Building the Better Guitar Scale - Pt. 4.5 Modes DNA Code

Just a quick little exercise you may find useful.
You can find the booklet here: www.amazon.com/Building-Bette...
The booklet is free for Amazon unlimited customers. If you would like a printable pdf version please go here: www.buymeacoffee.com/MichaelP...
You can get a handy (and nice looking) reference poster outlining the core concepts of the BBGS scale method here:
bbgs.creator-spring.com/listi...
If you would like to see more videos, please consider making a contribution to help offset production costs. My intention is to make this information free and available to everyone, however writing, recording and animating these videos is labor intensive. Any contribution would be appreciated.
www.buymeacoffee.com/MichaelPi
Good luck in your practice, and thanks for watching.

[@jazznotes3802]

Thanks for the shoutout 👍🏻. (I love your presentation with this series, it’s very well done)

[@ejejej9200]

These videos change everything. It’s like I have living in a house for 20 years stumbling in the dark not knowing how the rooms are connected. This changes everything! I just need to figure out how to insert the blues scale in here. Lining up other scales using this system as a compass will be great.

[@clownpocket]

The blues or pentatonic scale should be easy. With 2 notes per string there are only 2 patterns let's call them Y and Z. The cycle for minor pentatonic is YZZZYYZZZYYZZZYYZZZ etc.

[@stoneyneff8555]

I can't wait for the next video ...

[@MiketheNerdRanger]

Stumbling upon this series was absolutely unreal; I never would've guessed.

[@natealspaugh8587]

I’m so excited for video 5 to finally be released! This whole series has changed my guitar life.

[@ArcOneBC]

This series is by far the most helpful tutorial I have come across for understanding the relationship between the major scale, modes, and the guitar. Thank you very much for taking the time to put this together, it really is extremely useful.

[@HippyDruid77]

Your 'Grand Unification Pattern' video was real eye opener for me Mr Pillitiere. Since watching it many months ago, my improvisation has improved dramatically. This video is a nice quick reference tool for the modes. I really appreciate the time you've taken to make these videos. Cheers! 🤘

[@banjomark9900]

Your musical prowess & teaching abilities speak for themselves. Outstanding! But, “I’ll let this loop a couple of times so KZbin doesn’t flag it as a short”…… Genius 👏

[@FrettieFingers]

All of this is in the "The Nashville Pattern! for Guitar "by Paul Lyman Busdiecker. I found his book too overwhelming to comprehend until I stumbled upon Michael's videos

[@anthonyt7813]

This is outstanding content. If one takes their time and understands all before moving on to the next part, one will go far. I've never looked at the fretboard this way. I can now combine it with the other ways of fretboard perspective that I have learnt. You have presented this via animation in such a beautiful and logical way. It must have taken some time to produce, that's for sure! What an amazing visual communication! I just wish I had the access to this years ago. I also wish I had the patience that I do now to work through this content instead of heading straight for the rocking out bit! Thanks :)

[@randomdude93-93]

Waiting for the next video! Looking forward to it! This is such a phenomenal series

[@NickATFGuitarMan]

Just found this series. I'll be watching repeatedly until burnt in my brain. Can't wait for the next one.

[@cutronixxx]

Truly excellent. The most concise and showing not telling educational video on KZbin. Thank you! And your other videos are fantastic too. I’ve shared them with numerous guitar players. Thanks again!

[@jukkamantynen2108]

I love this. It's great. This particular video demonstrates an intuitive way to show the modes because it starts at Lydian and uses the cycle of fourths (ie. Lydian, Ionian, Mixolydian etc as in the order shown in the video) rather than presenting modes in a parallel manner (Ionian, Dorian, Phrygian etc). I refer to the three note per string patterns as X1, X2, X3, Y1 etc. That tells me the Lydian starts at X3 (ie. X pattern is followed by Y pattern), that Ionian starts at X2, Mixolydian starts at X1 etc. This way it's in an order that for me is easier to figure out or to remember which starting pattern relates to which mode.

[@sustainablelife1st]

Finally, more genius! I was so stuck for years before I found your grand unification!

[@popaandrei912]

Finally, my design for the Grand Unified Pattern of the Harmonic Major Scale, stemming from yours is the following: Considering Harmonic Major an Ionian b6. If Ionian scale starts from the second XX figure, that would make the pattern XXYYZZXXXYYZZX and so on. The first X from the Ionian will be unaltered. Now, having that b6, it will make it so that the second X in the Ionian (or the third X in the Grand Unified Pattern) have the third note lowered a semitone, so I noted this figure as (Xb3). The first and second Y will be unaltered. The first Z will have its first note lowered a semitone, so we will note it, again, practically (not theoretically as you cannot define a scale as a flat or sharp of a tonic), as b1 (Zb1). Then the second Z is unaltered. Next is the first X of the Grand Unified Pattern (or last of the Ionian) X that has a b2 (the second note is lowered by a semitone) so I noted it as (Xb2). So overall the Harmonic Major scale has a repeating pattern of: X(Xb3)YY(Zb1)Z(Xb2)X(Xb3)YY(Zb1)Z(Xb2) So the modes would be: 1st mode Harmonic Major: X(Xb3)YY(Zb1)Z(Xb2) 2nd mode Dorian b5: Z(Xb2)X(Xb3)YY(Zb1) 3rd mode Phrygian b4 (Altered Dominant b5): Y(Zb1)Z(Xb2)X(Xb3) 4th mode Melodic Minor #4: (Xb3)YY(Zb1)Z(Xb2)X 5th mode Mixolydian b2: (Xb2)X(Xb3)YY(Zb1)Z 6th mode Lydian Augmented #2: (Zb1)Z(Xb2)X(Xb3)YY 7th mode Locrian bb7: YY(Zb1)Z(Xb2)X(Xb3) And the exact same rules apply, you just have to get used with the b1 of the first Z, which is played a semitone lower than the normal finger position. Now for the vertical stacking, the pattern is: XZY(Xb3)(Xb2)(Zb1)YXZY(Xb3)(Xb2)(Zb1)Y I hope these help anyone!

[@Altum8bit]

This method is outstanding. I can't imagine a better way to explain and demonstrate this concept - it should become the new standard for budding guitarists. I'm *hold* ing out 4NPS installment, I'm sure it' *s* *worth* the wait!

[@MichaelPillitiere]

I see what you did there…

[@especiallythesedays]

A helpful way to know which degree you’re on - each shift you make here adds 4 to the scale degree. If it goes above 7, just subtract 7 (e.g. 4 becomes 8, subtract 7 and you have 1)

[@8pm]

It's fantastic. Helps to remember the patterns of modes too.

[@ifoundthistoday]

waiting patiently for your next video this is my favorite fretboard learning videos learned it really fast thx again

[@babe2431]

The moment we’ve been waited for

[@raoul355]

wow. the missing piece! i've been stuck in my lame extended pentatonic shapes for years. this is so refreshing, makes me smile!

[@ericlukoye]

Good job Michael.

[@galator011]

thank you for your continued help

[@Sammywhat]

This is fantastic Michael! Great work!! Thank you, kindly!!

[@visog]

Love the way you present and narrate these concepts...

[@gernblenstein1541]

Brilliant! Thanks for the content short and sweet. The series is one I will have to study over and over; amazing content and thanks again for sharing!

[@clownpocket]

I bought the book. Excited for the next video.

[@mwthatch]

Your an amazing teacher, love to see you do more in the series, love to see how you envision the pentatonic scale in the patterns. Also, love to get your take on 1st 3d and 5th patterns as well. Your amazing. Thanks for your lessons

[@davidlegalley1161]

This GUP Series is Amazing. Thank you for another meaningful way to expand understanding the guitar fretboard 👍🏽👍🏼❗

[@neilifiras]

I love it i never was vocal about my playing but i find myself humming when practicing these shapes it's easy to guess the pitches ones you get a hang of it. Thank you bery much sir

[@pnaubry]

Awesome series !! Looking forward to the 4-notes per string and pentatonics videos... All the best.

[@attiliogiordani1148]

Very Interesting. The sequencing is nice. It follows a +4 the -3 pattern. If you start at Ionian, as 1, then +4= 5 or Mixolydian. Then -3=2 or Dorian. +4 the = 6 or Aeolian. -3=3 or Phrygian. +4 then =7 or Locrian. -3 now makes it 4 or Lydian. +4 = 8 or the octave that starts the sequence over again. Great work Mr Pillitiere. Looking forward to more. Thanks

[@MichaelPillitiere]

Or just +4, +4, +4, etc.

[@wilfredferwerda780]

Wonderful series presentation, Michael. Like other commenters, I independently arrived at the same unified fretboard pattern several years ago (but for bass, so minus Rule #2), however, your clear descriptions and awesome graphics take it over the top. Thank you.

[@jpilot07]

You just earned yourself a new subscriber pal!

[@popaandrei912]

For the purpose of helping ease a process as much as you helped me, I did the following rules for the Harmonic Minor scale following your exact rules and notations. It would be an honor if you could use this information for the next video on the subject manner. My design for the Grand Unified Pattern of the Harmonic Minor Scale, stemming from yours is the following: Considering Harmonic Minor an Aeolian #7. If Aeolian scale starts from ZZ figure, that would make the pattern ZZXXXYYZZXXXYY and so on. Now, having that #7 there means that, for ease of memorising, or for practical purposes, we can consider the first X as having a #1 (the first note is raised by a semitone), so I noted this figure as (X#1) the next X wil be unaltered and the third X will have a #2 (the second note is raised by a semitone) so I noted it as (X#2). Then the Y is unaltered but the second Y has a #3 (the third note is raised by a semitone) so I noted it as (Y#3). The ZZ is unaltered. So overall the Harmonic Minor scale has a repeating pattern of: ZZ(X#1)X(X#2)Y(Y#3)ZZ(X#1)X(X#2)Y(Y#3) So the modes would be: 1st mode Harmonic Minor: ZZ(X#1)X(X#2)Y(Y#3) 2nd mode Locrian 13: Y(Y#3)ZZ(X#1)X(X#2) 3rd mode Ionian #5 X(X#2)Y(Y#3)ZZ(X#1) 4th mode Dorian #11: Z(X#1)X(X#2)Y(Y#3)Z 5th mode Phrygian Dominant: (Y#3)ZZ(X#1)X(X#2)Y 6th mode Lydian #2: (X#2)Y(Y#3)ZZ(X#1) 7th mode Super Locrian bb7: (X#1)X(X#2)Y(Y#3)ZZ And the exact same rules apply, you just have to get used with the #1 of the first X(which may look like the Y but it doesn’t start at the same finger position, it starts with a semitone up). Now for the vertical stacking, the pattern is: ZYXZ(Y#3)(X#2)(X#1)ZYXZ(Y#3)(X#2)(X#1) In my the following week or two I will also post the same Grand Unified Pattern for Harmonic Major and Melodic Minor.

[@wagonet]

Amazing.

[@popaandrei912]

I actually could not resist for a week so started to develop them right after my last comment My design for the Grand Unified Pattern of the Melodic Minor Scale, stemming from yours is the following: Considering Melodic Minor an Ionian b3 (of course, you do not name it this way correctly from a theoretical standpoint, but from a practical one). If Ionian scale starts from the second XX figure, that would make the pattern XXYYZZXXXYYZZX and so on. Now, having that b3 there on the first X (which is actually the second in the pattern) means that, for ease of memorising, or for practical purposes, we can consider the second X (the starting point of the natural Ionian mode) as having a b3 (the third note is lowered by a semitone), so I noted this figure as (Xb3) the next X (the third one in the pattern) will be unaltered. The first Y will be unaltered. The second Y will have its first note lowered a semitone, so we will note it, again, practically, as b1 (Yb1). Then the Z is unaltered but the second Z has a b2 (the second note is lowered by a semitone) so I noted it as (Zb2). The first (or final) X is unaltered. So overall the Melodic Minor scale has a repeating pattern of: (Xb3)XY(Yb1)Z(Zb2)X So the modes would be: 1st mode Melodic Minor: (Xb3)XY(Yb1)Z(Zb2)X 2nd mode Dorian b2: (Zb2)X(Xb3)XY(Yb1)Z 3rd mode Lydian Augmented: (Yb1)Z(Zb2)X(Xb3)XY 4th mode Lydian Dominant: XY(Yb1)Z(Zb2)X(Xb3) 5th mode Mixolydian b6: X(Xb3)XY(Yb1)Z(Zb2) 6th mode Locrian #2: Z(Zb2)X(Xb3)XY(Yb1) 7th mode Super Locrian (Altered Scale): Y(Yb1)Z(Zb2)X(Xb3)X And the exact same rules apply, you just have to get used with the b1 of the second Y(which may look like the X but it doesn’t start at the same finger position, it starts with a semitone down). Now for the vertical stacking, the pattern is: (Xb3)(Zb2)(Yb1)XXZY(Xb3)(Zb2)(Yb1)XXZY

*Sharing is very interesting!👍🛎 wish you success!*

[@andybolanos6854]

Where are you man?? This videos are awesome and help us in so many different ways!! It's been 6 months, hope you're doing fine, I can't wait to have your videos back!

[@MichaelPillitiere]

I am doing well, thanks for the well wishes Andy! I’ve had a couple other musical projects take precedence these past six months, and maybe 1 or 2 more. Much writing and many rehearsals (sometimes 4 a week). I’ll post video of the performances for those interested, then I’ll make more lessons.

[@KingstonShredMaster]

@@MichaelPillitiere we're all very much looking forward to the next installment!

[@esayasworku1672]

I’m waiting for another videos

[@anonymousperson1048]

Any updates on the new videos? This series is FIRE!

[@Gabrielczrtt]

Guitar player for 15 years, already memorized all diatonic shapes a long time ago, but your videos really gave a new way to think about them. Would you mind making a vídeo about How can we apply this to harmonic and melodic scale?

[@snowmonkey1]

How long have you been playing? This series is a gift

[@mariomendozagmail]

Michael, this really amazing. I wonder how to use the X, Y, Z patterns to train CAGED. Thank you for this series. Did you put this all thing together or learned it with someone else?

[@jeffreyklaproth7794]

SIMPLY BRILLIANT! Is this common knowledge that I have missed? Who is credited for figuring this out? I’ve been playing guitar for over 20 yrs and this brought my improvising skill to the next level. Thank you for this amazing presentation. It takes real talent to be able to explain this for the guitar masses to understand. I learned every aspect of it and I am looking forward to your 4 note per string, pentatonic video and anything else you put out.

[@MichaelPillitiere]

Thank you. When I was studying classical guitar in college, I was taught the 7 patterns. I could just ‘see’ how they fit together like puzzle pieces. After that I saw how the finger shapes repeated, but it took me a bit longer to figure out why Pattern 2 had that two fret shift. Once I realized why, the whole mystery fell apart. For nearly 20 years I thought my booklet was unique to me until I published the first video. Many commenters say they figured it out for themselves as well. As far as I know, I’m the only one whose developed the vertical rules. I created those about a week before making that video. Some of the comments I got made me wonder, I’d just never thought to ask the question until then. I knew the shape order would be the same since going up a single string is really no different than going up across the strings. What I didn’t know was, could I come up with a few rules that would be easy and memorable. I thought about it when I was out walking one day and realized I could do it in two rules. I thought that was a nice symmetry. Came home, wrote the script and made the video.

[@jesselin2935]

This pattern also puts the modes in circle of fifths order! Neat

[@MichaelPillitiere]

It does! Extra points if someone can identify why.

[@antoniogarza2079]

Tell us? 😂

[@wilfredferwerda780]

@@MichaelPillitiere It must have something to do with the guitar being tuned in fourths?

[@MichaelPillitiere]

This is true and is part of the answer, but not the whole answer! Hint: the other part is in the description of the Pt. 1 video.

[@jesselin2935]

@@MichaelPillitiere 3 notes per string means moving the pattern is going back a fourth, which is the same as going up a fifth along the circle of fifths. Hence C Ionian is G Mixolydian is D Dorian is A Aeolian etc.

[@DelayedLaunch]

What program do you use to create these animations? They’re very clear and well made! Thank you for sharing your insights!

[@MichaelPillitiere]

After Effects

[@briantriesart]

thanks. And don't worry about the timing for shorts, if the video is horizontal it won't be a short. :)

[@MichaelPillitiere]

Ah! Good to know, thanks!

[@ondeangel1998]

OMFG MY LIFE NOW HAVE SENSE

[@SalvaRubio]

Will there be a video about the announced pentatonics? (Or maybe I missed it in the other videos?

[@popaandrei912]

I found your videos months ago and it completely changed my playing, I even developed the same system for Harmonic Minor and was looking to do it for Melodic Minor and Harmonic Major as well. Maybe I cand send you my notes?

[@NickATFGuitarMan]

I would love this

[@popaandrei912]

@@NickATFGuitarMan I will write the rules for harmonic minor in the following 20 hours in a reply to this comment

[@popaandrei912]

So I consider Harmonic Minor an Aeolian #7. If Aeolian scale starts from ZZ figure, that would make the pattern ZZXXXYYZZXXXYY and so on. Now, having that #7 there means that the first X will have a #1 (the first note is raised by a semitone), so I noted this figure as (X#1) the next X wil be unaltered and the third X will have a #2 (the second note is raised by a semitone) so I noted it as (X#2). Then the Y is unaltered but the second Y has a #3 (the third note is raised by a semitone) so I noted it as (Y#3). So overall the Harmonic Minor scale has a repeating pattern of: ZZ(X#1)X(X#2)Y(Y#3)ZZ(X#1)X(X#2)Y(Y#3) So the modes would be: 1st mode Harmonic Minor: ZZ(X#1)X(X#2)Y(Y#3) 2nd mode Locrian 13: Y(Y#3)ZZ(X#1)X(X#2) 3rd mode Ionian #5 X(X#2)Y(Y#3)ZZ(X#1) 4th mode Dorian #11: Z(X#1)X(X#2)Y(Y#3)Z 5th mode Phrygian Dominant: (Y#3)ZZ(X#1)X(X#2)Y 6th mode Lydian #2: (X#2)Y(Y#3)ZZ(X#1) 7th mode Super Locrian bb7: (X#1)X(X#2)Y(Y#3)ZZ And the exact same rules apply, you just have to get used with the #1 of the first X(which may look like the Y but it doesn’t start at the same finger position, it starts with a semitone up). Now for the vertical stacking, the pattern is: ZYXZ(Y#3)(X#2)(X#1)ZYXZ(Y#3)(X#2)(X#1)

[@mdeer2641]

I'm very dislexcia I'm only fallowing along but i did notice that wail it is looping it is some how subtracting frets look at mixolidan pat 5 I'm assuming its starting on 3fret...as it loops it's loosing a fret its showing 2nd fret as it dos on one of the other patterns is doing the same thing... sorry i have struggled with these as you call them scale degrees.. maybe i should not try to figure it out....thank you ..O and i did map this all out by hand drawing the fret board note'ing what fret to start on.. ????

[@nathansimmons163]

Withe strings set up vertical like that I confused is low E the first or the 6th string.

[@NPark-ne4ii]

I've been loving the videos but this one has me a bit confused - why does it start from Pattern 4 and hop to 1, then 5, then 2? I'm assuming that for the purpose of learning the mode+shape we are doing these all from the same starting point (say 6th string G, 3rd fret), but then why does it progress through the modes in such a manner? When I first learned mode shapes it was in order from Ionian -> Locrian, wouldn't it make sense to practice that vertical connectivity or am I missing something here? Side note - the previous video on vertical neck movement made me audibly go "holy shit" when I tried it out for myself haha. Great stuff!

[@MichaelPillitiere]

Because the guitar is tuned in 4ths, so the modes jump in 4ths when they all start on the same note. This is by no means a ‘definitive’ way to progress through them, but it is the simplest to visually see how they ‘scroll’ horizontally across the neck.

[@MichaelPillitiere]

I should add, the way you learned was probably the vertical way, whereas this is the horizontal.

[@PurgingParrot]

I don’t know if you still read comments on a video 4 months ago but anyways I have a question. You may have answered it before in a previous video but either way I didn’t catch it. Going back to Pt. 1 you taught the pattern and then said something along the lines of ‘Lets work in the key of B flat. We are using pattern 3 so out starting note is on the 10th fret.’ Is there a simple way to quickly get the key of any pattern put onto a guitar? My first instrument was piano and I love to compose. I am finding my piano knowledge very difficult to plaster onto a guitar neck. This video series is extremely helpful.

[@MichaelPillitiere]

Im afraid I don't know a quick shortcut way to be able to look at the neck and just see what notes are in a given key, like you can on the piano. Only time and practice. One of the reasons is because you can play the exact same pitch in 2 or 3 spots on the guitar. On the piano, theres only one spot for each pitch. Guitar is a weird beast. Unless Im composing for the guitar specifically, I dont use it to write. Its easier for me to just use the staff, or a piano if necessary. I can visually see problems that might not be easily solved aurally. Voice leading, chord voicings and spacing, etc. Sorry I couldnt be more help there.

[@PurgingParrot]

@@MichaelPillitiere This comment actually helped quite a bit. Everything else seemed so intuitive I just thought I was missing something. That is a great thing! Yes. Im at around a year of playing guitar (mainly rock and more melodic metal). You would be surprised how many metal songs can be played on a piano and sound beautifully complex. I have made several piano areangements of metal songs myself. My favorite that I have made is Fade to Black by Metallica. I am currently messing around with arranging some songs by Muse since they have prominent classical roots. I was never a sight reader. I have given it more than 5 years worth of effort on piano with no luck. Trying to sight read anything other than tabs hurts my brain. Great series. I will definitely send this to some of my buddies who are looking to learn some guitar theory.

[@zacharybishop]

What is this 7th video in the playlist from "AI Story"?? There is a demo on 3d modeling software that doesn't belong in the playlist. Just wanted to say something in case the author's account was compromised and they don't know it.

[@ozlemelih]

If you could play the scale on the animation it would be perfect

[@woodwindwebby8271]

Hi Got your pdf book a few days ago, and tehn my VISA card was hacked!! maybe you should check your stripe payment system.

[@MichaelPillitiere]

Can you confirm it was Stripe?

[@snowmonkey1]

The site looks to be secure. Are you sure that’s the only place you used your card?

[@stoneyneff8555]

Bro ...what is soonish.. It's been 5 mouths..😂

[@glyntaylor49]

I still can't get my head around all this and work it out, doesn't make any sense to me.

[@MichaelPillitiere]

Could you tell me more about what you’re having trouble understanding? Thanks.

[@glyntaylor49]

@@MichaelPillitiere i dont understand the scale degree, you can start by playing shape x 3 times and in other instances only twice, then theres the moving up a fret , it seems impossible to me to memorise all the different shapes and positions and starting scale degrees on other strings completely throws me, it just doesn't make any logical sense, on any given string how do you know how to start with shape x, y or z and know where to go, maybe its just me but i can't for the life of me understand it.theres no way i could put this into practice on the fly, my brain just doesn't work that quick 😂

[@MichaelPillitiere]

Thanks for the reply. If you don’t mind me asking a couple more questions, I’d like to identify your sticking points and see if there’s a way to better clarify the concept. It could help more people better understand it. Let’s pretend for a minute that this has nothing to do with music, or scales, or even the guitar. Let’s say it was just a puzzle video game where you had to build patterns out of these 3-dot shapes on a grid of lines. If you were given some starting shapes on the grid, would you find it difficult to complete the pattern based on the rules that were explained? Thanks.

[@glyntaylor49]

@@MichaelPillitiere thank you for replying, i suppose that with a few starting points and like a video game approach that might make more sense , i'm 56 now and don't soak up or take information in and retain it like i used to, i really would like to understand it and be able to use it.

[@MichaelPillitiere]

@@glyntaylor49 Thanks Glyn. If you don’t mind, try practicing the concepts (shape order and 2 rules) from the first video, but ONLY ever starting with Pattern 1 (XX). Pretend none of the other six patterns exist. Try it on all different strings and frets. Don’t worry about note names or scale degrees or anything else. Give it a few 15-minute practice sessions and see if it starts making sense to your ear.