Guitar Lesson: The 7 MODES - EXPLAINED

[@mikemcconville2495]

This is the first lesson on modes that I’ve even come close to understanding

[@stephenevans7884]

Who makes the graphics? Damn. That's some good work. Props to that person.

[@MrCherryJuice]

A brilliantly clear, concise and easily comprehended delivery of the fundamentals. Thank you. Oh, and not done on a hot modded Strat through distortion unit and Marshall amp. Thank you for that too.

[@SuperRajeswar]

So brilliant with graphic and practical use of mode, the teaching skill is highly appreciated, thanks

[@pburtonartcom1224]

Here’s a cool trick I know at one time we had the capabilities of remembering phone numbers since smartphones no one probably knows their own number .. lol But here you go The concept of treating musical scales as "phone numbers" is an interesting way to visualize the pattern of whole steps (2) and half steps (1) in a scale. Here are the "phone numbers" for each of the seven modes derived from the major scale: 1. Ionian (Major Scale): - Pattern: 221-2221 2. Dorian: - Pattern: 212-2212 3. Phrygian: - Pattern: 122-2122 4. Lydian: - Pattern: 222-1221 5. Mixolydian: - Pattern: 221-2212 6. Aeolian (Natural Minor Scale): - Pattern: 212-2122 7. Locrian: - Pattern: 122-1222 Each mode starts on a different degree of the major scale, and its pattern of whole and half steps is unique, giving each mode its characteristic sound. By visualizing these patterns as "phone numbers," you can more easily remember the structure of each mode on the guitar neck or any other instrument. This little story will tell you how old I am back in the day you would ask a very attractive young lady her phone number and she gives you the dial a prayer line ….lol😂

[@melvinquiwa9629]

You sir, deserve more subscribers!

[@j-c-moore]

Best modes lesson I've seen. Thanks!

[@olivierthielen7380]

Exactly what I looking for and needed, thanks a lot for your work and the sharing :)

[@stumboz5566]

Seeing it as a table next to the scale patterns on the fretboard just unlocked a bunch of stuff in my brain.

[@deano572]

@@stumboz5566 yea light bulb moment for me with that same graphic. Did you notice that for each mode it is the next scale shape that starts on the interval. For example, Inside scale shape 2 you would begin scale shape 3 or 4 or 5 on the interval to play different modes… just got to remember which shapes correspond to each mode…. mind blown

[@packerjetmin4]

Was quite surprised you showed Syd Barrett. Pleasantly surprised. Great lesson and well explained

[@petergibson7287]

Excellent.

[@drewfabrics]

Amazing info, you are great explaining guitar theory. Thank you so much

[@Dollarkat]

Another great video. Kids, don’t go to music school. Just watch guys like Mike George.

[@Blues40]

Wonderful lesson my friend !

[@christianhoffman7407]

When looking at Circle of Fifths if you start *one* key to the *right* of the key you are interested in *then* going *counterclockwise* you label each key LIMDAPL (pronounced Limb-dapple) it will give you the modes of that key of interest. LIMDAPL stands for Lydian Ionian Mixolydian Dorian Aeolian Phrygian Locrian. Then in each mode you just go in alphabetical order starting with the root/tonic of that key of interest for your note order. So using C as the example (C being your key of interest) you would start with G being the key immediately to the right , it is Lydian, THEN going COUNTERCLOCKWISE - C of course is Ionian, F is Mixolydian, Bb is Dorian, Eb is Aeolian, Ab is Phrygian, Db is Locrian. What excited me most was I figured that trick out on my own then discovered it is actually something many others use as a guide to modes. Three months ago I did not understand the first thing about theory at all. This channel and Mike has been the biggest game changer ever in my understanding of music.

[@chrisrasnake9060]

Amazing video. Thank you

[@sniffrat3646]

great work

[@makinganoise6028]

There is various Aps for visualization of this, makes it clearer alongside a good explanation like the video, I wrote one which is free, but a wee hint, think of city or town you know that has the same starting letter as the mode and same kind of vibe, in Rock for example overlay the mode over the pentatonix and you can break out of the boxes.

[@pattheitguy]

How do you not have a million subscribers?

[@sharkgt9264]

Still did not get it completely. But this Was the best lesson so far.

[@daniels7624]

I only understood modes because someone played the tonic on an open string together with the various scales. IMO thats how the emotions stick out. Just playing the notes of a scale doesnt let you experience what a mode is supposed to feel like.

[@chrismaxwell1624]

Think I watched the same video.

[@christianhoffman7407]

5:00 Looking down at a Les Paul is appears 🤣.

[@josephjacobshagen5108]

Can you explain the Minor Pentatonic scale?

[@Rikulz]

@@josephjacobshagen5108 minor pentatonic is just the Aeolian mode. You’re just using the 1, 3, 4, 5, 7 of the mode to keep it to 5 notes.

[@Ekyluu]

Are there any plans to have to chord books in a physical copy? I dont own a tablet and my phone isnt big enough for me to follow along or read reliably when I am working or wishing to play my gutiar.

[@LukassYT]

love your videos and graphics. one thing i dont understand though: when i change modes i usually change the pattern of Whole steps and Half steps, but i just start on the same note. What am i doing there? Am i switching the mode and the key? for example ill do the major scale pattern of WWHWWWH starting from the c note. But then to switch the mode, i start on the C note, but I play the pattern of for example HWWWHWW. Im switching the pattern on the same note, but then some notes become flats, which arent a part of the key of C. so am i changing the key and mode at the same time? 😀

[@skimonki]

I am mainly a self taught amateur musician (guitar) but see if this makes sense. Your 2nd pattern HWWWHWW is that of the Phrygian mode Since you are starting the pattern on the note C, you would be playing the C Phrygian scale. By definition the tonic (starting note) of any Phrygian scale starts on the 3rd note of its related major scale. So for example, taking the notes of the C maj scale, the only Phrygian mode possible to derive from it is E Phrygian as E is the third step of the C maj scale. So to find out the related major scale from which C Phrygian takes its notes , you have to ask yourself "Of what scale is C natural the third step?". We might know off the top of our head that the A maj scale has C# as its third step, but we want the scale containing C natural as the 3rd step. So we would have to step down to the next lower scale a half-step below A maj, i.e. G# maj (not a common scale by any means). The notes of the C Phrygian scale can only be found using notes from the scale of G# maj, which is officially made up of the notes: G♯, A♯, B♯, C♯, D♯, E♯, F##, G# . What you say?!! Where's C natural in that total maze of sharps? However, note that E# is equivalent (ie. the same as) F natural, likewise F## (or F sharp sharpened again) equivalent to G nat, and the important (for our purposes) third note of the scale listed as B# is really the same note as we are looking for, i.e. C natural. We can therefore deduce that the notes of C Phrygian are taken from the notes of the G# major scale, I would say, yes you have changed the key and mode in which you are playing. Edited to add: The next lower scale below A major could also be called A flat major, since the G sharp major and A flat major are equivalent keys. In this case it would have made an easier example as the notes of the A flat major scale do clearly identify the 3 degree of the scale as C natural rather than the B# as found in the G# maj scale. Ab Bb C Db Eb F G.

[@dpruittt09]

Man you really bashed cannon there. I guess to help prove your point it was still painful 😒. The rest of the video was helpful though thank you.

[@MisticWays]

Where is anger at? I think that mode would be the most useful out of all of them. It's cathartic in nature; Why wasn't it mentioned?