All 84 diatonic modes in a single pattern. The infinite guitar scale that rules them all: The GUP

[@MichaelPillitiere]

This is a short intro video for the entire series. I wanted something to lay out what the GUP is, and what it contains. A prequel, if you will. We'll get into pattern stacking in the next one.

[@jazznotes3802]

I’m very curious where you learned the “Master Scale Pattern,” (what you call GUP) Do you know how the arpeggios work throughout the Master Pattern? You’ll find “there’s a continuous repeating order.” (Much like the pattern themselves) Some people have given it a fake “phone number” to memorise it. There’s also a hidden “modes dna code.” It involves the perfect forth relationship, moving from bright to dark, revealing their intervalic relationships. (Anyone reading this can figure this out by studying the perfect 4ths and model positions on each string) The “Master Scale Pattern” contains a LOT of secrets, many lightbulb moments are hidden within it.

[@MichaelPillitiere]

@@jazznotes3802 I was only ever taught the 7 'boxes' as classical guitar exercises. Typical canon for classical guitarists were the 'Segovia Scales', which my professor replaced with these 7 boxes at the time. He did so to create better right and left hand consistency than the Segovia scales, which are still taught. As a student, I could just 'see' how the 7 patterns fit together and subsequently worked out the underlying rule system after the fact. Edit: I added the underlying theory of it to the description of Part 1 a couple weeks ago. If you havent seen that, it might interest you. Its remarkably simple.

[@jazznotes3802]

@@MichaelPillitiere That’s amazing if you figured this single pattern out for yourself. It’s actually somewhat of a secret knowledge, passed down called “The Master Scale Pattern.” It’s a map to help with learning the 3NPS System. (and can be done with other scales) The modes have three starting points within the Master Scale Pattern - “index finger, middle & pinky,” (Although you’ve shown one) and always follow this order. But considering you figured this pattern out for yourself, that’s simply amazing 👍🏻.

[@MichaelPillitiere]

Thanks! I had assumed that someone, somewhere had to have this all sorted out, so what you say doesn’t surprise me. I’d just never seen anyone publish it. I’m sure a lot of the note relationships you’ll see in future videos will look familiar to you.

[@mathemystician]

@@MichaelPillitiere I feel like many of us who ares seeing your videos and having it click for us have been chasing these patterns for awhile, not really seeing how they are put together. A lot of self-taught students have trouble fitting the standard presentation of music theory to their playing because it doesn't feel natural to the guitar, llike this method does. Really great, clear explanations!

[@v3rlon]

I don't know about other people, but this is pretty much the explanation I have always needed, and have been looking for over a very long period of time.

[@ekpahadiladka]

Where have these videos been! So lucky to have landed on these gems💎 ❤ Thank you sir

[@tinkerman9224]

Thank you so much Michael, I asked this question 58 years ago, & you finally answered it for me today. I doubt I'll sleep tonight. Thanks Again !

[@patrickg.4175]

Dear Michael Pillitiere, after I watched your video in regards to GUP I also bought your book. I love your animations, your clear explanations and your awesome pronunciation which enables even me as a non-native speaker to understand everything. Many thanks Patrick

[@samiam3297]

Whoa! Wait there is a book?! Find it buy it today! That simple! Luv me sum books!

[@hial2295]

Excellent video series, and I absolutely LOVE the Doug Adams reference! Here's another one I'm sure you"ll appreciate -" I may not have gone where I intended to go, but I think I have ended up where I needed to be." :)

[@petertowneya]

Awesome quote!

[@JSNM_]

This is THE video series on youtube that helped me to understand guitar scale patterns. Thank you sir.

[@scottkidwellmusic9175]

Appreciate this! Also appreciate the printable version. Enjoy your coffee Thank you 🙏

[@r4microds]

I had figured this out by ear a couple months ago, the spent the last two getting comfortable understanding relative patterns from any position of the diatonic scale. But this was the first time I visually saw it illustrated in a graphic. Felt like meeting a penpal in person.. you feel like you've known them but never actually met in person, yet recognize so much about them from conversation alone. This is wild. I've been targeting tones by ear when practicing improvisation, and desperately trying to shuffle around as harmonically as my ear lets me as to not just sound like running up/down scales. What I can say is that listening to other people play, helps you develop phrasing.. but something tells me it's time for me to learn theory behind modes so properly make the most of a melody. It's one thing to play a diatonic scale, just in key and "fake" your way through it harmonically by ear.. a whole other to actually understand what's happening behind the scenes.. I haven't wanted that so badly till now. Mission accepted though.. this whole musical journey is exciting!

[@Neuralia_Incorporated]

I have no words for how incredible this is wow 😮

[@nb3596]

Another 'Light Bulb Moment". Great stuff. Just like your book "Building the Better Guitar Scale", and the rest of your KZbin videos. The information you have provided has become the missing link that I have been searching for, for a very long time. At first the book did not make much sense to me, but the more I studied the concepts and watched the related videos, the brighter that light at the end of the tunnel got. I am no longer baffeled by the musical construction of scales and modes. The simple concepts you have provided make soloing all over the neck, in key, a reality. Thank you for sharing your knowledge with us.

[@Paul_Warren_Wolfe]

Michael, I bought your book in 2012 and wrote out the chart of rules/patterns... Phenomenal information that has done wonders for my playing! Thank you, thank you, thank you!

[@MichaelPillitiere]

Thank YOU, for letting me know this helped you. It’s awesome to hear that.

[@bsmith7943]

This series is outstanding! Well done, sir!

[@JoeEngineersThings]

In 10 minutes you gave me the tool to apply everything I learned in piano-based theory to the guitar. I love guitar but was feeling so overwhelmed that there were so many options. After 20 years of feeling lost, I now have the directions to go anywhere in the world. Thank you, so so much!

[@clownpocket]

I’m watching the series for the second time. So well done. Studied the modes on my own for decades, but I’ve never seen it codified so logically and concisely. Thanks for making the videos.

[@wellbeing2516]

Michael Pillitiere, you are the Stephen Hawkins of the Guitar Theory to me! Great patterns you find, great teaching skill, packed with humour and presentation skills. I found your videos today and regret I didnt know that 30 years earlier! But better late then never, now I‘ll make me a backing track with loopy and start learning to improvise ambient guitar with modes! Hooray!

[@chrisberth]

Absolute genius. Thank you for making these videos.

[@estebanmarin002]

Great video! and great algorithm, it will save me countless hours of pattern memorizing and will let me just enjoy the modes. The abstraction of deriving it is delegated to the simple algorithm. Thanks again

[@justafase]

This is something I've considered but didn't have the knowledge to put so eloquently! Very cool videos Michael, I'm going to try your method

[@KeithElson-dq1bj]

Hello Michael, I'm impressed with the detail of your presentations. I'm relatively new to guitar and it's one hell of a instrument. As I started later in life, I'm always looking to make the journey as simple as possible. The two main things I have gathered in my theory quest is: Modes aren't required to make music, However you need to understand Modes as they are an integeral part of music. Let me try to explain, now I'm not a music theory graduate or anythiung close and this will become obvious in my explaination: The fundamental approach to playing music is the chord progression, each chord has its own scale. The progression you choose will determine the scale and inturn the mode. Take a Jazz ii V 1 progression, the minor second can be played with any scale with a b3, Dorian, Phrygian , Aeolian etc, the V can be typically Mixolydian or perhaps Phrygian dominant etc and the same goes for the tonic. So playing the chords, teachers you the mode for the scale you have choosen ? Only this kinda gets lost in the conversation when there is so much out there about Modes. The next bit of discussion is that once you decipher the "Mode Thing" it's of no value unless its placed in conjunction with its associated chord. Knowing how Modes work does allow you to play some kool sounding riffs, just be careful to modulate to the new key gracefully, OR just start the song in the Mode of choice. My next question is you "Pattern Chaining" the xyz system, how come you didn't simply use the scale degree numbering system? You elude to it in one of you're videos and if you use the roman numeral system across the fretboard and aslo know how to jump to varying scale degree intervals across the fretboard based on your chord progression, this removes one step in the equasion. I'm not expecting a reply, just thought I'd put it out there. I have taken what you have messaged in your videos and really appreciate the amout of work gone into producing the content.Thank you Keffo

[@MichaelPillitiere]

Hi Keith, thanks for your comment. Approaching understanding of theory starting from a jazz perspective can be pretty wild. From a historical perspective, jazz is very new stuff and as such has many layers and modifications on top of ‘old stuff’. Here is a grossly oversimplified, ‘School House Rock’ version of music history: 1. Pre-Middle Ages - No one knows for sure. No known (or surviving) written music predates the middle ages, so any theories are speculation. 2. Middle Ages - Modal melodies with no rules for accompanying chords other than ‘avoid dissonances’. And by ‘chords’ you’re really only getting the root and 5th. The 3rd was still considered a dissonance at this time and was avoided. 3. Renaissance - modes with multiple melodies simultaneously (See Fux’s Gradus ad Parnassum www.amazon.com/Study-Counterpoint-Johann-Joseph-Parnassum/dp/0393002772) Here we start to get codified rules on counterpoint and other accompaniments. The 3rd is now acceptable in accompaniments, but avoid tritones at all costs (look up Musica Ficta). 4. Baroque - JS Bach’s Well Tempered Clavier. This is where we get our modern understanding of music theory as taught in text books, with chord progressions finally taking a more or less equal role to melodic lines. This is where the rules for chord progressions are codified, and we now have harmonic analysis. But these chords are built from the notes of a single scale, not the reverse. Modal music falls out of favor. The tritone is now acceptable in V7 and vii dim 7 chords, provided its properly resolved. 5. Classical/Romantic - Rules established in the Baroque era are expanded, more and more ways to add non-scalar, chromatic notes are incorporated and more ways to modulate become acceptable. 6. 20th century - Explode everything and mash it back together. Or if you’re Shoenberg, don’t. So given all that, to say that each chord has its own scale is pretty exclusively a jazz convention and doesn’t grok with the majority of historical musical styles, in which the scale determines the chords. Its also why I didn’t use Roman numeral analysis, since that is used exclusively for harmonic progressions but not scale degrees. Hope that helps.

[@samiam3297]

Sheeesh! Only thing missing here is a Wizards Pick and Morgan Freeman doing voice over albeit your voice and insights are soooo on point and MIND BLOWING! HAND SALUTES TO YOU FINE SIR!!! ✌😎🎸

[@thomasbyrne7372]

This is where my 8 string guitar is coming into its own. I go through all seven patterns and start back again on the first one going horizontally.

[@globalcrossover]

Mind blowing stuff for guitar players

[@Aequals42questions]

Beautiful

[@randomdude93-93]

I got the ebook. Totally worth it!

[@uplink6]

Thank you for this.

[@reneraymond7807]

Fantastic!

[@andydug]

Some good channels coming through lately that youtube seems to have hidden away.

[@tr762]

Extraordinario sistema, tenia que haber alguien que lo visualizará asi. Se me facilitó cambiando las letras por numeros 123 en vez de XYZ pero el concepto cambia la forma de enfrentar la música. Leer, transcribir, memorizar es mas práctico. Extraordinario!

[@megasxlr211]

So glad that I subbed.

[@samstamos427]

Great Scott!

[@Tone-Oz]

OMG, the Douglas Adams bit, hit the note!... Big fan. Was Douglas an axeman?!

[@michelle-psl4441]

Wow! This just makes sense. Period. Goodbye confusing CAGED, which never made sense to me. Bought the ebook and the poster may be next!

[@DancingPony1966-kp1zr]

Exactly what I’ve been looking for. It seems so obvious now but, obviously, I didn’t see it.

[@visog]

Discovered the GUP myself but you've articulated it so well. Great voice too for these videos. I'd humbly suggest we need to deal with horizontal pattern shifts needing to go through intermediate shapes. For example, XXX to XXX in your system is only a semitone apart but in practice is really X Z Y X as you shift up positions in a scalar fashion.

[@MichaelPillitiere]

Shhh.. don’t give it away yet. It’s in the next vid. Thanks!

[@sustainablelife1st]

you are a freaking genius

[@ChuckSilva]

Amazing

[@abrahamlife]

What are your thoughts on fingering your pattern? When there are three whole tones per string, I prefer to use my middle finger on the middle note instead of ring finger.

[@blaskoxx4954]

First guitar lesson ever - it all made sense within 2 mins. It's a framework ...

[@The73275]

Bravo Sir

[@SOSmysteries]

masterpiece

[@Aresmusic.official]

unbelievable!

[@marinoderienzo3176]

I am 46 years too late discovering this.

[@andersonshelor1008]

I was able to purchase the poster and a coffee cup, but the web site claims my card information is incomplete or wrong.

[@2218_life]

Will you be updating the book, as you add to the material? And, if so, will the revisions be available to those that have already bought the book? Thanks.

[@MichaelPillitiere]

Yes, once the series is complete. I have to figure out how to update those who’ve already bought it though.

[@jjsuperstar9000]

@@MichaelPillitiere Nah, we'd happily buy it again!! Or, just sell the appendix if nothing changed in the first book.

[@Terminus_El_Camino]

Again, thanks for your efforts. Will there be more videos? I bought your e-book, and I hear your monotone (no offense) voice as I read. Anyway, I got to thinking that a crazy bass player friend of mine used to play a 7-string bass. And those guys don't shift tunings above the G-string, they go C-F instead of B-E, and then a lower B for that 7th string. Their pattern doesn't shift then. So if I was playing just lead, what's to stop me from tuning up strings 1-2 a half step for simplicity? Or laziness? Just wondering - I'd probably never actually do it.

[@MichaelPillitiere]

Yes, there are more ways to slice up the GUP. As for retuning, sure, everything would technically work. I often tune a guitar to CGDA on strings 6-3 to see if a cello part I've written is actually playable.

[@Billy-ho5ms]

Amazing stuff, I bought your PDF file, keep up the great work....every guitar student should be exposed to this.

[@jaidengarcia980]

So if I want to know how to use all the modes, do I need to memorize 7 different patterns? Or is there an easier way to go about it?

[@400_billion_suns]

Douglas Adams actually did tell us the question to the answer in The Restaurant at the End of the Universe. It's been a long time, but I'm pretty sure it was, "What do you get when you multiply six times nine?" Which, of course, is not 42, but that makes it all the more hilarious.

[@wesreynolds3572]

6x9 = 42 in base 13, but even Douglas admitted that was an accident. Nobody writes farcical jokes in base 13

[@400_billion_suns]

@@wesreynolds3572 😂😂😂 Interesting! If he’d simply lied about it, I would totally believe Douglas Adams might write farcical jokes in base 13. 😉

[@michaelcraig9449]

Thisis for major right? DO you have something like this for harmonic minor, melodic minor, etc?

[@MichaelPillitiere]

This is for all 7 diatonic modes. Ionian (Major), Dorian, Phrygian, Lydian, Mixolydian, Aeolian (Natural Minor) and Locrian. If you’re playing any style of popular music, it will be unlikely that you use harmonic minor, and you will almost never use melodic. Those are more stylistically common in classical music.

[@Bigjuergo]

thx for your videos! can you please add the blues pentatonic in your system - thx :-)

[@hkaszowi]

holy moly!

[@guitar_investment_money]

thanks a lot.. thats a f.. secret kept locked for years

[@gnanasekarduraisamy3676]

How many are here after 3 chapters of building scales in different modes??

[@modalities]

I may get a 7-string guitar.

[@IvanoAntico]

It’s called major scale

[@YEM_]

Hmm the GUP is no more clear now than it was before.

[@jazznotes3802]

lol. It’s really called “The Master Scale Pattern” and you’ll find it’s much simpler when presented in it’s original form. The original has no “X Y Z” or anything like in these videos, this is just his spin on it, or perhaps how he learned it from someone.

[@MichaelPillitiere]

@@jazznotes3802 A quick google search for "Master Scale Pattern" didn't turn up anything discernably different from other scale boxes. Id be interested in learning more. I called it "The Grand Unification Pattern" because A) I'd never heard it given a proper name, and B) I thought of it as similar to the Grand Unification Theory of physics, that (could someday) unite General Relativity and Quantum Mechanics. This pattern takes all those disparate pieces of scales in those huge scale books I read, and unifies them into a single whole.

[@medardoarce9361]

The easiest thing on earth!

[@jackwilloughby239]

That's great but Music is not really Diatonic. It's the people who escape into chromaticism and modal-ism who are the ones that are considered Great!

[@alanshinny4565]

do u understand the difference between reading and teaching? do you see why u only have 1,757 views on this video? when you put the 5 patterns up on boarf, you never say "understand that the first note on the 6 string of pattern 2 is on another fret. it looks simpler when you don't explain that. it is not simple and needs expansion

[@MichaelPillitiere]

kzbin.info/www/bejne/qILJZ5xugK6qgLc