Intro to Modes Guitar Lesson
Intro to Modes
If you want to master lead guitar, learning the modes and the theory behind them is absolutely necessary. In this lesson, Brad covers some of the basic theory behind modes.
Taught by Brad Henecke in Rock Guitar with Brad Henecke seriesLength: 31:04Difficulty: 3.0 of 5
A. The Major Scale
The Major scale is one of the most fundamental units of music. Brad begins by breaking down some basic theory pertaining to this scale.B. Diatonic Triads
Let’s start at square 1. The musical alphabet consists of the following notes: A, B, C, D, E, F, and G. The distance between one consecutive note to the next can either be described as a half step or a whole step.
It may help to examine a piano keyboard to visualize this concept. The keyboard consists of black keys and white keys. A half step occurs between one key to the next regardless of color. Similarly, a half step on the guitar occurs from one fret to the next.
A whole step occurs between two frets on the guitar. For example, a whole step occurs between F on the 1st string and G on the 1st string. These notes are two frets apart.
Now, let’s return to the musical alphabet to apply these concepts. Make a careful note of where half steps and whole steps occur.Between A and B: whole stepMany of you are probably wondering how all this theory is going to help your guitar playing. The answer is simple. All major scales follow the same pattern of half and whole steps. If you know this pattern, you can start on any given note and play a major scale.
B and C: half step
C and D: whole step
D and E: whole step
E and F: half step
F and G: whole step
G and A: whole step
Start with the C Major scale since it contains no sharps or flats. The C scale is spelled as follows: C, D, E, F, G, A, B, C. Take a look at where the whole and half steps occur within the scale. All major scales follow a pattern of whole step, whole, half, whole, whole, whole, half.
In a previous lesson, Brad demonstrated how a triad can be built from each note in the major scale. Start with the root note of each chord. Then stack diatonic thirds on top of it. The word “diatonic” means “a scale consisting of seven pitches that are adjacent on the circle of fifths.” Start with the tonic C major chord. Then add the note a third above that, this note is E. Next, add the note a third above E. This note is G. Thus, a C major triad is comprised of the notes C, E, and G. Repeat this process with the remaining notes within the scale. For example, the next diatonic triad is Dm. This chord consists of the notes D, F, and A.C. Key of G Major
Note: Open the “Supplemental Content” to see a harmonization of the C major scale in diatonic triads. These are the chords that occur within the key of C major.
Brad applies all modal concepts in his Phase 2 lessons to the key of G Major. Use the pattern of half steps and whole steps to determine the correct spelling for a G major scale. The key of G has one sharp in its key signature (F#). The basic left hand fingerings for all seven modes lay across the fretboard better in G than the key of C.D. History of the Modes
The ancient Greeks developed the seven modes of the major scale. Plato used the modal names to describe seven different ways of tuning a lyre. The modes were used to sing plainsong or chant in a specified tonality.Chapter 3: (6:02) G Ionian / Gmajor Scale The seven modes are built from each scale degree of the parent major scale. The G major scale is spelled as follows: G, A, B, C, D, E, F#, G. The Ionian mode is simply another name for the major scale. G Ionian is spelled the same way as G major. If you start and end on the second scale degree, a new mode is formed. The A Dorian scale (pronounced door-ee-an) is spelled as follows: A, B, C, D, E, F#, G, A. Starting and ending the G scale on a different note rearranges the order of intervals within the mode. As a result, A Dorian may contain the same notes as G Major, but it sounds completely different.
Each mode has its own distinct sound. For example, the Ionian, Lydian, and Mixolydian modes have a bright sound. This is due to the fact that the third scale degree is a major third above the root. The Dorian, Phrygian, and Aeolian modes have a minor sound. The Locrian mode has a diminished sound.
Supplemental Learning Material
Rock Guitar with Brad Henecke
Found in our Beginner Lesson SetsIn this Phase 2 series Brad Henecke will school you in the art of rock guitar. You will not only learn how to play some of your favorite songs in this series, but you will also learn how to create your own.
Lesson 1
Basic Rock Guitar
This lesson covers the absolute basics of rock guitar. Learn about the electric guitar, pickups, amplifiers, changing strings, and more.
Length: 52:09 Difficulty: 0.5 Members Only
Learning Chords
The first step of your rock guitar experience is learning some of the more popular chords and that is what this lesson is all about.
Length: 42:30 Difficulty: 1.0 Members Only
Barre Chords and More
Brad Henecke introduces common strumming patterns and barre chords.
Length: 42:23 Difficulty: 2.5 Members Only
Your First Song
In this lesson Brad covers some of the more advanced barre chord shapes. He applies these shapes to the song "Hotel California."
Length: 41:31 Difficulty: 2.0 Members Only
Blues and Scales
Rock has its roots in the blues. Brad helps you explore the wonderful world of blues in this lesson. He also covers some chord theory.
Length: 48:14 Difficulty: 2.0 Members Only
Tricks and Lead
This lesson is all about specific techniques used by lead guitarists.
Length: 52:02 Difficulty: 2.5 Members Only
Jammin With Scales
This lesson details how to improvise with the blues scale.
Length: 27:27 Difficulty: 2.5 Members Only
3 Songs
In this fun lesson, Brad Henecke teaches you riffs from 3 classic rock songs.
Length: 28:28 Difficulty: 2.5 Members Only
Power Chords
Power chords help give rock music that "punch you in the face" feel. Learn basic power chords in this lesson.
Length: 13:22 Difficulty: 2.5 Members Only
2 New Songs
Are you ready to learn "Ain't Talking About Love" by Van Halen and "You Shook Me All Night Long" by AC/DC? That's what this lesson is all about.
Length: 27:32 Difficulty: 2.5 Members Only
Pentatonic Scale
In this lesson Brad teaches the first pattern of the minor pentatonic scale and explains how it relates to the blues scale.
Length: 14:30 Difficulty: 2.5 Members Only
Second Position
Brad covers the second pattern for both the minor blues and minor pentatonic scales.
Length: 9:07 Difficulty: 2.5 Members Only
Message in a Bottle
Learn the classic rock song "Message in a Bottle."
Length: 10:22 Difficulty: 3.0 Members Only
Third Position
This great lesson covers the 3rd fretboard pattern of the minor pentatonic and minor blues scales.
Length: 7:19 Difficulty: 2.5 Members Only
Colorful Chord Tension
Brad demonstrates how open strings can be added to chord shapes you are already familiar with.
Length: 9:09 Difficulty: 2.5 Members Only
The 4th Position
Brad covers the 4th pattern of the minor pentatonic and minor blues scales.
Length: 8:28 Difficulty: 2.5 Members Only
Daytripper
In this lesson Brad demonstrates how to play the Beatles song "Daytripper."
Length: 15:21 Difficulty: 3.0 Members Only
The 5th Position
Brad demonstrates the 5th pattern of the minor pentatonic and minor blues scales. He also discusses practicing and memorizing them.
Length: 13:05 Difficulty: 2.5 Members Only
"Brown Eyed Girl"
Learn the classic rock song "Brown Eyed Girl" in this episode of Rock Guitar.
Length: 11:23 Difficulty: 3.0 Members Only
Phrasing
Brad introduces you to the importance of phrasing. Quality phrasing is essential when performing any melodic line.
Length: 14:19 Difficulty: 3.0 Members Only
Basics of Tapping
Tapping is an idiomatic guitar technique that offers a unique sound.
Length: 14:34 Difficulty: 3.0 Members Only
Intro to Modes
Learning the modes is essential to the development of your scale vocabulary.
Length: 31:04 Difficulty: 3.0 Members Only
Understanding Chord Shapes
Brad further explains what chord shapes are and how they relate to barre chords.
Length: 10:15 Difficulty: 2.0 Members Only
Natural Harmonics
Learn the right and left hand mechanics involved in playing harmonics.
Length: 13:16 Difficulty: 3.0 Members Only
Advanced Harmonics
Brad covers more advanced harmonic techniques such as harp harmonics, pinch harmonics and tap harmonics.
Length: 16:10 Difficulty: 3.0 Members Only
The Dorian Mode
Brad moves on in his modal lesson series to explain the Dorian mode. Includes 2 backing tracks.
Length: 22:00 Difficulty: 3.0 Members Only
Phrygian Mode
Brad explains and demonstrates the Phrygian mode.
Length: 13:33 Difficulty: 3.0 Members Only
The Lydian mode
Brad continues his discussion of the modes. You will learn the Lydian mode in this lesson.
Length: 9:27 Difficulty: 3.0 Members Only
Mixolydian Mode
Brad explains the Mixolydian mode and its practical applications.
Length: 10:00 Difficulty: 3.0 Members Only
The Aeolian Mode
Continuing with his modal lessons, Brad Henecke teaches the Aeolian mode.
Length: 9:09 Difficulty: 3.0 Members Only
The Locrian Mode
The final lesson in our modal series covers the Locrian mode.
Length: 9:00 Difficulty: 3.0 Members Only
The Ace Zone
Brad teaches some licks inspired by Ace Frehley of KISS. Incorporate these licks into your own solos.
Length: 7:18 Difficulty: 3.0 Members Only
Learn Licks
In this lesson Brad Henecke teaches you some fun licks that can be used in your own guitar solos.
Length: 10:00 Difficulty: 3.0 Members Only
Blues Licks
Brad Henecke demonstrates some cool blues licks.
Length: 17:00 Difficulty: 3.0 Members Only
Modes and Scales
Brad Henecke provides an alternate way of comparing modes and scales.
Length: 8:00 Difficulty: 3.0 Members Only
A Different View
In the last lesson, Brad Henecke compared some scales that are major or dominant in quality. Now, he repeats this process with minor scales.
Length: 7:00 Difficulty: 3.0 Members Only
One String Scales
This lesson is all about 1 string scales. Learning scales on 1 string is essential to your knowledge of the fretboard.
Length: 8:34 Difficulty: 3.0 Members Only
One String Ionian Mode
Brad demonstrates a one string version of the Ionian mode. This lesson demonstrates the importance of horizontal scales.
Length: 7:27 Difficulty: 3.0 Members Only
Aeolian Mode on One String
Brad continues his discussion of single string scales. He explains how to play the Aeolian mode across a single string.
Length: 4:11 Difficulty: 3.0 Members Only
Octave Scales
Brad explains how to locate octaves within scale patterns. He demonstrates a cool lick that involves playing simultaneous octaves.
Length: 7:07 Difficulty: 3.0 Members Only
Using Octaves
Brad explains how to use octaves in the context of an exercise. Octaves can also be used to build effective licks.
Length: 5:18 Difficulty: 3.0 Members Only
Harmonic Minor Scale
Brad introduces the harmonic minor scale. He explains how it can be applied to the solo break in "Sweet Child O' Mine."
Length: 7:00 Difficulty: 3.0 Members Only
Learning by Ear
Brad Henecke provides valuable tips regarding the process of learning songs by ear.
Length: 23:00 Difficulty: 3.5 Members Only
Ear Training Game
Improve your ear training by playing "The Tone Is Right" with Brad Henecke.
Length: 29:00 Difficulty: 3.0 Members Only
Diminished Arpeggio
Brad Henecke explains diminished chords and provides a fun diminished arpeggio exercise.
Length: 19:00 Difficulty: 3.0 Members Only
Understanding Time Signatures
Brad Henecke addresses time signatures.
Length: 10:00 Difficulty: 2.5 Members Only
Diminished Chords
Brad Henecke explains the construction of diminished seventh chords. He also provides a diminished chord exercise.
Length: 10:30 Difficulty: 2.5 Members Only
Open G Tuning
Brad Henecke introduces open G tuning in this lesson.
Length: 23:50 Difficulty: 2.5 Members Only
Drop D Tuning
Brad Henecke introduces drop D tuning in this lesson. He explains many advantages of this tuning.
Length: 12:57 Difficulty: 2.0 Members Only
G Major Pentatonic
Brad Henecke teaches the G major pentatonic scale. He demonstrates all 5 patterns and explains how they can be transposed to any key.
Length: 22:50 Difficulty: 2.0 Members Only
Changing Scales with Chords
In this lesson Brad Henecke talks about changing the pentatonic/blues scales with each chord in a chord progression.
Length: 11:08 Difficulty: 3.0 Members Only
Mixolydian Scale and Chords
Brad will show how to use the Mixolydian scale with a blues chord progression.
Length: 6:56 Difficulty: 3.0 Members Only
Gear and Effects
This lesson is all about gear and effects. Brad begins his discussion with power conditioning and removing hiss from your amplifier. He progresses to discuss a plethora of effects pedals. Brad explores...
Length: 52:48 Difficulty: 2.5 Members Only
The Wah Pedal
In this lesson, Brad Henecke introduces the wah pedal and demonstrates its many applications.
Length: 15:53 Difficulty: 1.5 Members Only
About Brad Henecke
View Full Biography
Brad Henecke was born in Cedar Rapids, Iowa on May 5th of 1963. He has been a fan of music for as long as he & his family can remember. You could always find him running around the farm wailing on his cardboard guitar, pretending to be a member of the rock band KISS. Additional inspiration came during his first concert when he got the chance to see Boston & Sammy Hagar in the early 1970's.
This opened up a whole new world of rock and roll music for him; his parents noticed his growing interest in music and enrolled him into guitar lessons when he was 13.
From there he jumped into two years of lessons at a local music store in Cedar Rapids. After discovering Eddie Van Halen, Brad knew that the
guitar would always be a part of his life. He took his love throughout the city as he played as a pit musician & jammed at parties for friends.
This made him thirsty for more. He enrolled classes at Kirkwood Community College & also took lessons from the one & only Craig-Erickson (www.craig-erickson.com).
His love for music landed him a gig opening for Molly Hatchet in Cedar Rapids with a band called "Slap & Tickle". He has also played in the Greeley
Stampede show for quite a few years with "True North".
Brad is currently playing in Greeley, Colorado with a rock band titled "Ragged Doll". They play a wide variety of music with an emphasis on
classic rock from the 60's to present, with Brad playing electric guitar in the five piece lineup.
He currently jams on his all-time favorite guitar: a Paul Reed Smith Custom 24. Beyond guitar, he plays also plays drums & bass guitar. He has
also been known to thrash a banjo from time to time. He is still actively playing & passing his 31 years of playing experience on to others (you!).
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.Just curious why you stop on the root when going up the scale and don't play the remaining notes on the high e?
Love your playing man, are you a Thin Lizzy fan by any chance? If so some Lizzy lessons would be great perhaps "For those who love to live"
strat 9: you wouldnt have any #'s in there....your right that it depends on the note you start on but it works like this....C ionian-WWHWWWH-CDEFGABC......C Dorian-WHWWWHW-DEFGABCD-C Phygrian-HWWWHWW-EFGABCDE-C Lydian-WWWHWWH-FGABCDEF-C Mixolydian-WWHWWHW-GABCDEFG-C Aeolian-WHWWHWW-ABCDEFGA-C Locrian-HWWHWWW-BCDEFGAB..as you can see as you move each degree the whole and half steps move with it.....hope that helps and doesnt confuse you
Razoon: So I'm basically correct.
Also how are the chords determined if they are a minor or major chord when using the scale theory? For example the A is a minor chord not a major chord?
If the 3rd note is flat than the cord is minor. If the 3rd note is not flat than it is major. If the 3rd AND the 5th are both flat than it is Diminished. So the Dorian, Aeolian and Phrygian modes are minor scale modes, because of the flat 3rd. (1 b3 5) The Ionian, Lydian and Mixolydian modes are major scales modes, because they dont have a flat 3rd. (1 3 5) The Locrian mode is diminished because it has a flat 3rd and a flat 5th. (1 b3 b5)
Do I have this correct about modes? Depending on which note of the scale you begin with, the notes will change because you stick with the w,w,h,w,w,w,h formula. Example-C maj is of course c,d,e,f,g,a,b, If you begin in the dorian, you're still in C but the notes of the scale would then change to d,e,f#,g,a,b, c#?
why is the A# note in the scale when it only shows A by itself when Brad explains the theory??
thanks brad my head just exploded. though i do grasp the concept now thanks i will have to wacth this a few more times
Brad is just such a King!
Great Lesson Brad, I have tried in the past to grasp modes, and what they are. You made it seem so very simple.
Hi Brad! I really enjoyed this lesson and would love to be able to study more about these modes and music theory when I am away from my computer and JamPlay.com. Can you recommend a good book or study guide to purchase that will help explain and understand this?
A good book to get is fret board logic SE special edition Volume one and two .BY Bill Edwards. also another book that is very good is Guitar Mode Encycleopedia By Jody fisher
I'm gonna look at the video again
Ionian mode is actually a C Major scale at the 8th fret of 6th string. Although starting at 3rd fret (G on the 6th string), applying Ionian works since G scale is also a Major scale. This is actually how Pitch axis theory in effect is implemented. However G Major scale is actually a Mixolydian mode. I guess this should have been taught first that Modes are basically PATTERNS which is a different way of thinking rather from the BOXED method scales are positioned. Also it would have made sense to learners to learn the basic boxed scales applied to the MODES so that the distinguishing of a pattern versus a boxed scale could be more better understood.
Kumark, you're understanding of the modes isn't quite right. The mode is dependent on which degree of the underlying diatonic scale you start on. Every key can be played in all seven modes. So, to use your example, C major scale starting at the 8th fret is the C Ionian mode. But similarly, a G major scale starting at the 3rd fret is the G Ionian mode. (I.e. the Ionian mode does not just apply to the C major scale.) If you were to play the same pattern that Brad teaches in this lesson for the G Ionian, but actually start on the A rather than the G (and play A to A), then you're now playing the A Dorian mode (which still uses the notes from the G major diatonic scale). So, this demonstrates that modes are not necessarily just patterns, since you can actually play any of the seven modes in any of the five 'common' scale patterns. It just depends where you start in the scale. I'm guessing Brad will go on to explain this in the subsequent lessons, but I haven't got that far yet.
Thanks for that explanation .modes are hard to grasp
What makes it a Dm chord?
just fyi in his backing track progression he is not just using g em and d there is also a c major chord in there too, yeah i know not trying to nit pick im just proud that my ear picked that up....:)
The Intro song was Aweeeesome!
There's a backing track in the sup content section you can jam too :) Brad just improvised this on the fly