Modes - Part 2 - Intermediate

The Seven Major Scale Modes - A Basic Introduction to Sounds, Chords & Formulas

Continuing from where we left off in Part 1 of this series on Modes, this tutorial will examine the moods we can create with each mode, how to begin to play the modes, and also the basic understanding of scale formulas.

Different Moods

In the last lesson, we discovered that modes are scales hidden within the Major scale. We also learnt that modes can simply be explained as moods. By selecting the appropriate notes within the major scale, we can create a mood (happy, sad, melancholy, sinister, etc.), which in turn will generate an emotional response from the listener. We were also introduced to the names of the seven major scale modes, in order of darkest to brightest sounding mood.

Here is a bit more detail regarding the moods (darkest to brightest) that these modes evoke;

Locrian = Dark/Sinister
Phrygian = Spanish/Exotic sounding
Aeolian = Sad/Melancholy
Dorian = Jazzy/Dark with a Bright Edge
Mixolydian = Bluesy/Soulful/Light & Shade
Ionian = Happy/Joyful
Lydian = Bright/Airy/Mysterious

Please note: Before you read on, do make sure that you have a complete grasp of the seven major scale shapes introduced last lesson, including knowledge of the C root notes in all shapes.

How do we play a mode?

To conjure up any of the seven modes, you will now need to start to thoroughly learn the names of the notes in each of the seven major scale positions. This will take time. Don't worry if this isn't completely mastered yet, as long as you are making the effort to do so (you can refer to last lesson's worksheets during this tutorial - study the middle column). Ok, so here is the simple explaination of how to create a mode.

The C major scale consists of seven notes, C D E F G A B C (the last C does not count as a new note, it is there to demonstrate where the scale ends and then begins again). To create a mode from within the C major scale, we can start on any one of the remaining six notes (D E F G A B) and play seven notes from the note chosen. For example, we could play from D to D (D E F G A B C D), or E to E (E F G A B C D E), etc.

The two TAB sheets below illustrate how we can play each mode in a very simple way. Each of the seven C major scale positions begins on one of the seven notes of the C major scale (either C, D, E, F, G, A, or B). By rooting (starting and focusing upon) each one of these notes, we create each of the modes.

Note: TAB is a convenient tool for playing music, but unfortunately an inferior way of understanding the theory presented here. This is why having an excellent knowledge of where the notes are on the fingerboard is so essential, and why I am again stressing that you need to know what notes you are playing when you use the C major scale (and any other). Sight reading (reading music) helps greatly (I'm not going to go on about the merits of music reading here - I'll leave that for another tutorial on another day!).

To get a true idea of the sound of each mode, playing each of the above scales over a backing track of some sort will help greatly. Of course, using any old chord progression (series of chord changes) is not nescessarily going to work. We need to know which chords work with each mode.

Now take a look at the following worksheet. The sheet contains two tables. The first table names each mode, it's root note (the note it is named after), and the notes contained within it. It also describes the basic chord (triad) that the mode can be played over.

TASK 1: Record seven individual backing tracks (on your computer, a tape recorder, even your mobile phone will do - we're not looking for Abbey Road production here!). Choose the chord in the table that relates to the mode you wish to practice. For example; D minor for D Dorian, E minor for E Phrygian, F Major for F Lydian, etc. Each backing track should last at least 4 minutes or more in length to give you time to play and experiment with the mode in question. Now play the selected mode over the backing. Pause on it's root note (the note it is named after) to get your ear acustomed to it's sound. Experiment and jam, but try to arrive back at the root note to resolve phrases (later we will look at more advanced ways of creating licks).

Task 2: The second table lists the notes of the major scale. It also lists the formula of the scale. The formula is simply a way of numbering the notes of scales, arpeggios and chords. Formulas use Arabic numerals, in the case of the major scale these are 1, 2, 3, 4, 5, 6, and 7. The table also lists the basic triad (three note chord) and 7th chord (four note chord) that can be built from each of these notes. The chords are described by Roman Numerals (I, ii, iii, IV, V, vi, and vii).

All of the chords can be used with any of the modes. The only rule is, you must center your chord progression around the root chord (see table 1). Emphasise (play more of) the root chord than any of the others. Start the chord pattern on the root chord. End on it too. Record a progression using a series of chords, starting on the root chord related to the mode you wish to play (i.e.; D minor for D Dorian, E minor for E Phrygian, F major for F Lydian, etc.). Now play the scale over the top of the progression as described in task 1.

Also, memorize the names of the chords and their related formula and roman numeric names. This will be essential for later lessons.

Right, that's it for now. Any questions, please do leave a comment and I will help clarify any confusion!

Extra Task: The next mode lesson will be coming shortly, where we will be looking at individual modes and how to get the best out of them. Between now an then, study the C major scale positions and try to find pentatonic shapes within them. It's a bit like one of those wordsearch puzzles! Find A minor, D minor and E minor pentatonic (shapes 1 to 5). For those of you familiar with the major pentatonic, can you spot the C major pentatonic? What about F major and G major pentatonic too? (shapes 1 to 5 also). Can't wait to show you how to get some excellent and cool sounds using these shapes and scales! All will be revealed...


VIDEO/AUDIO TO FOLLOW SHORTLY

Speed/Coordination Exercises Part 1 - Intermediate/Advanced

Fragment Patterns - A Minor/C Major Pentatonic (shape 1/5)

Here's a huge post seeing as it's the weekend!

As promised, this is the first in a series of speed and coordination exercises that will be of use to guitarists of all styles, and should keep you busy for months to come. Although we are back in familiar pentatonic territory, these exercises can easily be applied to any other scale or arpeggio (I will post more exercises using the heptatonic/modal shapes and also arpeggios at a later date). Because my last two posts have focused upon the pentatonic scale, I thought that this tutorial would tie-in quite nicely with them, as the exercises below can be combined with the 50 licks and 5 scales shapes to help turbo-charge your improvising skills.

So what is a fragment pattern?

Basically, a fragment pattern is a scale or arpeggio fragmented (broken up) into small, repetitive sections that either ascend or descend the guitar neck. I always think of these exercises as two steps forward, one step back. The scale being played is staggered so that it lasts longer than it would when playing through it in a regular manner. This allows you to create long runs when improvising. It also develops excellent coordination between your left and right hands, a skill that is essential in all areas of guitar playing.

These exercises will also greatly increase your playing speed. If you want to get fast, this is one of the main routes to obtaining that goal. But please, please, please always remember - being a fast guitarist doesn't necessarily make you a good guitarist. Speed isn't a sign of great musicianship. It just means that you can play fast. It's great to have the ability to play fast as many musical situations will require it, but the real skill is knowing when not to play fast. There is always going to be someone in the world that can play faster than everyone else. Ok, so perhaps it's an accolade to say, "Hey, I'm the fastest guitarist you'll ever gonna hear", but so-what? It doesn't automatically make your music good. It doesn't mean that people are going to want to listen to you. Holding back from playing fast all of the time will make your music more exciting when you do launch into a burst of speed. This will keep your audience on their toes and leave them wanting more.

The exercises below should always be practiced whilst using a metronome and strict alternate picking. Start at a moderate speed that is easy for your fingers to handle. At all times, clarity is more important than speed. It's always better to hear something played slowly, well and accurate, rather than fast, patchy and inaccurate. I know that speed is the aim here, but good sounding notes are the priority, speed will follow. Keep a log of your daily practice tempo. If you start on Monday at 80 beats per minute (bpm), aim to get to 95 bpm by the end of the week. Keep your aims realistic. This is the way to succeed. Practicing anything takes time and patience. Rushing headfirst into the exercises here will only result in frustration and failure. Take your time and you will achieve your goals.

So here are the exercises (all 14 pages of them!!!) and good luck!

















KEY;

Retrograde: having a backward motion or direction.

Inversion: presentation of a melody in contrary (opposite) motion to its original form.


SOUND FILES & VIDEO COMING SOON...

Blues (Fingerstyle) - Intermediate

Fingerstyle Blues – Chris Pearce

This is a 16 bar blues (not the regular 12) that works well on either the acoustic or electric guitar. The trickiest thing about this tune is getting the rhythmic feel right. Old school blues oozes a raw and loose vibe that is more difficult to recreate than you might first imagine. Landing your picking fingers on the strings over the sound-hole/pickups of the guitar produces the rhythmic clicks (the x’s in the TAB). Try to keep the fingers ready to re-pick the strings as they land (1st, 2nd & 3rd fingers should land on the high G, B & E strings whilst the thumb lands on the next bass string to be picked). Experiment and make up your own fills/licks (I used the E Minor pentatonic scale (F# Minor when the Capo is on fret 2)).





NOTE: Soundfiles for this piece will be uploaded shortly. Please click on the URL link below to hear the piece (make sure pop-ups are enabled on your browser or press "shift" when clicking on the link). When the new window has opened, click the triangular play button in the right hand corner of the screen to hear the music (you will need Flash installed to view/hear the music).


http://chrispearcemusic.com/downloads/fingerstyleblues.php