
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