Thanks Griff, this is something I have wanted to get into my scales practice folder for some time now. You were on point that pentatonic scales leave you hanging in some songs as people like Garcia for instance are playing outside of them. I heard the Spanish? scale mentioned with him this week. Wondering what that is……?

Finally a clear, concise and uncomplicated explanation!

I think one of the things that makes the learning process daunting is the continued use of hackneyed “non-English” names for modes and anything which smacks of double entendre. When one has to keep double or triple interpreting terminology words just to “get to the point” it is just another hurdle to overcome in ones thinking process. Playing music well, I would assert comes from having developed an ability to ignore the un-necessary(hurdles to learning) and to be able to rapidly, nay, instantly, get to the point in interpreting and reading a score. I would put it this way. For me, the difficulty in trying to learn to read, has always been the continued “burden in the back of my mind” about ALL that I have to interpret before I get to the point of trying to read it. Which key, which key chords, which mode, which note name, which guitar position, which cage fingering, which technique, which style, which note emphasis, which kind of emotive ambience to try and create, then to have to memorise the whole piece…….Wow ! “C’est tres formidable” !
Skilled players appear to have got to the point of being able to instantly bypass all of those considerations and “Get to the point of playing, with or without music in front of them”. When one thinks about it, that is indeed a remarkable achievement !
I think it’s about time that the KISS (Keep it simple stupid!) principle was applied to music and music learning. Instead of Dorian, Myxolidian (which to me always makes me think of Myxomatosis, the rabbit-killing virus, why not simply use “Mode 1, Mode 2, Mode 3″ etc. and, instead of
Breve, Crotchet, semiquaver, demi semiquaver, why not simply, ” 4″ (whole) ” 1 ” (Single) , “1/2” (half), “1/4” (quarter), “1/8” (Eighth) , “1/16” (Sixteenth) etc ?
The same goes for having to use Italian for music management and adaptation. I mean why keep clinging to Adagio, Poco a Poco, Andante, Sforzando, or Forte, whatever ? The list of Italian terms is mind-boggling. Faster, Louder, Slower, As before, Gently, Quietly, Subdued, all make instant sense to me. Churches internationally gave up using Latin ages ago. Perhaps the Pontiff and his Roman enclave still cling to using it? English is the new language of music to my way of thinking. Surely, there is enough to boggle the mind in learning music anyway, without the need for including those kind of additional language-learning stumbling blocks. The “snobbery” of knowing a glut of foreign language terminology is not what needs to be adopted in learning, it is how to be able to bottomline do what the whole aim of the game is, which is to be able to look at music, instantly understand and interpret it, and to play it, while putting into it one’s own mood and ambience interpretation of it which comes from the heart.

So why keep clinging to having to learn a new language on top of the language of music itself, then interpret it back into English, then give it a value?
Making learning easier is all about simplifying terminology so that one’s native tongue is best accomodated into the learning process. I say that removing as many shackles and obstacles to learning as possible is perhaps one of the best teaching aids that can go towards removing the otherwise trepidation involved in the learning process.

Think about other fields of science for example…the species and genus world of plants and animals………….Botanicus Californius Succulentus …….if it did exist, might just be California Cactus ! Anthropodicus Erectus Homo Sapiens if that exists for me would be better learned simply as “Human”.
If there were only those two things to learn, then clinging to the Latin would not be such a hurdle, compared to having to learn a Bible of Latin Names so as to be able to re-define everything in English.
So much simpler to learn and remember everything in the vernacular, rather than having to go through a double or triple interpretation process in the mind to actually say and learn what something ACTUALLY IS then apply it.

Or maybe it’s just me who is my own worst enemy in all of this ? LOL !

Poppa

Poppa Madison
Reply Reply

I think one of the things that makes the learning process daunting is the continued use of hackneyed “non-English” names for modes and anything which smacks of double entendre. When one has to keep double or triple interpreting terminology words just to “get to the point” it is just another hurdle to overcome in ones thinking process. Playing music well, I would assert comes from having developed an ability to ignore the un-necessary(hurdles to learning) and to be able to rapidly, nay, instantly, get to the point in interpreting and reading a score. I would put it this way. For me, the difficulty in trying to learn to read, has always been the continued “burden in the back of my mind” about ALL that I have to interpret before I get to the point of trying to read it. Which key, which key chords, which mode, which note name, which guitar position, which cage fingering, which technique, which style, which note emphasis, which kind of emotive ambience to try and create, then to have to memorise the whole piece…….Wow ! “C’est tres formidable” !
Skilled players appear to have got to the point of being able to instantly bypass all of those considerations and “Get to the point of playing, with or without music in front of them”. When one thinks about it, that is indeed a remarkable achievement !
I think it’s about time that the KISS (Keep it simple stupid!) principle was applied to music and music learning. Instead of Dorian, Myxolidian (which to me always makes me think of Myxomatosis, the rabbit-killing virus, why not simply use “Mode 1, Mode 2, Mode 3″ etc. and, instead of
Breve, Crotchet, semiquaver, demi semiquaver, why not simply, ” 4″ (whole) ” 1 ” (Single) , “1/2” (half), “1/4” (quarter), “1/8” (Eighth) , “1/16” (Sixteenth) etc ?
The same goes for having to use Italian for music management and adaptation. I mean why keep clinging to Adagio, Poco a Poco, Andante, Sforzando, or Forte, whatever ? The list of Italian terms is mind-boggling. Faster, Louder, Slower, As before, Gently, Quietly, Subdued, all make instant sense to me. Churches internationally gave up using Latin ages ago. Perhaps the Pontiff and his Roman enclave still cling to using it? English is the new language of music to my way of thinking. Surely, there is enough to boggle the mind in learning music anyway, without the need for including those kind of additional language-learning stumbling blocks. The “snobbery” of knowing a glut of foreign language terminology is not what needs to be adopted in learning, it is how to be able to bottomline do what the whole aim of the game is, which is to be able to look at music, instantly understand and interpret it, and to play it, while putting into it one’s own mood and ambience interpretation of it which comes from the heart.

So why keep clinging to having to learn a new language on top of the language of music itself, then interpret it back into English, then give it a value?
Making learning easier is all about simplifying terminology so that one’s native tongue is best accomodated into the learning process. I say that removing as many shackles and obstacles to learning as possible is perhaps one of the best teaching aids that can go towards removing the otherwise trepidation involved in the learning process.

Think about other fields of science for example…the species and genus world of plants and animals………….Botanicus Californius Succulentus …….if it did exist, might just be California Cactus ! Anthropodicus Erectus Homo Sapiens if that exists for me would be better learned simply as “Human”.
If there were only those two things to learn, then clinging to the Latin would not be such a hurdle, compared to having to learn a Bible of Latin Names so as to be able to re-define everything in English.
So much simpler to learn and remember everything in the vernacular, rather than having to go through a double or triple interpretation process in the mind to actually say and learn what something ACTUALLY IS then apply it.

Or maybe it’s just me who is my own worst enemy in all of this ? LOL !

Poppa

Hi, Griff.

This one is an absolute GEM. Thanks for making it.
It’s VERY helpful.

Thanks again…weird stuff to my ears..but cool

Poppa… you got it all wrong! The main reason why many musical terms are in latin is because Latin is a ‘dead’ language! On the whole latin is not being progressed as time passes; therefore it is a static base-form that everyone, of whatever nationality or spoken language can understand. It IS a world language!

Try counting in Latin… “unum”, “duo”, “tres” i.e. one, two, three… now, anyone from what ever country and from what ever language will understand how to count one, two, three just by learning the rudimentary latin ”world’ language. Also… because Latin is not being developed (i.e. it’s a dead language), it will still be the same in a thousand years from now. Who knows how English, French, German and Americanize will have strayed in that time. It’s the same reason that many Latin terms are used in engineering and architecture… so everybody in the world can understand what is being said and not only those that speak english.

Modern languages and grammar have transformed a hell of a lot since the advent of morse code, data and texting. Listen to a bunch of teenagers or hip-hop dudes speaking… those of us from an older generation can hardly understand a damn word they are saying (a blessing in disguise, eh! :)) but they will claim that they are speaking english! …all 4nw, bcnu sn. (translation = “That’s all for now, be seeing you soon”)

Thanks so much Criff. Modes are usually a “put off” area for most would be musicians. You make it seem so easy and understandable in one single video.

Griff–

Excellent presentation! I never could fathom how The Dead or The Allman Brothers improvised so melodically until a young wizard / teacher explained the modes. I only wish students could understand that, if you learn these, the whole fingerboard opens up in any key you happen to be playing in! Great work, Griff!

Wow! Just had a light bulb moment. I have read many things about the modes and get the concept but have never been able to put it together in any coherent way. I have even seen the patterns presented with other Greek names but they were still confusing to use. This presentation was the clearest and most usable explanation that I have seen. I really feel I can begin to use the modes for the first time (with lots of practice of course). Thanks again Griff for your incredible skill in imparting information and lessons to us. You are the best!

Thanks Griff;
I always enjoy your videos, it’s almost like making a pilgrimage to a boutique music showroom.🤑
Anyway, were never a subject that held much interest for me, my “scales” consisted of whatever notes seems to sound “right” together.
Your description however, was simple enough (for me) to understand. Your explanation of modes was particularly enlightening. I had never noticed that the G and A scales you played were essentially the same!
Thank you very much.
Jim

Here’s an interesting exercise. Listen to a bit of Griff’s noodling, any topic, then walk away. Cook dinner, read something… Eventually your in-the-head interpretation of the noodling will become an earworm of something you know well, and then you’ll know how old so-and-so did it. For me, that play-out turned into the Pretenders’ “Kid”…

Try it out! Oh, and thanks as alway, Griff!

thank’s griff

Wow,super great video can’t wait to see next one. Want to learn to apply it.best wishes

Thanks Griff. This is how I initially learned the modes and it def works. However, they way I was finally able to put these into practice was to this of a mode as a slight alteration of the major or minor scale. Maybe this will help those who are like me. I don’t think of the Dorian as the second mode, I think of it as a minor scale but with a major 6th. Or an even better example is Mixolydian: I don’t think of this as the 5th mode, I think of it as a major scale but with a minor 7th. Thinking of them this way helped me to incorporate them into box 1 and 2 right away without thinking what relative major scale they are. Rock On 🙂

Thank you so much for this Griff. I’ve always thought “What are they talking about?” when Dorian, Myxolidian etc modes were mentioned, but you’ve made it so easy to understand. A true ‘Eureka’ moment!

Listened and pieced together a lot from videos over past 2-3. Years but this video with the tabs Finally connected the neck of the guitars together With the keys. Break through lesson!!
Thanks I can see a new window of understanding open up!
Paublo

Love ya man. Great lesson.

I think the light just came on . Thanks , Griff !!

Another great learning curve. It’s really interesting how many different tunes I could hear or relate to whilst you were playing those modes, shame about the titles of them. guess I’ll just give them numbers, as a lone player I have no need to impress myself with fancy names and titles. Nice one Griff, I look forward to getting these down to memory, as well as receiving the follow up downloads. Cheers. Ray (UK).

Truly nice lesson, Griff. I think you about presented that better than I have heard from anyone else in the past, and I’ve heard my share of explanations. Thank you for that. I only recently started your BLues Guitar Unleashed program, but I am looking forward to a lot more insightful teaching. For anyone doubting the price point of your courses, I can only say, it’s about the fairest price out there for such quality instruction, stop procrastinating like I did and put yourself into the hands of Griffs talent fro teaching.

Excellent! Love your way of teaching!

Hi Griff, I read about modes a long time ago but could not understand them. You have made the concept so simple. A brilliant lesson. Thank you.

Maybe Griff said it and I missed it…seeing that modes are all from the same major scale notes..ie…play a major scale for Ionian and then start on each successive note for the modes…but for me the easiest way to play all the modes was to stay in the same position playing the same major scale pattern and start on the root of each of the modes. The other way being to learn how to play every mode in the five different patterns.

Unless I’m missing something, “R” has it right. Using any major scale, the modes are created by simply using the same notes, but sequentially starting on a different note. If I’m right, then any other attempted explanation just complicates the concept.

Thanks,
Great explanation.

Griff

Great stuff! You always do a great job
With your instruction. Thanks for the free
Videos. I currently am a member of the
“Blues guitar unleashed course” . Again
You are a excellent instructor. Keep me in the loop

Hi Griff
Brilliant lesson, i had looked at modes but never actually understood them or how to use them. Cool stuff. thanks again.
Colin.

Hey Griff,
Thanks for a great lesson, I’ve been laid up from surgery and have lots of guitar time, this makes a lot of sense to me, also going through the guitar unleashed 2.0 again because I’m one of those counting challenged people, I think it’s cause I play mostly by myself, 65 years young and still trying
John