Hopscotch Method. Part 2

Learn about the modes of the major scale and how to connect each of them all across the neck. Plus a cool soloing technique which comnbines the minor pentatonic with the modes. This is for those soloists stuck in a rut.

53

Intro

NOTE: This article is based on the video lesson created by Joe Cefalu, who gives a demonstration of his workout called 'Hopscotch,' exclusively for Shred Academy [website].

Alright, well are you familiar with the Hopscotch Method, which was previously introduced for the minor pentatonic scale? If you haven't, go ahead and look for it. It's not necessary, but preferable to be familiar with that lesson, because in this lesson, I'll be using the same technique except with something bigger, wider, and much more complex. Modes! Once you've mastered this technique with modes you're fingers will be flying around the neck and you'll sound even better than before!

Along with covering modes and using them together, I'll be explaining another technique I have figured while soloing on my own, and that is how to incorporate the minor pentatonic scale with major scale modes, which boxes go with which modes, and how they all fit together on the fretboard. So enough chit-chat, let's get to the lesson!

The Major And Minor Scales

The major scale as we know it, is known as this:
|R|-|o|-|o|
|-|-|o|-|o|
|-|o|o|-|o|
|-|o|R|-|o|
|o|-|o|-|o|
|R|-|o|-|o|
The root note in the major scale repeats three times, which means it goes up two octaves from the note you started on. The minor scale looks like this:
|o|-|o|o|-|
|o|o|-|o|-|
|o|-|o|-|-|
|o|-|o|-|o|
|o|-|o|o|-|
|o|-|o|o|-|
The minor scale, as we will see later, is actually a mode of the major scale in itself.

The 7 Major Scale Modes

You've probably heard the word 'mode' tons of times before, including in this lesson. If you're wondering what everyone's talking about when they say that, then let me clear it up for you. A mode of the major scale is kinda like a minor pentatonic box. Its a different shape of the major scale in different positions all over the neck. Each mode in the same key includes all the same notes, just in different octaves and positions. That's why we can utilize them in a continuous pattern, as I will show you later on.

The major scale modes, in order, are called:
- Ionian
- Dorian
- Phrygian
- Lydian
- Mixolydian
- Aeolian
- Locrian
I'll be tabbing the scales below in the key of G major.

The first mode, Ionian, is the major scale itself:
Ionian
|o|-|o|-|o|
|-|-|o|-|o|
|-|o|o|-|o|
|-|o|o|-|o|
|o|-|o|-|o|
|o|-|o|-|o|

E||------------------------------3-5-7-|
B||--------------------------5-7-------|
G||--------------------4-5-7-----------|
D||--------------4-5-7-----------------|
A||--------3-5-7-----------------------|
E||--3-5-7-----------------------------|

Dorian
|o|-|o|o|-|
|o|-|o|o|-|
|o|-|o|-|-|
|o|-|o|-|o|
|o|-|o|-|o|
|o|-|o|o|-|

|------------------------------5-7-8-|
|------------------------5-7-8-------|
|--------------------5-7-------------|
|--------------5-7-9-----------------|
|--------5-7-9-----------------------|
|--5-7-8-----------------------------|

Phrygian
(it can sound kinda spanish over the right progression)
|o|o|-|o|
|o|o|-|o|
|o|-|o|-|
|o|-|o|o|
|o|-|o|o|
|o|o|-|o|

|----------------------------------7-8-10-|
|---------------------------7-8-10--------|
|-----------------------7-9---------------|
|----------------7-9-10-------------------|
|---------7-9-10--------------------------|
|--7-8-10---------------------------------|

Lydian
|o|-|o|-|o|
|o|-|o|-|o|
|-|o|-|o|-|
|-|o|o|-|o|
|-|o|o|-|o|
|o|-|o|-|o|

|---------------------------------------8-10-12-|
|-------------------------------8-10-12---------|
|--------------------------9-11-----------------|
|------------------9-10-12----------------------|
|----------9-10-12------------------------------|
|--8-10-12--------------------------------------|

Mixolydian
(some people say that this mode sounds bluesy)
|o|-|o|-|o|
|o|-|o|o|-|
|-|o|o|-|-|
|o|-|o|-|o|
|o|-|o|-|o|
|o|-|o|-|o|

|--------------------------------------------10-12-14-|
|-----------------------------------10-12-13----------|
|-----------------------------11-12-------------------|
|--------------------10-12-14-------------------------|
|-----------10-12-14----------------------------------|
|--10-12-14-------------------------------------------|

Aeolian
(this is the minor scale! As I said earlier, the minor
scale is in fact a mode of the major scale)
|o|-|o|o|-|
|o|o|-|o|-|
|o|-|o|-|-|
|o|-|o|-|o|
|o|-|o|o|-|
|o|-|o|o|-|

|--------------------------------------------12-14-15-|
|-----------------------------------12-13-15----------|
|-----------------------------12-14-------------------|
|--------------------12-14-16-------------------------|
|-----------12-14-15----------------------------------|
|--12-14-15-------------------------------------------|

Locrian
(this mode can sound dark when used correctly)
|o|o|-|o|
|-|o|-|o|
|o|-|o|o|
|o|-|o|o|
|o|o|-|o|
|o|o|-|o|

|--------------------------------------------14-15-17-|
|--------------------------------------15-17----------|
|-----------------------------14-16-17----------------|
|--------------------14-16-17-------------------------|
|-----------14-15-17----------------------------------|
|--14-15-17-------------------------------------------|

Hopscotch Modes

Alright, now for the good stuff. When soloing,alot of people tend to get stuck using one mode, much like they do with the minor pentatonic scale. Here, I'm gonna show you how the modes fit together on thefretboard, and help you see themodes and one gigantic scale which covers the entire fretboard. When you stick the modes together, you'll get something which looks like this:
 I   D   P Ly  M   A   L I
|o|-|o|-|o|o|-|o|-|o|-|o|o|-|o|-|o|
|-|-|o|-|o|o|-|o|-|o|o|-|o|-|o|-|o|
|-|o|o|-|o|-|o|-|o|o|-|o|-|o|o|-|o|
|-|o|o|-|o|-|o|o|-|o|-|o|-|o|o|-|o|
|o|-|o|-|o|-|o|o|-|o|-|o|o|-|o|-|o|
|o|-|o|-|o|o|-|o|-|o|-|o|o|-|o|-|o|
Letters represent the beginning of each mode (the modes overlap):
I  = Ionian
D = Dorian
P = Phrygian
Ly = Lydian
M = Mixolydian
A = Aeolian
L = Locrian
As you can see, all modes are connected, starting at Ionian and ending at Locrian. After Locrian, it starts right back up at Ionian.

Now what we wanna do is take the 6 strings of your guitar in pairs. E & A, A & D, D & G, G & B, B & E. 5 pairs. Now what we'll do is take the first pair, E & A, and play the part of Ionian on those strings, and then play the part of Dorian on those strings. So in the key of G major, it would look like this:
A|--------3-5-7-------5-7-9-|
E|--3-5-7-------5-7-8-------|
And we'll keep on doing that same thing with the rest of the pairs of strings. Eventually, when you put it all together you'll get:
|o|-|o|-|o|o|-|
|-|-|o|-|o|o|-|
|-|o|o|-|o|-|-|
|-|o|o|-|o|-|o|
|o|-|o|-|o|-|o|
|o|-|o|-|o|o|-|

|--------------------------------------------------------------->
|--------------------------------------------------------------->
|--------------------------------------------------------4-5-7-->
|--------------------------------4-5-7-------5-7-9-4-5-7-------->
|--------3-5-7-------5-7-9-3-5-7-------5-7-9-------------------->
|--3-5-7-------5-7-8-------------------------------------------->

|------------------------------------3-5-7-------5-7-8--|
|------------------5-7-----5-7-8-5-7-------5-7-8--------|
|--------5-7-4-5-7-----5-7------------------------------|
|--5-7-9------------------------------------------------|
|-------------------------------------------------------|
|-------------------------------------------------------|
Now you see, we merged the first two modes into one big mode. Once you get to see modes like this on the neck, you'll be soloing much better and more complex.

For the other modes, it goes like this:
Dorian and Phrygian
|o|-|o|o|-|o|
|o|-|o|o|-|o|
|o|-|o|-|o|-|
|o|-|o|-|o|o|
|o|-|o|-|o|o|
|o|-|o|o|-|o|

|----------------------------------------------------------------->
|----------------------------------------------------------------->
|------------------------------------------------------------5-7-->
|----------------------------------5-7-9--------7-9-10-5-7-9------>
|--------5-7-9--------7-9-10-5-7-9-------7-9-10------------------->
|--5-7-8-------7-8-10--------------------------------------------->

|----------------------------------------5-7-8--------7-8-10--|
|-----------------5-7-8-----7-8-10-5-7-8-------7-8-10---------|
|---------7-9-5-7-------7-9-----------------------------------|
|--7-9-10-----------------------------------------------------|
|-------------------------------------------------------------|
|-------------------------------------------------------------|

Phrygian and Lydian
|o|o|-|o|-|o|
|o|o|-|o|-|o|
|o|-|o|-|o|o|
|o|-|o|o|-|o|
|o|-|o|o|-|o|
|o|o|-|o|-|o|

|-------------------------------------------------------------------------->
|-------------------------------------------------------------------------->
|---------------------------------------------------------------------7-9-->
|---------------------------------------7-9-10---------9-10-12-7-9-10------>
|---------7-9-10---------9-10-12-7-9-10--------9-10-12--------------------->
|--7-8-10--------8-10-12--------------------------------------------------->

|----------------------------------------------7-8-10---------8-10-12--|
|-------------------7-8-10------8-10-12-7-8-10--------8-10-12----------|
|----------9-11-7-9--------9-11----------------------------------------|
|--9-10-12-------------------------------------------------------------|
|----------------------------------------------------------------------|
|----------------------------------------------------------------------|

Lydian and Mixolydian
|o|-|o|-|o|-|o|
|o|-|o|-|o|o|-|
|-|o|-|o|o|-|o|
|-|o|o|-|o|-|o|
|-|o|o|-|o|-|o|
|o|-|o|-|o|-|o|

|------------------------------------------------------------>
|------------------------------------------------------------>
|------------------------------------------------------------>
|-------------------------------------------9-10-12---------->
|---------9-10-12----------10-12-14-9-10-12---------10-12-14->
|-8-10-12---------10-12-14----------------------------------->

|---------------------------------------------------------->
|--------------------------------------------8-10-12------->
|------------------9-11-----------11-12-9-11---------11-12->
|-10-12-14-9-10-12-------10-12-14-------------------------->
|---------------------------------------------------------->
|---------------------------------------------------------->

|------------------8-10-12----------10-12-14-|
|-10-12-13-8-10-12---------10-12-13----------|
|--------------------------------------------|
|--------------------------------------------|
|--------------------------------------------|
|--------------------------------------------|

Mixolydian and Aeolian
|o|-|o|-|o|o|-|
|o|-|o|o|-|o|-|
|-|o|o|-|o|-|-|
|o|-|o|-|o|-|o|
|o|-|o|-|o|o|-|
|o|-|o|-|o|o|-|

|---------------------------------------------------------------->
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|----------------------------------------------10-12-14---------->
|----------10-12-14----------12-14-15-10-12-14----------12-14-15->
|-10-12-14----------12-14-15------------------------------------->

|--------------------------------------------------------------->
|------------------------------------------------10-12-13------->
|-------------------11---12----------12-14-11-12----------12-14->
|-12-14-16-10-12-14---------12-14-16---------------------------->
|--------------------------------------------------------------->
|--------------------------------------------------------------->

|-------------------10-12-14----------12-14-15-|
|-12-13-15-10-12-13----------12-13-15----------|
|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|

Aeolian and Locrian
|o|-|o|o|-|o|
|o|o|-|o|-|o|
|o|-|o|-|o|o|
|o|-|o|-|o|o|
|o|-|o|o|-|o|
|o|-|o|o|-|o|

|---------------------------------------------------------------->
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|----------------------------------------------12-14-16---------->
|----------12-14-15----------14-15-17-12-14-15----------14-15-17->
|-12-14-15----------14-15-17------------------------------------->

|------------------------------------------------------------------>
|-------------------------------------------------12-13-15--------->
|-------------------12-14----------14-16-17-12-14----------14-16-17>
|-14-16-17-12-14-16-------14-16-17--------------------------------->
|------------------------------------------------------------------>
|------------------------------------------------------------------>

|-----------------12-14-15-------14-15-17-|
|--15-17-12-13-15----------15-17----------|
|-----------------------------------------|
|-----------------------------------------|
|-----------------------------------------|
|-----------------------------------------|

Locrian and Ionian
|o|o|-|o|-|o|
|-|o|-|o|-|o|
|o|-|o|o|-|o|
|o|-|o|o|-|o|
|o|o|-|o|-|o|
|o|o|-|o|-|o|

|---------------------------------------------------------------->
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|----------------------------------------------14-16-17---------->
|----------14-15-17----------15-17-19-14-15-17----------15-17-19->
|-14-15-17----------15-17-19------------------------------------->

|------------------------------------------------------------->
|-------------------------------------------------------15-17->
|-------------------14-16-17----------16-17-19-14-16-17------->
|-16-17-19-14-16-17----------16-17-19------------------------->
|------------------------------------------------------------->
|------------------------------------------------------------->

|----------------------14-15-17-------15-17-19-|
|----------17-19-15-17----------17-19----------|
|-16-17-19-------------------------------------|
|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|
You have to memorize these positions well for them to be effective.

Method Alternative

You don't have to go through the whole scale toimprov though. Another way to overcome the barriers between the modes is to take 1 pair ofstrings, and go through all the modes on those two strings. Solets say, E & A. You would basically play this:
E & A
E|---------------------------------------------------------------->
B|---------------------------------------------------------------->
G|---------------------------------------------------------------->
D|---------------------------------------------------------------->
A|-------3-5-7-------5-7-9--------7-9-10---------9-10-12---------->
E|-3-5-7-------5-7-8-------7-8-10--------8-10-12---------10-12-14->

E|----------------------------------------------------------------|
B|----------------------------------------------------------------|
G|----------------------------------------------------------------|
D|----------------------------------------------------------------|
A|-10-12-14----------12-14-15----------14-15-17----------15-17-19-|
E|----------12-14-15----------14-15-17----------15-17-19----------|

A & D:
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|-------4-5-7-------5-7-9--------7-9-10---------9-10-12---------->
|-3-5-7-------5-7-9-------7-9-10--------9-10-12---------10-12-14->
|---------------------------------------------------------------->

|----------------------------------------------------------------|
|----------------------------------------------------------------|
|----------------------------------------------------------------|
|-10-12-14----------12-14-16----------14-16-17----------16-17-19-|
|----------12-14-15----------14-15-17----------15-17-19----------|
|----------------------------------------------------------------|

D & G:
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|-------4-5-7-------5-7-9--------7-9-11---------9-11-12---------->
|-4-5-7-------5-7-9-------7-9-10--------9-10-12---------10-12-14->
|---------------------------------------------------------------->
|---------------------------------------------------------------->

|----------------------------------------------------------------|
|----------------------------------------------------------------|
|-11-12-14----------12-14-16----------14-16-17----------16-17-19-|
|----------12-14-16----------14-16-17----------16-17-19----------|
|----------------------------------------------------------------|
|----------------------------------------------------------------|

G & B:
|-------------------------------------------------------->
|-------5-7-------7-8--------8-10---------10-12---------->
|-4-5-7-----5-7-9-----7-9-11------9-11-12-------11-12-14->
|-------------------------------------------------------->
|-------------------------------------------------------->
|-------------------------------------------------------->

|----------------------------------------------------|
|-12-13----------13-15----------15-17----------17-19-|
|-------12-14-16-------14-16-17-------16-17-19-------|
|----------------------------------------------------|
|----------------------------------------------------|
|----------------------------------------------------|

B & E:
|-------3-5-7-------5-7-8--------7-8-10---------8-10-12---------->
|-3-5-7-------5-7-8-------7-8-10--------8-10-12---------10-12-13->
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|---------------------------------------------------------------->
|---------------------------------------------------------------->

|-10-12-14----------12-14-15----------14-15-17----------15-17-19-|
|----------12-13-15----------13-15-17----------15-17-19----------|
|----------------------------------------------------------------|
|----------------------------------------------------------------|
|----------------------------------------------------------------|
|----------------------------------------------------------------|

Further Expansion

One thing I've found out while soloing is that you can use the minor pentatonic and the major scale modes at the same time. I mean you could start soloing with the minor scale (aeolian) for instance and then start some licks from the minor pentatonic. Different pentatonic box shapes work with different modes. I've figured out which modes work with what. Before I can reveal that toyou however,lets have a minor review at the minor pentatonic box shapes:
Fig. 1
|o|-|-|o|
|o|-|-|o|
|o|-|o|-|
|o|-|o|-|
|o|-|o|-|
|o|-|-|o|

Fig. 2
|-|o|-|o|
|-|o|-|o|
|o|-|o|-|
|o|-|-|o|
|o|-|-|o|
|-|o|-|o|

Fig. 3
|-|o|-|o|-|
|-|o|-|-|o|
|o|-|-|o|-|
|-|o|-|o|-|
|-|o|-|o|-|
|-|o|-|o|-|

Fig. 4
|o|-|-|o|
|-|o|-|o|
|o|-|o|-|
|o|-|o|-|
|o|-|-|o|
|o|-|-|o|

Fig. 5
|-|o|-|o|
|-|o|-|o|
|o|-|-|o|
|o|-|-|o|
|-|o|-|o|
|-|o|-|o|
Refreshed? Good. Now for the list:
Mode      |Figure/shape it works with
---------------------------------------------------------
Ionian |3
Dorian |3 with the first half, 4 with the second half
Phrygian |4
Lydian |5
Mixolydian|5 with the first half, 1 with the second half
Aeolian |1
Locrian |2
What I mean isbywhat goes with what is. For instance. If you were playing this:
 3 4 5 6 7  |o|-|o|o|-|
|o|o|-|o|-|
|o|-|o|-|-|
|o|-|o|-|o|
|o|-|o|o|-|
|o|-|o|o|-|
Then at the same time, you could play this:
 3 4 5 6 
|o|-|-|o|
|o|-|-|o|
|o|-|o|-|
|o|-|o|-|
|o|-|o|-|
|o|-|-|o|
You can combine your newly aqcuired knowledge of modes and the stuff from the lesson on minor pentatonics, and put em together to figure out exactly how each one fits together. Most of em are straightforward, the only ones that might give you trouble are Ionian and Mixolydian. There is no set minor box for them since they are inbetween modes. Look at the modes next to them and thats how you'll know what to use.

Carlos Santana - Black Magic Woman
A good example of a lick which combines the minor pentatonic with the Aeolian mode is Black Magic Woman by Carlos Santana. Here's a sample lick:
                                 H          E   E    E  E   
E|----------------------------|----------------------------|
B|-15---13---15--13p--10--13b-|--L----------L--13p--10-----|
G|----------------------------|----------------------------|
D|----------------------------|----------------------------|
A|----------------------------|----------------------------|
E|----------------------------|----------------------------|

Q. S S S S S S S S Q. E Q E E
E|----------10----------------------|----------------------|
B|-13b---------13-10----------------|----------------------|
G|-------------------12---14-12-10S-|--9------L--L----L----|
D|----------------------------------|----------------------|
A|----------------------------------|----------------------|
E|----------------------------------|----------------------|

|----3----| |-------3-------|
E E E E E E S E E E E Q Q Q
E|-----------------12h--13----12--|--13p--12p--10----------------------|
B|---------10--13-----------------|----------------13br----13br----10--|
G|-9S--10-------------------------|------------------------------------|
D|--------------------------------|------------------------------------|
A|--------------------------------|------------------------------------|
E|--------------------------------|------------------------------------|

|---3---| |---3---|
Q. S S E E E E S S Q E E E E E E
E|----------10-----------------|--------------------------10--12--13b--|
B|-13b---------13-10-----------|----------------------11---------------|
G|-----------------------12br--|--L--L-10---------12-------------------|
D|-----------------------------|---------------------------------------|
A|-----------------------------|---------------------------------------|
E|-----------------------------|---------------------------------------|

|---3---|
Q E S S H E E E H Q
E|--L---------15b-L--------|--15--13------13----------|
B|-------------------------|----------15--------------|
G|-------------------------|--------------------------|
D|-------------------------|--------------------------|
A|-------------------------|--------------------------|
E|-------------------------|--------------------------|

Duration Legend
---------------
W - whole
H - half
Q - quarter
E - 8th
S - 16th
T - 32nd
X - 64th
. - note dotted
|-n-| - n-tuplets

Tablature Legend
----------------
L - tied note
h - hammer on
p - pull off
b - bend
br - bendRelease
S - shift slide
s - legato slide
/ - slide into from below or out of upwards
\ - slide into from above or out of downwards
~ - vibrato
W - wide vibrato

Conclusion

I didn't expect to write that much. Well ok, I did. Modes are a complex subject. But I hope this helped you understand them a little bit better. Now go practice, and get soloing!

77 comments sorted by best / new / date

comments policy
    Nosf3ratu
    power1 wrote: gdm09 : an outstanding (big word!) lesson. very VERY helpful. you deserve a cookie. here ya go. heres a cookie Shut the **** up you patronizing son of a bitch
    He's the same loser who posted the "how to play punk rock" lesson which contained Switchfoot tabs.
    lanearndt
    hey there all. i just wanted to chime in on the thread between climber10 and the author of the article/lesson. first though, a little bit of background, i am a longtime jazz guitarist and experimental improviser/ record producer sound designer up here in Canada. I have a masters degree in Music Theory and a Bachelors Degree in Jazz Performance, and I have been playing guitar for 23 years to boot. So the thing that you both have correct here is that a mode is a segment of the major scale played from a certain note, how far you go, i.e. to the next octave or beyond, is not an issue, the mode's sound is the resulting series of half-steps and whole-steps from the starting note, or, percieved 'root' of the mode. Many guitar players make the mistake of associating modes with 'fingerings' or 'positions'. It is true that the second position up from the root position of a major scale is going to have the look, shape and half/whole sequence of the dorian mode, the 3rd position up will look sound and feel like the phrygian mode etc etc etc. BUT the real issue is not the shape or the sequence of notes in the scale but what CHORD IT IS BEING PLAYED OVER. you can be in the A Dorian 'box' or 'position' or 'fingering' all you want but if the chord is a C Major chord, it is going to be a C Lydian modal sound that results. Same goes for the rest of the chords. A 'D chord' in the key of G will make all of your Modal Fingerings sound like Mixolydian and so forth. So I suggest learning to associate your 'modes' more with the chords that are happening within your solo section than with a position on the guitar. Another big issue to me is that in order for something to sound modal, the music has to be modal, i.e. it has to be sounding over a drome that lasts long enough for you to establish a modal context. if you are thinking about modes within a musical structure that involves chords changing all over the place, there is really no way to establish a solidly modal sound because it will be shifting from one context to another too quickly for it to register as one particular mode or another. you both have good ideas, and the lesson is a good technical workout but i hope this clears up the ambiguities that you have been quarelling over. cheers. lane arndt
    gdm09
    an outstanding (big word!) lesson. very VERY helpful. you deserve a cookie. here ya go. heres a cookie.
    Shanksta_ver0.7
    i thonk u got the ionian mode wrong... it should go: e|o|o|-|-| B|-|o|-|o| G|o|-|o|o| D|o|-|o|o| A|o|o|-|o| E|-|o|-|o| |___root note correct me if i'm wrong...
    METAL4LYF
    OH MY GoShNESS. So thats how u do it!!! Ive been waiting for that what u said for a long time lanearnot. thanks alot. so its actually the chord that matters not the fingerings. i think i kind of get it now?
    chaoticus
    very helpful lesson. I was familiar with modes but wasnt actually sure how they all corresponded with each other, and especially with the minor pentatonics. It may not be music theoretically correct, but the finger patterns are a very solid reference. Anyhoos, for me there's actually no right or wrong way to play as long as it makes what you are playing with sound good.
    Shanksta_ver0.7
    whoops! typo! "i think" not "i thonk" and the root note is on the first "o" and not the "E" and the tab is kinda wonky too...
    Leebus
    it helped, but it was a bit offputting that people said it was wrong. thanks anyway. some of its probably right.
    jellofinger
    doive asked:
    Quick question if you have D E F G A B C D is that D dorian or C dorian? i guess D but i was never sure
    It is D Dorian. Climber10 answered this question correctly when he wrote:
    a D Dorian mode, is the notes of a C major scale starting on D
    He's right when he says that this lesson shows a nice way to learn how the positions of the major scale link up - but it doesn't describe shifting from one mode to another.
    Jackstrat54
    Very controversial...Ive only been playing guitar for 2 years and i have the pentatonics nailed but im getting bored with it. i want to extend my sound vocabulary so LaneArndt if you have time could you post a lesson on mixing or connecting minor scales? i would take lessons but im F*#@in broke
    METAL4LYF
    i dont get it. the guy said that the major pentatonic scale is like the major scale exept with taken out notes, then doesnt that mean that the fig.2 of the pentatonic is the dorian mode missing a few notes and fig.3 of the pentatonic is the phyigian mode missing a few notes aswell?
    yagbolitas
    a very nice lesson... u rock man... now i dont have 2 stik on 1 scale (which is pentatonic). keep it up man..
    westo
    i do the same thing with the blues scales (i typed up a fretboard and put the notes on it for every key and printed it out for easy access) except i've always thought that modes sound weird. maybe its cuz i suck at playing them or i just dont practice with them enough. thanks though!
    irishRW
    I'm with climber. I don't know what modes are but after readin through ur lesson for a 2nd time an understanding the grids I've realised that those are just the shapes extended and contain all the same notes. I don't know what modes are but I sure know that those different posistions aren't. if those "modes" were to sound 'kinda dark' or 'spanish'(lol!) seems to me like they'd needa include flat notes. Good lesson an all but its something anybody with a musical ear figures out easily enough, learnt the shapes from Celafu's video on shred academy Eagerly awaiting climbers lesson, want to know wat modes really are.
    doive
    Quick question if you have D E F G A B C D is that D dorian or C dorian? i guess D but i was never sure
    Mario-Guitar
    sow at the point that they al stand together over the entire fretboard,,, i can use that with solo's? everything together like it's being shown their??? or should i get just one of them and put it over the intire fretboard? thnx!!!
    bluesblaster
    Laine-Seraphim wrote: Nice lesson, but only for beginers, a more elaborate elxplanation should be added at the end, for further reading, and you haven't even touched on modal properties. And to everyone commenting on this saying "you're wrong you're wrong" YOU ARE ALL WRONG. Jeeze you all have this VERY shallow idea of modes, you're only touching the tip. Then again if that was all this lesson was meant for, then I really am rambling for no reason. And to the guys who are trying to correct, you're all wrong, and don't say a Dorian mode has a flat 3 and 7; it's a minor mode, therefore we compare it to a minor scale and therefore coming to the conclusion that it has an augmented 6th. Thanks for reading, I might do a lesson on modes, could be fun.
    im sick of people acting like music professors with their knowledge of modes. if you dont understand how they work, go to a piano. start on C, and play the major scale (all the white keys to the next C). for the Dorian mode, start on D, using all the white keys to the next D. E Phrygian, F Lydian, G Myxolodian, A Ionian and B Lochrian are all similar in how they are played. the guitar is not a very respectable instrument for learning scales and modes, due to its stupid tuning.
    Laine-Seraphim
    Nice lesson, but only for beginers, a more elaborate elxplanation should be added at the end, for further reading, and you haven't even touched on modal properties. And to everyone commenting on this saying "you're wrong you're wrong" YOU ARE ALL WRONG. Jeeze you all have this VERY shallow idea of modes, you're only touching the tip. Then again if that was all this lesson was meant for, then I really am rambling for no reason. And to the guys who are trying to correct, you're all wrong, and don't say a Dorian mode has a flat 3 and 7; it's a minor mode, therefore we compare it to a minor scale and therefore coming to the conclusion that it has an augmented 6th. Thanks for reading, I might do a lesson on modes, could be fun.
    stevodadidleo
    i like these lessons a lot so keep posting them there is a bit too much bitching on this site though and i dont like it! even if the lesson is a little bit indescriptive it was very helpful cheers to the author!
    penguin9
    Mario NovemberRain273 wrote the lesson I will attempt to answer for him (her): I think it was meant as an exercise more than a way to solo. If you practice it over and over again regularly - slowly - then as it becomes automatic, speed it up each day by a small amount (using a metronome.) you will start to hear the sound of the modes. You will find your inner voice will be telling you the answer to your question above. So yes play them together - then split them up and play them separately. then use some bit you like with anther bit - then you will discover you are playing riffs that are correct - use the backing tracks I suggested to help you HEAR the mode Example: C and D chords with an A Bass, while soloing on the seven notes in A Dorian (from A to A in the Major scale of G, (the second set of notes in his lesson) Hope that helps some...
    penguin9
    I hope I can help clear up some of the confusion introduced to this subject. Let's look at his other criticism: Climber10 said: "In your lesson, you tabbed a G ionian, A Dorian, B Phyrgian, C Lydian, D Mixolydian, E Aeolian, and F Locrian. These are NOT in the key of G major." WRONG again... these ARE the modes of a G major scale, Exactly correct, and they can be fingered however anyone feels like fingering them. The particular fingering here is actually the fastest possible I know of because it allows sweep picking with three notes to a string almost exclusively, and after all this is what NovemberRain is teaching us - a very fast picking exercise method . He makes it clear it is an exercise not a piece of music. However it is extremely musical. It is a brilliant explanation of modal theory, and is the foundation for modal playing which -as our Jazz man alluded to earlier - the modes of a major scale come into their own when used with a modal progression . For modal playing in the key of G major as above, use a backing track of the chords D and C with a ringing G in the bass for the Ionian mode. (written D/G and C/G). then when you change modes to for example G Dorian (keep this G bass ringing - this gives the modal sound of "G" and your Dorian would be probably G Dorian over a backing track of C/G and perhaps Bb/G (Bb with a ringing G bass). If however you are changing modes to A Dorian ,(as was in the speed building exercise from NovemberRain) then you might go for a A Dorian chordal backing track- so use C and D chords with an A Bass. you see you have now changed to a different mode of the G Major scale. The possibilities are unlimited literally. I know only a little of this theory hope this helps some. The mistake Climber makes is he has an understanding but he gets the terminology wrong. Music has a precise language to communicate musical concepts. And its language goes from simple thru many layers to VERY DEEP and Complicated. You would not have heard Beethoven and Whatsisname disagreeing over the subject of modes. It's a science and is precise. It's either right or wrong. If you use the wrong terms YOU ADD CONFUSION.The languge has evolved over time to make the concepts easy to understand. Teachers like NovemberRain are doing their best to simplify these concepts..while taking us to another level, at the same time gives us another way of looking at something- linking all the modes of the same MAJOR SCALE KEY. The possibilites are infinite.
    penguin9
    lanearndt the jazz scholar dude has it right - both you guys are correct in some things you say. But let's not beat around the bush...the lesson first off was criticised by Climber10.. however I would like to add one thing more since I have followed this discussion right from the start. Climber 10's criticism was wrong from the getgo. right from the start if you recall he said: Hopefully i can correct you on this, for your perception of modes is incorrect. I don't mean to sound like a prick at all, and hopefully I can get across my meaning. Modes are actually playing the notes of one scale, starting on a different route note. (why can't he spell root?)Sorry but the writer of the lesson's PERCEPTION OF MODES IS CORRECT...period. look at the original lesson - you'll see he has all seven modes starting on a different note of the Major scale or key that he started with. he used an "R" on the first digram only - signifying the root. Nothing he says in this lesson is wrong concerning the modes of the major scale. Climber10 (who makes SOME correct comments about modes just doesn't make valid criticisms. He's just not studying it closely. It is not simple. There is quite a bit more to modal theory than climber10 appears to realise. Sorry dude but the writer of the lesson shows a greater understanding, and moreover he tackles a complicated subject and makes it accessable to many - excellent lesson !!!!!
    RUIN717
    Please sir, show the roots in the diagrams of the modes!!!! GAH!!!!
    njj246
    nice nice nice the names help a ton i usually just solo in like a bluesy scale but io hope this helps it looks gredat tha nks alot
    rykoff sexton
    Pretty neat way to approach the modes. Hopefully this will give me a new way to practice when I get home to play. Thanks.
    webbster87
    thanks that helped me do solos better. I'm practicing this lesson every day!!!
    Climber10
    Thanks for the support guys. I wrote and submitted a lesson about exactly what I was talking about. Hopefully they will get it up soon. I submitted the lesson over a month ago, and it still hasn't been posted. As joppino said, this lesson associates the modal fingerings with the modes themselves, while if your not playing the fingerings on the route of the key you are in, it is just a fingering, which is now disconnected from the mode. Hopefully my lesson will be posted soon...
    fingersofflame
    really really reallllly good lesson man! it was really in depth and it's a really interesting technique that you've...stumbled accross, mice job man!
    Climber10
    Hopefully i can correct you on this, for your perception of modes is incorrect. I don't mean to sound like a prick at all, and hopefully I can get across my meaning. Modes are actually playing the notes of one scale, starting on a different route note. They are named off the scale whose notes you are playing. For example, the modes of a C major scale are D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, and B Locrian. For example, a D Dorian mode, is the notes of a C major scale starting on D, this gives you a flat 3 and 7, and thus the different sound. What you have tabbed as modes, are actually the different positions of the major scale. To play an A Dorian mode, you have to play the Dorian fingering starting on A, playing this fingering starting on the second note of the A major scale, like you, is still an A major scale. YOU ARE NOT PLAYING MODES HERE. You are simply playing the major scale in different positions, this is also a very important skill, and will give you fingerings for the modes. I'm actually going to write a lesson on this right now to right the confusion. In addition modes are usually played using shifts instead of pinky streches. For example, to play an A dorian mode, would would play 5-7-8, 5-7, 4-5-7, 4-5-7, 5-7-8, 5-7. This is alot easyer to play.
    Koolcow
    Lol, on your last lesson i commented and asked for this. Sweet you mother .....i love you.
    kirk_rules!
    Sweet! Now that U2 song can finally stop playing! (I Still Haven't Found What I'm Looking For) This is exactly the lesson I've been searching for since I began playing lead guitar.
    shimeireyes
    This is what you call a LESSON ... CHeers MAN!!!, You're lesson is INDEED a GREAT HELP!!!;
    newbieaxman
    Check this out peeps!! everyone should check this cuz it'll be a great help especially if you stuck with only one mode when you're soloing..
    gdm09
    i was serious! i loved this lesson! but i spelled outstanding right and i was proud of myself. cant you be proud of me too! cant you love me for who i am!!!!