retired employee 2012 , widower 2015 , Three grandchildren , Study Guitar .
5 Pentatonic Boxes
Just finish the 5 pentatonic boxes by Christopher Schlegel, I wasn't confused about it because of previous knowledge from various authors of this topic. So we simply add the notes within the box to get the specific mode of the scale. For a dorian mode, a B flat major scale is used in parallel mode. Using the B note of the C major scale and flatten it to get a Bb major scale. We start with the C note for a dorian C scale. As in the case of the A minor pentatonic we use the G scale and start with the A note for a dorian scale. If this is all wrong please correct me on this. Also pattern 1 is the G shape, 2 E shape, 3 D shape , 4 C shape, 5 A shape.
# 1
Originally Posted by: ramoncandidoJust finish the 5 pentatonic boxes by Christopher Schlegel, I wasn't confused about it because of previous knowledge from various authors of this topic. So we simply add the notes within the box to get the specific mode of the scale. For a dorian mode, a B flat major scale is used in parallel mode. Using the B note of the C major scale and flatten it to get a Bb major scale. We start with the C note for a dorian C scale. As in the case of the A minor pentatonic we use the G scale and start with the A note for a dorian scale. If this is all wrong please correct me on this. Also pattern 1 is the G shape, 2 E shape, 3 D shape , 4 C shape, 5 A shape.
Glad you checked out my lessons! It sounds like you've got the right idea.
If it helps, I find it much more perceptually & conceptually efficient to view & think of the diatonic notes as scale degrees with certain sounds rather than parallel modes, or borrowed from other scales or CAGED shapes.
So I'll use the minor pentatonic box. And if I want to play Dorian, I just see, play & hear the major 6th one fret behind every minor 7th scale degree. Then I'll see, play & hear the 2nd one fret behind every minor 3rd.
Make sense?
Hope this helps!
# 2
Originally Posted by: CSchlegelGlad you checked out my lessons! It sounds like you've got the right idea.
If it helps, I find it much more perceptually & conceptually efficient to view & think of the diatonic notes as scale degrees with certain sounds rather than parallel modes, or borrowed from other scales or CAGED shapes.
So I'll use the minor pentatonic box. And if I want to play Dorian, I just see, play & hear the major 6th one fret behind every minor 7th scale degree. Then I'll see, play & hear the 2nd one fret behind every minor 3rd.
Make sense?
Hope this helps!
I haven't touch the subject of improvising, I'l take note of this. Provide a link to this subject of "play and hear" technique.
retired employee 2012 , widower 2015 , Three grandchildren , Study Guitar .
# 3
Originally Posted by: ramoncandidoI haven't touch the subject of improvising, I'l take note of this. Provide a link to this subject of "play and hear" technique.
This tutorial has practical info on how to use pentatonic boxes to see, play & hear various modes.
http://www.guitartricks.com/tutorial.php?input=296
Specifically at lesson 5:
http://www.guitartricks.com/lesson.php?input=11285&s_id=296
I discuss how to use the major pentatonic box as a visual reference guide. But I insert the appropriate diatonic note as necessary to get any given major mode. There is a graphic below the notation that shows these patterns.
The next lesson shows how to do the same thing, but using the minor pentatonic box with the minor modes.
http://www.guitartricks.com/lesson.php?input=11284&s_id=296
This tutorial also has practical info on how to use pentatonic boxes to see, play & hear various modes.
http://www.guitartricks.com/tutorial.php?input=770
While this tutorial is focused on modes as specific sequences of intervals, at lesson 16 there is another graphic that shows how I am using the major pentatonic box as a visual reference guide. But I insert the appropriate diatonic note as necessary to get any given major mode.
Hope this helps!
# 4
Just started the modes of the major scale, I am on lesson 2 now and decided to give you my thoughts on this. So here it is: I revised the labels or modes of the mother scale to create a parallel scale. As in the case of A major the dorian is at the 7th note of the scale, the G sharp becomes G and we start on the A note of the G scale thus creating a dorian scale. Phrygian mode the F sharp becomes F and start on the A note of the F scale, Aeolian mode the C sharp becomes C major and start of A, Locrian the second note becomes B flat major and start on A note. Lydian we simply use the E note as E major and start on A and finally the D the 4th note of A major we use it as D major and start on A for a mixlydian scale. It looks like I am in to a more complex study of the fretboard.
What are the songs tied up to the modes of the major scale? Guns and Roses "Sweet Child of Mine" is a mixolydian song. Blind Melon "No Rain" is also a mixolydian according to some authors.
What are the songs tied up to the modes of the major scale? Guns and Roses "Sweet Child of Mine" is a mixolydian song. Blind Melon "No Rain" is also a mixolydian according to some authors.
retired employee 2012 , widower 2015 , Three grandchildren , Study Guitar .
# 5
Just finish this two important studies of the fretboard. Highly recomended for guys like me who thought that I know everything. First studies is the relative mode of the mother scale, while the Second is the parallel way of studying it. What is important is the "play and hear" or familiarity of the sound of each mode. This gives me now the main reason why I should practice daily. I will add simple chord(s) to each mode for that sound/scale to be embedded into me.
One question: Is this what we call "Pitch Axis Theory"? I read it in the forum. It was Bela Bartok who created it, not Joe Sartiani. I would appreciate it if there is a study of this on GT.
One question: Is this what we call "Pitch Axis Theory"? I read it in the forum. It was Bela Bartok who created it, not Joe Sartiani. I would appreciate it if there is a study of this on GT.
retired employee 2012 , widower 2015 , Three grandchildren , Study Guitar .
# 6
Glad you enjoyed the modes tutorials.
The way I approach the modes in the practicing the modes tutorial is similar to what is called Pitch Axis Theory. To be fair, Satriani himself did not claim to create it, he merely used it in a couple of his tunes. See here for more:
http://en.wikipedia.org/wiki/Pitch_axis_theory
If it helps you to think of the modes using this concept, that's great! I didn't use that term because it's just another layer of information in between grasping the modes & their sounds. And this material is often hard enough to grasp without making it more complex than necessary!
Hope that helps.
Originally Posted by: ramoncandidoWhat is important is the "play and hear" or familiarity of the sound of each mode. This gives me now the main reason why I should practice daily.[/quote]
Yes! Excellent observation. It is very important to connect each fretboard pattern or finger motion to the sound it makes. After all, music is an auditory art. :)
[QUOTE=ramoncandido]
One question: Is this what we call "Pitch Axis Theory"?
The way I approach the modes in the practicing the modes tutorial is similar to what is called Pitch Axis Theory. To be fair, Satriani himself did not claim to create it, he merely used it in a couple of his tunes. See here for more:
http://en.wikipedia.org/wiki/Pitch_axis_theory
If it helps you to think of the modes using this concept, that's great! I didn't use that term because it's just another layer of information in between grasping the modes & their sounds. And this material is often hard enough to grasp without making it more complex than necessary!
Hope that helps.
# 7
