It looks like you're new here. If you want to get involved, click one of these buttons!
Subscribe to our Patreon, and get image uploads with no ads on the site!
Base theme by DesignModo & ported to Powered by Vanilla by Chris Ireland, modified by the "theFB" team.
Comments
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
Although I do understand the concept you are explaining; moving the pentatonic "box", with certain "filler notes" will result in a mode.
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
Please, please, please, learn the fretboard, it makes playing easy, start with C Ionian (C Major), then learn all the most popular keys: G Major, D Major, C Major, F Major. Learn one key a month, sing each note as you play it, get to know each note intuitively by sight and sound. Within each key you'll find all the modes...............
You'll need an organisational system, so break it down using the CAGED or 3 notes per string system.
Once you know all the most popular Ionian keys, just flatten the 3rd note and you'll have the Melodic Minor modes.
Here's C Ionian:
Changed the E to Eb and you get C Melodic Minor.
My YouTube Channel
.. and as you suggest, tinker with "filler" notes to accentuate the modes...
Good stuff.. cheers
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
For anyone interested, I'll be posting a series of lessons on "Learning the Fretboard with a Modal perspective" in the techniques section of the forum.
Here's the first lesson using the fretboard's open positions, with a modal perspective:
http://thefretboard.co.uk/discussion/39693/learning-the-fretboard-with-a-modal-perspective
I think of them as pentatonic shapes rather than caged.. to be honest it really don't matter.. the only thing that is important is that you have an efficient / very quick means of locating and recognising the scales you want / need to use..
you don't want to be looking at the neck, trying to figure out what fingers are available.. you need to be able to hit them as if they are a sort of reflex..
I totally see where you're going with this... but there is a risk..
the risk is that these fingerings are for modes that all use the same centre key.. C in the above examples..
so the prob [to the nooby mode learner] is that whilst learning these, they're getting an ear-full of C tonality..
scales and modes make so much more sense when the tonic is kept the same.. then each one's unique voice has a better chance of shining through..
when I teach this stuff.. I first walk through my lil' "fill in the gaps" trick.. cos that minimises how much the student has to remember..
then I bung on a simple backing track I made in Logic.. just drums playing a simple groove and a bass guitar pumping on E [with no other notes].. then the student and I walk through each of the modes in turn.. it's then that they start to hear and feel the unique voices... then we start playing around with parallel modulation [although they don't know it at the time] where I get them to noodle around in one mode, then I call out to switch to another.. then again and again... they not only get used to switching between them on the fly, but they also really start to appreciate how they sound, what ideas [from their stock lick vocab] work, don't work and can be made to work with some small alterations... it's not just an exercise on switching fingerings, it also allows the flexing of a little creative muscle... and most of all, it's an absolute blast..
keep 'em having fun with stuff and it'll really stick
I do actually teach 3NPS scales all over the neck in G starting from fret 3 [right up to the octave and back].. initially I use this to teach basic navigation of the neck.. later I use this as a warm up, to nail home picking and fretting technique, to nail timing [cos it's eventually done against a metro].. and also to get the ear to have the major scale hammered into it [so they can eventually start hearing when notes are in or out - cos at first, some folks cannot hear this at all].. so my lil' "G Everywhere" exercise is a general purpose thing I use to address and refine a multitude of performance / musicianship elements..
Have fun
Guy