Best Miami Guitar Lessons | Understanding Modal Playing

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Up until now in best Miami guitar lessons, we’ve been learning the modes is seven different hand positions that locked together to play the major scale all throughout the neck of the guitar over cords. Right now what we’re gonna do is we’re going to talk about modal playing and how you can make these sound different. So you may have noticed that we’ve done seven different shapes and they’re all slightly different from each other and this sound a little bit different from each other, but we haven’t really gotten them to sound so different from each other. And the reason is because we’ve all been doing it in the same key. Uh, so for example, right, let’s, we’ve done it in the key of c. So here’s a c major and uh, that’s kind of a happy, uplifting cord in and of itself. And one of the last ones we did was the locker and scale, which you said it was a very dark scale, right? And that started on b. So B, c, d, e, f, g. all right, so here’s the c major chord and here’s the seventh mode, these mode. And if we combine them,

it doesn’t really sound that dark because really we’re just playing the same notes of the c major scale, albeit we are starting at a b, so it sounds a little bit different, but we’re not really getting the feel for what locrian sounds like. So we’re going to talk about different ways to bring out the individual sound of each mode in best Miami guitar lessons. But before we do that, I wanted to just take a note and talk about how the guitar community looks at Moe’s. And it seems like there’s a lot of pressure to play modes the correct way. Because right now all we’ve done is use the Moses handshake, display the major scale and make things sound right or sound correct. Now, I don’t really think there’s a wrong way to play the modes, even though this isn’t really modal playing. We’re just still making things sound together because we’re playing in one key all throughout the guitar and that’s a really good way to stoke your creativity.

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But if you want to take it the next level and kind of see what each of them offer, this is a good way to do it. And at the end of the day, you’re not really gonna Dazzle, uh, anyone with your mastery of the modes in best Miami guitar lessons. It’s either you’re going to sound cool or you’re not right. So I just kind of want to go over a few different chords and show how they can be used within a progression with the different modes. So let’s start out with just a c chord right now. A C chord in and of itself doesn’t have a key that we can discern yet now it gives us a good idea of what it might be. It could be the one chord in the key of c, it could be the four chord in the key of g, and it could be the five chord in the key of f. So it would make sense that the modes we would use to play over that quarter would be the first, fourth and fifth modes, which would be I own inner major

lydian mixed Lee.

So if you just have a c Corp, that’s all you have, maybe you’re playing with somebody else or you’re just kind of extending and accord on your own.

That’s a good way to kind of think of it as Ford is your base and then you can jump off using whichever mode you kind of perceive. So a lot of times modal playing is playing with the changes, right? So if it was a chord progression, maybe just like a c major to a minor and that’s it for best Miami guitar lessons .We still aren’t totally sure which key we’re in just by giving those two chords. Right. Again, we have a good idea. We could be in the key of c playing a one, six progression, in which case the modes we would play over the c major chord would be the c major scale and over the a minor chord would be the a minor scale, but that’s going to kind of give you the same sound. I’ll be with a couple little differences now where you can use your knowledge of the differences between the modes is an extension of that core.

So how do we create like a locker, Ian feel over a c major chord you might think, but yeah, just go to where the lacquer and scale exists in the key of c, which is that be it and then start playing those adults. But again with best Miami guitar lessons, that’s not really going to give you the sound of lachrymose the way I like to think of it as if you want to lock you in, feel in the key of c place, see lockers, right? So instead of going a c chord to, we’re going to move that from a b to a cea.

And to me that’s more of an accurate example of that sound. But the seventh mode sound, even though really musically it doesn’t fit because a c major chord has a major third, right? A C and e and a g and the c lottery and scale as a minor third, right? So there’s dissonance there. But that dissonance is actually was kind of responsible for that. So I’m going to link to a backing track and one of the cords in the backing track is going to be a c major chord. And feel free to play any of the modes over that c major chord and sometimes technically won’t fit and that’s fine. This is just kind of like an exploration of the modes. So if you want a Dorian feel in the key of c instead of going to d Dorian, try throwing, see Dorian in there.

And that’s what practice is all about is just finding the things that you find acceptable because if you’re just playing what’s right, everything is going to sound more or less, a little bit the same. Everything is going to sound very safe in best Miami guitar lessons. If you want to start taking more risks and that’s a great thing that the [inaudible] can help with is just kind of like going outside of the box and exploring things. Start playing different modes off of the same notes and the reason that this is creating such a different atmosphere is because we’re changing the tonal center. Now, what I mean by that is, again, in that key of c or whatever key you’re in, when it was just a c major chord or not even thinking of it as the one chord in the key of c, you were just thinking of it as a group of notes, c, e and g dot that are telling our brains our ears, what the tonal center is, right?

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That’s why a lot of the time, the first chords you hear in a song, that’s the key. It’s sitting right. If you. If of course starts with the CEO, it was a better than 50 slash 50 percent chance that it’s going to be in the key of c just because that first strum of a chord is establishing that tonal center and everything we do is kind of reacting off of that tonal center. So if you have a total center with best Miami guitar lessons and then you start manipulating the modes around it, you start ending up with different interesting types of silence. Right now the safest one you could do is just use the one that lines up with it, right? So like if I have a c major chord to a g major chord and I’m thinking in the key of c, then I could display the c major scale over the c major chord and the g Mixolydian scale over the g major farm, right? Because that’s where it fits and that’s going to sound great. But if you want to explore the modes a little bit more, try doing something differently. Right? So maybe for the c Major Florida we actually play see alien or c minor, right? So over the c major chord you can us off

all those kind of a minor pentatonic licks or anything, you know, in the c minor scale. And then for g, which again will be the g mixolydian mode, normally maybe we could actually even go lock her in there. Right? So for the c part now the one thing I want to stress is that if you’re playing with other musicians, you kind of need to be on the same page or else this kind of philosophy. You can go really, really off the tracks in best Miami guitar lessons. Like if there is a two guitars, if you’re one of two guitarists and a bass player and the other guys are kind of playing a c to a g and every time they play a c major you just rip off some like, like see lottery and ref and every time they play a g major you’re still in GE lock Rianna like they’re going to kick you out of the band, but like they’re just as unacceptable because it’s going to sound so bad. You kind of have to make sure you’re all working together as a unit and that’s where music theory really comes in handy to communicate with other musicians.

Like for example, again with that seat, right? As soon as you get a bass player to jump on board, he plays a b over a c major. You guys are actually combining to play a bigger cord with best Miami guitar lessons. Now, if it’s on top a c major plus a b is a c, e, G, b, which is a c major seven. So if you kind of doubled up with like a guitar player and one guitar player plays a, b, a c major chord, you both are combining to play a c major seven chord. So that’s why in a band you want to be on the same page musically and theory wise. So maybe two guys in the bank and hold down the fort while one of them kind of explore something mostly because if everybody is exploring different things at the same time, it’s really going to be unlistenable and again, nobody is ever going to really congratulate you on your mastering of the modes.

This, this doesn’t sound cool or does it not? So again, don’t get too stressed out over trying to play modally with best Miami guitar lessons, but if you want to experiment as well backing tracks or for like you can see what the court is and then you can kind of interpret which mode you want to play over that and don’t always be handcuffed to playing in the key all the time. Because a lot of times, some of the best sounds or maybe just taking something way out of left field that isn’t in the key, that isn’t even close to being in the key and working that into a melody.