Chords for Modes Made No Sense To Me, Until I Did This!
Tempo:
118.8 bpm
Chords used:
E
Am
A
C
C#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Salut, David Allman here and in this video I want to help you unlock some new ideas using super simple tools.
[Am]
[A] [E] [Am]
Before we do that let's talk a little bit about the pentatonic scale and why
most guitar players really love that scale.
I think there's a couple reasons.
One of them is
the way that the pentatonic scale is built.
If we look at the five notes that make one of these
pentatonic scales, major or minor, we'll see that these notes, these intervals, are found in most
commonly used modes.
In other words, the minor pentatonic scale, which [N] is made of a root,
minor third, perfect fourth, perfect fifth, minor seventh, those five notes are found within the
most commonly used minor modes.
Dorian, Phrygian, Aeolian.
And the same goes with the major
pentatonic scale, which is made of a root, major second, major third, perfect fifth, and major sixth.
Those five notes are found in the most commonly used major modes.
Ionian, Lydian, Mixolydian.
The second reason why most guitar players love using those pentatonic scales is purely from a
position standpoint.
Typically a minor pentatonic scale is built in a narrower area of the fret
board.
For example, the minor pentatonic scale in B in its first position is going to be found
between frets 7 and 10.
Condensing those pentatonic scales in a narrow area of the fret board allows
you to build that pentatonic scale using two notes per string.
And that's why most guitar players
learn the pentatonic scale first, start to improvise, it sounds great, and they get stuck in
that pentatonic mode.
And that's a shame because the pentatonic scale, whether minor or major,
is not representing the full color of whatever mode you're playing in.
So for example, if you're
playing over a Dorian backing track and you only use the minor pentatonic scale, you're never going
to play the second and the sixth.
And that's a shame because those notes are super colorful and
they add a lot of flavor to your improvs.
What I suggest in today's video is to take the characteristic
of these pentatonic scales, which have two notes per string in a narrower area of the fret board,
and apply that over a seven note scale.
Let's take a look at the diagram.
Here's a B Dorian mode
mapped out all over the fret board.
A lot of notes, hard to memorize, we're going to condense that in a
narrower area of the fret board, but we still need to apply the principle that we had in the pentatonic
scales where we had two notes per string.
And that's where I want you to be very creative.
Don't worry about the notes you pick as long as you have two notes per string.
These notes are all
extracted from the full Dorian scale, therefore they're going to work in a Dorian context.
And just
start improvising using that new custom shape that is extracted from the full Dorian mode, but that
uses those beautiful characteristics where you have two notes per string and it's a narrow area
of the fret board.
Those limitations are great for your creativity.
They're going to help you expand
[Am] your musical vocabulary in a new way using the shape that might be new and that excitement of
using something that is a little foreign can really trigger some incredible new ideas in your
playing.
So I'm going to try to apply that method to a few different backing tracks.
I'm going to
through these and I will use only one custom built pentatonic like shape and see what happens.
[C] [Am]
[C] [E]
[C] [A]
[E] [E]
[D] [E]
[Bm] [C#m]
[Bm] [E] [A]
[C#m] [A]
[G#]
[C#m]
I love doing that kind of stuff where you're taking some simple music theory elements and
apply it to your playing wherever you're at.
This is going to trigger new ideas.
That's how you can
advance on your own and develop who you are on your [F#] instrument.
Now, of course, you do need some
core music theory concepts.
And guess what?
I've got all that for free.
Just sign up at
guitarinfusion.com, leave your email there, and I'll send you the free music theory DNA course.
This is going to get you started.
You'll be put on a newsletter.
I'm not going to spam you, but I
will talk to you about a big course that I have.
You've got to be on that list, but you can still
get the free DNA music course.
Thanks for watching this.
Subscribe, share this around and comment
below if you have any questions.
Thanks for watching.
I'll see you next
[Am]
[A] [E] [Am]
Before we do that let's talk a little bit about the pentatonic scale and why
most guitar players really love that scale.
I think there's a couple reasons.
One of them is
the way that the pentatonic scale is built.
If we look at the five notes that make one of these
pentatonic scales, major or minor, we'll see that these notes, these intervals, are found in most
commonly used modes.
In other words, the minor pentatonic scale, which [N] is made of a root,
minor third, perfect fourth, perfect fifth, minor seventh, those five notes are found within the
most commonly used minor modes.
Dorian, Phrygian, Aeolian.
And the same goes with the major
pentatonic scale, which is made of a root, major second, major third, perfect fifth, and major sixth.
Those five notes are found in the most commonly used major modes.
Ionian, Lydian, Mixolydian.
The second reason why most guitar players love using those pentatonic scales is purely from a
position standpoint.
Typically a minor pentatonic scale is built in a narrower area of the fret
board.
For example, the minor pentatonic scale in B in its first position is going to be found
between frets 7 and 10.
Condensing those pentatonic scales in a narrow area of the fret board allows
you to build that pentatonic scale using two notes per string.
And that's why most guitar players
learn the pentatonic scale first, start to improvise, it sounds great, and they get stuck in
that pentatonic mode.
And that's a shame because the pentatonic scale, whether minor or major,
is not representing the full color of whatever mode you're playing in.
So for example, if you're
playing over a Dorian backing track and you only use the minor pentatonic scale, you're never going
to play the second and the sixth.
And that's a shame because those notes are super colorful and
they add a lot of flavor to your improvs.
What I suggest in today's video is to take the characteristic
of these pentatonic scales, which have two notes per string in a narrower area of the fret board,
and apply that over a seven note scale.
Let's take a look at the diagram.
Here's a B Dorian mode
mapped out all over the fret board.
A lot of notes, hard to memorize, we're going to condense that in a
narrower area of the fret board, but we still need to apply the principle that we had in the pentatonic
scales where we had two notes per string.
And that's where I want you to be very creative.
Don't worry about the notes you pick as long as you have two notes per string.
These notes are all
extracted from the full Dorian scale, therefore they're going to work in a Dorian context.
And just
start improvising using that new custom shape that is extracted from the full Dorian mode, but that
uses those beautiful characteristics where you have two notes per string and it's a narrow area
of the fret board.
Those limitations are great for your creativity.
They're going to help you expand
[Am] your musical vocabulary in a new way using the shape that might be new and that excitement of
using something that is a little foreign can really trigger some incredible new ideas in your
playing.
So I'm going to try to apply that method to a few different backing tracks.
I'm going to
through these and I will use only one custom built pentatonic like shape and see what happens.
[C] [Am]
[C] [E]
[C] [A]
[E] [E]
[D] [E]
[Bm] [C#m]
[Bm] [E] [A]
[C#m] [A]
[G#]
[C#m]
I love doing that kind of stuff where you're taking some simple music theory elements and
apply it to your playing wherever you're at.
This is going to trigger new ideas.
That's how you can
advance on your own and develop who you are on your [F#] instrument.
Now, of course, you do need some
core music theory concepts.
And guess what?
I've got all that for free.
Just sign up at
guitarinfusion.com, leave your email there, and I'll send you the free music theory DNA course.
This is going to get you started.
You'll be put on a newsletter.
I'm not going to spam you, but I
will talk to you about a big course that I have.
You've got to be on that list, but you can still
get the free DNA music course.
Thanks for watching this.
Subscribe, share this around and comment
below if you have any questions.
Thanks for watching.
I'll see you next
Key:
E
Am
A
C
C#m
E
Am
A
Salut, David Allman here and in this video I want to help you unlock some new ideas using super simple tools.
_ [Am] _ _
[A] _ _ [E] _ _ _ _ [Am] _ _
Before we do that let's talk a little bit about the pentatonic scale and why
most guitar players really love that scale.
I think there's a couple reasons.
One of them is
the way that the pentatonic scale is built.
If we look at the five notes that make one of these
pentatonic scales, major or minor, we'll see that these notes, these intervals, are found in most
commonly used modes.
In other words, the minor pentatonic scale, which [N] is made of a root,
minor third, perfect fourth, perfect fifth, minor seventh, those five notes are found within the
most commonly used minor modes.
Dorian, Phrygian, Aeolian.
And the same goes with the major
pentatonic scale, which is made of a root, major second, major third, perfect fifth, and major sixth.
Those five notes are found in the most commonly used major modes.
Ionian, Lydian, Mixolydian.
The second reason why most guitar players love using those pentatonic scales is purely from a
position standpoint.
Typically a minor pentatonic scale is built in a narrower area of the fret
board.
For example, the minor pentatonic scale in B in its first position is going to be found
between frets 7 and 10.
Condensing those pentatonic scales in a narrow area of the fret board allows
you to build that pentatonic scale using two notes per string.
And that's why most guitar players
learn the pentatonic scale first, start to improvise, it sounds great, and they get stuck in
that pentatonic mode.
And that's a shame because the pentatonic scale, whether minor or major,
is not representing the full color of whatever mode you're playing in.
So for example, if you're
playing over a Dorian backing track and you only use the minor pentatonic scale, you're never going
to play the second and the sixth.
And that's a shame because those notes are super colorful and
they add a lot of flavor to your improvs.
What I suggest in today's video is to take the characteristic
of these pentatonic scales, which have two notes per string in a narrower area of the fret board,
and apply that over a seven note scale.
Let's take a look at the diagram.
Here's a B Dorian mode
mapped out all over the fret board.
A lot of notes, hard to memorize, we're going to condense that in a
narrower area of the fret board, but we still need to apply the principle that we had in the pentatonic
scales where we had two notes per string.
And that's where I want you to be very creative.
Don't worry about the notes you pick as long as you have two notes per string.
These notes are all
extracted from the full Dorian scale, therefore they're going to work in a Dorian context.
And just
start improvising using that new custom shape that is extracted from the full Dorian mode, but that
uses those beautiful characteristics where you have two notes per string and it's a narrow area
of the fret board.
Those limitations are great for your creativity.
They're going to help you expand
[Am] your musical vocabulary in a new way using the shape that might be new and that excitement of
using something that is a little foreign can really trigger some incredible new ideas in your
playing.
So I'm going to try to apply that method to a few different backing tracks.
I'm going to
through these and I will use only one custom built _ pentatonic like shape and see what happens. _ _ _
_ _ [C] _ _ [Am] _ _ _ _
_ _ [C] _ _ [E] _ _ _ _
_ _ [C] _ _ _ _ [A] _ _
[E] _ _ _ _ [E] _ _ _ _
_ _ _ _ _ _ _ _
[D] _ _ [E] _ _ _ _ _ _
_ _ [Bm] _ _ _ [C#m] _ _ _
[Bm] _ _ _ [E] _ _ _ _ [A] _
_ _ [C#m] _ _ _ _ [A] _ _
_ _ [G#] _ _ _ _ _ _
_ _ _ _ _ [C#m] _ _
I love doing that kind of stuff where you're taking some simple music theory elements and
apply it to your playing wherever you're at.
This is going to trigger new ideas.
That's how you can
advance on your own and develop who you are on your [F#] instrument.
Now, of course, you do need some
core music theory concepts.
And guess what?
I've got all that for free.
Just sign up at
guitarinfusion.com, leave your email there, and I'll send you the free music theory DNA course.
This is going to get you started.
You'll be put on a newsletter.
I'm not going to spam you, but I
will talk to you about a big course that I have.
You've got to be on that list, but you can still
get the free DNA music course.
Thanks for watching this.
Subscribe, share this around and comment
below if you have any questions.
Thanks for watching.
I'll see you next
_ [Am] _ _
[A] _ _ [E] _ _ _ _ [Am] _ _
Before we do that let's talk a little bit about the pentatonic scale and why
most guitar players really love that scale.
I think there's a couple reasons.
One of them is
the way that the pentatonic scale is built.
If we look at the five notes that make one of these
pentatonic scales, major or minor, we'll see that these notes, these intervals, are found in most
commonly used modes.
In other words, the minor pentatonic scale, which [N] is made of a root,
minor third, perfect fourth, perfect fifth, minor seventh, those five notes are found within the
most commonly used minor modes.
Dorian, Phrygian, Aeolian.
And the same goes with the major
pentatonic scale, which is made of a root, major second, major third, perfect fifth, and major sixth.
Those five notes are found in the most commonly used major modes.
Ionian, Lydian, Mixolydian.
The second reason why most guitar players love using those pentatonic scales is purely from a
position standpoint.
Typically a minor pentatonic scale is built in a narrower area of the fret
board.
For example, the minor pentatonic scale in B in its first position is going to be found
between frets 7 and 10.
Condensing those pentatonic scales in a narrow area of the fret board allows
you to build that pentatonic scale using two notes per string.
And that's why most guitar players
learn the pentatonic scale first, start to improvise, it sounds great, and they get stuck in
that pentatonic mode.
And that's a shame because the pentatonic scale, whether minor or major,
is not representing the full color of whatever mode you're playing in.
So for example, if you're
playing over a Dorian backing track and you only use the minor pentatonic scale, you're never going
to play the second and the sixth.
And that's a shame because those notes are super colorful and
they add a lot of flavor to your improvs.
What I suggest in today's video is to take the characteristic
of these pentatonic scales, which have two notes per string in a narrower area of the fret board,
and apply that over a seven note scale.
Let's take a look at the diagram.
Here's a B Dorian mode
mapped out all over the fret board.
A lot of notes, hard to memorize, we're going to condense that in a
narrower area of the fret board, but we still need to apply the principle that we had in the pentatonic
scales where we had two notes per string.
And that's where I want you to be very creative.
Don't worry about the notes you pick as long as you have two notes per string.
These notes are all
extracted from the full Dorian scale, therefore they're going to work in a Dorian context.
And just
start improvising using that new custom shape that is extracted from the full Dorian mode, but that
uses those beautiful characteristics where you have two notes per string and it's a narrow area
of the fret board.
Those limitations are great for your creativity.
They're going to help you expand
[Am] your musical vocabulary in a new way using the shape that might be new and that excitement of
using something that is a little foreign can really trigger some incredible new ideas in your
playing.
So I'm going to try to apply that method to a few different backing tracks.
I'm going to
through these and I will use only one custom built _ pentatonic like shape and see what happens. _ _ _
_ _ [C] _ _ [Am] _ _ _ _
_ _ [C] _ _ [E] _ _ _ _
_ _ [C] _ _ _ _ [A] _ _
[E] _ _ _ _ [E] _ _ _ _
_ _ _ _ _ _ _ _
[D] _ _ [E] _ _ _ _ _ _
_ _ [Bm] _ _ _ [C#m] _ _ _
[Bm] _ _ _ [E] _ _ _ _ [A] _
_ _ [C#m] _ _ _ _ [A] _ _
_ _ [G#] _ _ _ _ _ _
_ _ _ _ _ [C#m] _ _
I love doing that kind of stuff where you're taking some simple music theory elements and
apply it to your playing wherever you're at.
This is going to trigger new ideas.
That's how you can
advance on your own and develop who you are on your [F#] instrument.
Now, of course, you do need some
core music theory concepts.
And guess what?
I've got all that for free.
Just sign up at
guitarinfusion.com, leave your email there, and I'll send you the free music theory DNA course.
This is going to get you started.
You'll be put on a newsletter.
I'm not going to spam you, but I
will talk to you about a big course that I have.
You've got to be on that list, but you can still
get the free DNA music course.
Thanks for watching this.
Subscribe, share this around and comment
below if you have any questions.
Thanks for watching.
I'll see you next