Playing In Every Mode with ONE Tiny Scale Shape

Instead of learning thousands of scale shapes, why not just learn how to use the ones you already have? In this lesson, I'll be demonstrating how one tiny little scale shape can be wielded with infinite power to create all 7 different modal tonalities. Hopefully this helps you all realize that whatever scale shapes you've learned are totally usable for any sort of modal playing. You just have to really understand the idea of modal tonality. This is the third video where the prime goal is to help people understand modes, however this is speciically geared towards guitarists. 


Please note, this transcription was computer generated and has not been checked for errors. However, I do hope you find it helpful. Be sure to check out The Ultimate Modal Poster!

It's Dorian. It's lydian.

It's literally any major scale shape. That's right with literally any major scale shape. You can play in all the modes without leaving the comfort of a few Frets no more modal confusion.

No more memorizing hundreds of scale shapes.

Just learn to use literally any major scale shape stay tuned for more information on this important topic. Hey, I'm Jake lizzio. And in this video. What I want to do is help try to clear up some of the confusion that a lot of guitar players have about scales versus modes versus Shapes so what we're going to do is we're going to learn a tiny little shape here. And then we're going to use it to develop all of the different modal tonalities.

And this isn't just some novelty party trick. This is something that is going to assist you in everything you do as a guitar player because we're looking at chord tones. We're looking at how they relate to our modal tonalities and how they relate to the shapes on our guitar. So this is really important stuff and I've kind of chopped it down into the small shape so we can absorb the concept easier and then you can apply it to whatever shapes you've learned and the way that you prefer to play these same. Gail's now there's a lot of ground to cover here. We're going to have to start by kind of rebuilding our knowledge of major and understanding how to build a major tonality. But I encourage you to stick around through this section because everything we do here is going to be necessary to developing the other modal tonalities going forward. So this is the most important sequence you can memorize in music whole step whole step half step whole step whole step whole step half step it basically builds you any major scale. So if I start on a note, I'm going to start on the Note C and I travel a whole step that's two Frets over. It takes me to the know D if I travel another whole step. If I get to eat and a half step is f g a b and c the notes c d e f g a b c are the notes of the c major scale. Now the way I played that as a guitar player is kind of silly. Right? We don't always want to be playing on guitar up and down like that. We usually want to develop a shape to play a set of notes. So the shape that I'm going to do is I'm going to play My First Finger here on 5 on the third string. I'm gonna use my ring finger for seven.

I'm a second string. I'm going to play five six and eight and on the first string I'm going to play.

And it gives me the same notes cdef.

So I have now successfully built my C major scale the most important chord in the key of C. Major is the c major chord if I play a C major chord the notes that I'm playing RC e and G.

So the c major chord is called the tonic chord in C major. It is the home court everything revolves around the c major chord when we're in the key of C major and those notes that are in this Court's EEG. I can find them in my shape take a look. Here's a see with my first finger. If I skip a note I get to the next note E. And if I skip a note again, I get to the next note G and in my shape I have access to another C. So here's my notes see E.G.

See these notes are essential to developing a strong C major tonality and to find them all we did was we started our route and we skipped a note and we skipped another note and it got us the notes of our tonic chord. This is an important step because we're going to have to do this with all the other modes, but keep in mind. Be moving much faster in the other modes. So make sure you understand this concept of finding our tonic chord by starting on the root skipping a note and skipping a note and it gives us three notes three really important notes so I can develop a nice strong C major tonality just by focusing on those notes hanging out on those notes stopping on those notes really prominently featuring those notes of the chord tone and it's really going to give me a nice strong C major tonality now, this little shape here doesn't have An official name you can call it. Whatever you want to call it. I'm just going to call it our shape, but it's just a way to play this collection of notes and that's important to remember and the great thing about a shape is we can develop any tonality now just by sliding this around this note was my route because I it's on see but I could make the D major tonality just by shifting everything over to D. So let's just start on D. And now I have this collection of notes.

All right. We have D E F sharp g a b c sharp D and once again by focusing on these Notes right here.

I can develop a nice D major tonality.

Let's put this concept to use. I'm going to jam over a little Jam track. I wrote in a major. I'm never going to leave the shape. We're just going to start here on a 14th fret on the third string and these are the notes of a major. I'm just going to play up and down those notes focus on my chord tones. We should get a very strong representation of the a major tonality.

Now that that's out of the way we can finally talk about the modal stuff. You may have heard that if you take the c major scale and just start it on the second note you get a Dorian scale and that's absolutely true. So, let's go back to the c major scale and let's start it on the second note D and play the exact same notes without leaving the shape.

I get d e f g a b c and then here's another D. I'm not going to go up to the other D.

So I've got this abbreviated Dorian shape.

And I can develop a Dorian tonality which will sound totally different than major just by following the same steps. What's our new route? Our new route is no longer see our route is now D.

How do we figure out the tonic chord? How do we find out the home chord of D Dorian? Well start on the root and start skipping notes and you'll find three really important notes if I start here and skip a note it takes me to F.

And if I skip another note it takes me that a so the notes d f and a are the home.

D Dorian and you can hear this is starting to no longer sound like major, right?

It's starting to sound a little darker smoother.

It's all lost all of its brightness, but it's the exact same notes. My fingers haven't changed positions, right? I haven't brought in any new tones at all. I've done is decided. Hey instead of focusing on these three notes. I'm going to focus on these three notes and it develops my Dorian tonality right? Very cool. Just Same little shape. Now, if you've watched this channel before, you know, I'm a big fan of Chester's Jam tracks. I put those on all the time and just rip out scales over the top of them and I've linked to that channel in the description, but I also thought it would be a good opportunity to kind of showcase some lesser-known channels here. So for our G Dorian Jam, I'm using the track by Sebastian Zunino. This track is in G Dorian. So, how am I going to play using this shape in G Dorian?

Well, where was the route in the shape?

Well our new route. Is this note right here that's being played by our ring finger.

So if we slide our new root over, Over so that a ring finger lands on the Node G will have the notes of a g Dorian scale which are also the same thing as the notes of an F major scale.

So as long as this note is a g as long as my ring fingers playing a g. I will be getting a g Dorian scale. So I need to find a g somewhere on my third string and put my ring finger on it. Right because my ring fingers playing that note in the shade. So I've done it. Here's a g on my third string and if I play the same shape.

Playing or you can think of it as the a the F major scale right? Same scale F major G Dorian same scale, but we're thinking of it as G Dorian because we're focusing on G and we're focusing on B-flat and focusing on D to get that g Dorian to take a listen to what it sounds like.

Now we're going to pick up the speed here a little bit. Hopefully you get this idea of developing the chord tones of our tonic chord, but one thing I want to mention here really quick is as a guitar player. You really do not want to be limiting yourself to tiny little scale shapes like this. I'm only doing this for the person's purposes of reference just so you get the idea and you can start seeing some of your little chord tones in there. And if you've practiced your arpeggios if you've practiced your bar chords before You'll instantly start recognizing that a lot of the stuff is familiar right here. We were just in G Dorian, right? And I said the these three notes here are very important.

Well, those are the three notes you get when you play a G minor chord by play a G minor bar chord right here. Guess what notes are being played on the first second and third string. So the good thing about this is if you've already practiced chords arpeggios scales, this is just a way to kind of bridge the gaps between all those and the goal is to be able to take any scale shape you've learned and to perform any mode with it and really be able to see The connections between the chord tones within that scale shape now, let's move on to phrygian. If I go back here to see major and if I start on the 3rd note right here and I build my tonic chord the Triad there. Skip a note skip a note skip a note I get these three notes, which is going to be e g and B and with those three notes, I can surround it by some other notes of that scale the note that really gives it its signature bite. Is this note right here, that would be a flat too. So if I really want to create a nice fridge again tone, I'm going to focus on these three notes.

And then I'm going to surround it with that flat too and you can hear once again.

This little shape is no longer sounding bright like major is no longer sounding smooth like Dorian is sounding a little bit more exotic.

And I really like that phrygian tonalities got a really dark flavor to it. Now the Jam track, I'll be using comes from NC tracks it Cindy phrygian and to find D phrygian. I just need to make sure that this note my new route is starting on a d so that would be right here on the third fret if I start here on the third fret and play the same shape.

I'll be in D phrygian, but I'm just going to do that an octave higher.

And that way I have a little bit a little bit more lead sound for a metal track.

Next would be lydian. If I'm still in C major and if I start on my fourth tone, I'll start getting my lydian tonality and building up the Triad gives me these notes f Wait and see the note that's really signature to lydian is the tritone that is built off that route. So with these three notes these four notes right here. I think it's enough to really build a nice lydian tonality.

Now, we're going to be jamming out over a track from Eminem music. It's an athlete Ian C major F lydian same collection of notes. What we've changed is what we're focusing on so now we're going to focus on these notes while still being in C major. It's going to create an F lydian tonality.

Now, let's create mixolydian. We start on the fifth note and we skip a note to take us to the note B. We skip another note to take us the note D. So these three notes right here to meet a signature note and mixolydian is the flat 7 so that note right here by using those notes.

I can start secreting that mixolydian toenail and I think of it as like a a cooler like a more of like a Scottish Irish version of the major scale. It's got a little less happiness to it, but it's still upbeat and bright. I think it's got a little bit more bite than major our Jam track comes from music art. It's in C mixolydian. So my fifth note needs to end up on a see right now. My pinky is playing my fifth note. So I'm going to slide up so my pinky ends up on a see that's right here and I can see oh Oh, yeah, C.

Mixolydian is actually the exact same thing as F major so I can kind of use my guitar to figure out what major key. I'm in just by using these shapes as well tracking back the root. Oh, yeah. See mixolydian must be F major because that's where my first finger ended up.

Six mode is minor. Let's go to our six note. One, two, three, four, five six skipping a note takes me to the note C and it's getting another note takes me to the note E. The notes acce are the notes of an A minor chord. And if you played an A Minor bar chord, you can see that right away. Those three notes show up there. You've heard minor stuff before it's kind of dark kind of sad Melancholy a little dramatic sometimes but to me, it's kind of like the evil twin.

I think of Dorian Dorian and minor being very similar but minor is a little bit little bit more depressing our Jam track comes from Superior Jam tracks. It's an E minor. So that means that this six note one, two, three, four, five six needs to end up on an e and I can do that just by sliding this note up to e 12th fret right here. And if I play my shape same shape, I'll be in B minor focusing on these notes.

Now, of course, we have to talk about locrian if we start on the 7th Note 2 3 4 5 6 7 that's the note B. And if I skip a note it takes me to the note D. Let's give another note. It takes me to the note F.

So this is a diminished Triad coming off of B. And this is what we would have to focus on to develop a locrian tonality. Two beers, I do that locrian tonality to me doesn't even exist.

There's no Homebase.

There's no nothing that is secure about it. It's just a weird conglomeration of notes. There's nothing wrong with that. I'm not saying you shouldn't use it. I just don't like it that much and if I want to sound really awkward and weird, I would prefer something like, you know whole tone or something, you know atonal, but if we did want to develop a locrian tonality, that's what we'd have to do focus on the diminished Triad that is built off of the seventh town. So we got the and I I did find a few different locrian Jam tracks. The Jam track were using come from the Channel 6 strings. It is in be locrian. So as long as the 7th note of my shape ends up on be and right now it is already ending up on B. So we have already found a shape to play the local. All right, let's use that over the track and listen to what that locrian feel sounds like I have to say in every one of these examples of improvisation. I kept myself limited and restricted to that tiny little box of notes and to me that was very boring and very restrictive. I wanted so bad to be sliding around to some of those notes create a different sound or going way lower. It's a different, you know different tones that were outside of the shape, but I couldn't I was just restricting myself to this for the purpose of this video, but I encourage you to extend these shapes and do go Way Beyond just These little boxes you don't want to limit yourself to these boxes in the real world. So here's how I would extend the shape. We did see major like this right?

I would just start finding those notes Elsewhere on the fretboard. Here's the next note out fine. I was slide my first finger down to the 4th fret and then I would jump over to 7 and 5 8 7 5 8 and I can keep going lower like this and to me this would be a nice little shape where I can start seeing more cord relationships building bigger arpeggios and have access to more chord tones. So I really hope Make sense to you all if you take a collection of the notes of C major and if you focus on different Triads and really prominently feature the notes of those Triads. That's how modal tonalities get developed when you're just focusing on the notes EEG and if ceg Feels Like Home guess what you're in C major, but as soon as ceg doesn't feel like home as soon as AC e feels like home and we're still using these notes then guess what? We're in a minor. So that's the difference between these modes and hopefully this lesson let's you see that within the context of your own instrument. It's really hard for us guitar players because the notes aren't just late, you know in a line like they are on the piano.

But if this makes sense then hopefully you get the bigger picture you can do any mode with any scale with any shape and pretty much use your entire fretboard for anything. So I hope you enjoyed this lesson and I hope you learned something from it. If you did enjoy this lesson, you can thank my patreon supporters for making a possible. They've been sponsoring these lessons for the last year and I greatly appreciate it. If you really liked this lesson, you can join them over my patreon. The links are in the description and please if you decide to jam over these Jam tracks that I featured here leave them a nice comment. Drive to their channels as well. Thanks for watching.


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