Modes Unleashed

MikeS

Student Of The Blues
Staff member
@Griff
The Prefixes in this section probably need to be looked at. Modes Unleashed is missing and probably a few more. Maybe add it to your check list when you create new courses???
 

Paleo

Student Of The Blues
@Griff

Adding to @MikeS's "list", I don't see a prefix or place elsewhere for the following courses:


Modes Unleashed
5 Easy Slide Solos
5X5 Blues Jam Tracks
Acoustic Delta Blues Slide Guitar
Chord By Chord Blues Soloing
Classic Rock Speed Builders
How To Build Blues Songs
How To Jam The Blues Alone
How To Read Music On The Guitar
Solos From The Masters
Sunshine Of Your Love Workshop
Texas Hideout
The 4 Note Solo (which I just discovered in my list??:unsure::))
The Foreman
The Harmonic Minor Scale
The Little Wing Lesson
Trading Fours vol 1
 
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PCM

Spring, Texas
I've got a question on the Modes Unleashed material...

Lesson 10 (pg 43-44) in the manual (Changing Modes 1) shows the addition of an F# for two bars in an exercise in the key signature of C. That was used as the justification for changing the A (2 octave) 5th position pattern to Dorian because the key of the solo effectively became G (for two bars)...at least that's what I saw. However the explanation almost, but didn't quite say that.

I've finished the course and am generally up to speed theoretically and "modaly' over the past decades...I just want to make sure I didn't miss something. Changing Modes 2 does the same thing...I prefer to think the key changed "temporarily" which gives me a better mental picture of the scale shifts. Is that the right path?

PCM
Houston, Texas
 

Paleo

Student Of The Blues
I think he does explain it the way you saw it. At least on page 43. I haven't re-watched the video.

You start with an Am chord. If you call it a vi (Aeolian in C) the F and G are the IV and V, but D Major doesn't fit because it would be minor in C Major.

If you then consider the Am to be a ii (Dorian in G), then D Major would be the V.

So first you treat the Am a vi in C Major (Aeolian), then switch to treating it as a ii in G Major (Dorian) when the D occurs .

Then he states that this switch from C to G (A Aeolian to A Dorian) over the D chord is only temporary and goes back to C Major (Aeolian) on the F chord.


It's simpler for me to treat the Key as A minor and start with the A minor scale. (A B C D E F G)

Raising the F to F# to accommodate the D Major chord changes the scale to Dorian. (A B C D E F# G)

So it's just a matter of changing, and accenting, that one note whenever that D chord comes along.

Either way of thinking about it works out the same.


In Changing Modes 2, you start out in F# Dorian (F#m and B7= ii and V7 in E Major).

Over the D & E you change to A Major. (D & E are the IV &V.)

However, A Major = F# minor = F# Aeolian.

So switching from the Key of E to A making F# the tonal center = F# Dorian to F# Aeolian, the only difference being the D# in Dorian vs the D in Aeolian.


Notice there isn't actually a Key Signature in either example, i.e. no Key Signature doesn't always mean the Key of C. Depending on the publisher, sometimes you gotta figure out modes for yourself.
 
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PCM

Spring, Texas
I think he does explain it the way you saw it. At least on page 43. I haven't re-watched the video.

You start with an Am chord. If you call it a vi (Aeolian in C) the F and G are the IV and V, but D Major doesn't fit because it would be minor in C Major.

If you then consider the Am to be a ii (Dorian in G), then D Major would be the V.

So first you treat the Am a vi in C Major (Aeolian), then switch to treating it as a ii in G Major (Dorian) when the D occurs .

Then he states that this switch from C to G (A Aeolian to A Dorian) over the D chord is only temporary and goes back to C Major (Aeolian) on the F chord.


It's simpler for me to treat the Key as A minor and start with the A minor scale. (A B C D E F G)

Raising the F to F# to accommodate the D Major chord changes the scale to Dorian. (A B C D E F# G)

So it's just a matter of changing, and accenting, that one note whenever that D chord comes along.

Either way of thinking about it works out the same.


In Changing Modes 2, you start out in F# Dorian (F#m and B7= ii and V7 in E Major).

Over the D & E you change to A Major. (D & E are the IV &V.)

However, A Major = F# minor = F# Aeolian.

So switching from the Key of E to A making F# the tonal center = F# Dorian to F# Aeolian, the only difference being the D# in Dorian vs the D in Aeolian.


Notice there isn't actually a Key Signature in either example, i.e. no Key Signature doesn't always mean the Key of C. Depending on the publisher, sometimes you gotta figure out modes for yourself.

I thought I was headed on the right path...just wasn't exactly sure.

I remember years ago hearing that the main and most likely "modal shifts" occurred (ionian/mixolydian and aeolian/dorian) because of the one note change between 1st to 5th and 1st to 4th regarding the major scale. I thought that's what we were looking at.

Thanks for the help.

PCM
Houston, TX
(Hot down here today...103F!)
 

PCM

Spring, Texas
Ugh! What's the heat index? Gotta be 100 or 115?
Eric
Should moderate a little today. Currently (10:52am), 91F at 73% humidity...going for a high of 101F today...it feels like a warm, wet, washcloth being draped across your face constantly when outside.

A couple of weeks ago, Griff H. did a workshop in Allen and brought a very unusual summer "cold" front with him...really lowered the humidity level...quite tolerable for a couple of days.

If he has that effect on the weather, I hope he's here every week!...workshop was super also. :D:D

PCM
Houston, TX
 
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