1998wdt |
NAVIGATION CONCEPTS: FOR SPANISH GUITAR: (Steel Guitar readers should read also, for concepts; Dedicated Steel Guitar section is at end of the course.) Now comes the magic question: How can we possibly keep up with all this for each mode in a simple manner? QUITE EASY: Since each mode scale is identical to the relative Major Scale the mode is derived from, we can simply play the relative Major 7 scale for any mode in any key rather than having to memorize a different scale for every mode in every key. For instance, if we want to play / jam / vamp Gmin7, then we have 2 choices: We can memorize a finger position for min7 (and 1 for every other mode scale!), OR we could play / vamp / jam using the notes of F Major scale finger position since it's the same notesBUT WE HAVE TO KNOW WHERE THAT MAJOR SCALE ROOT IS TO FIND THE SCALE ON OUR INSTRUMENT. Sticking with the min7 example; Since it's min7 it can only be Dorian and nothing else. And min7 / Dorian simply means the min7 scale is derived from using the notes of it's relative Major scale BUT using THE RELATIVE MAJOR SCALE'S #2 note as the Dorian root giving us the very birth and meaning of minor7. The Dorian will always be made from the 2nd note of the Major Scale it is derived from; So that equally well goes to say that the Major 7 scale ANY Dorian / minor7 comes from is ALWAYS located 1 whole step below the root you want to be Dorian / minor7. If you want to play Emin7 notes you simply play Major7 notes 1 whole step lower which is DMaj7 once again because DMaj7 and Emin7are the very same identical notes. Likewise, if we want G to be min7 / Dorian, then the Major scale MUST be F Major scale, whose root note is one whole step down from Gmin7 root note. WE ALWAYS NAVIGATE WITH THE ROOT NOTES. Where all the remaining modes are located relative to the Maj7 will be presented later herein but don't worry, it is quite easy; And chances are you have figured it out already looking at the charts. Let's go over a few more examples just to get it down good: Bbmin7 Dorian notes / scale are derived by playing Ab Major scale notes because Bb is the #2 note of AbMaj7 and CONVERSELY Ab IS THE b7 OF Bb. KNOWING THE CONVERSE WILL ELIMINATE HAVING TO STOP AND CALCULATE THE CONVERSE; And the converse is simply the Major scale template in reverse meaning that if Dorian root is 1 whole step up from the Major 7 root, then it stands to reason that Maj7 root is down 1 whole step from Dorian root. Remember, in the real world of playing and jamming, we don't play scales, we play the notes of scales in whatever creative manner we desire; So we just need to know where to find those scale notes quickly and in that one single familiar Maj7 finger pattern. Doing that is the essence of this course. BOTTOM LINE: Any time we play a minor 7 scale or chord IT IS DORIAN. Dorian is simply a name for minor 7 scale. And it is always made from the 2nd note of it's Major scale becoming root for the min7. Starting on the 2nd note of a Major scale and playing an octave up or down to the next 2nd note will ALWAYS be a minor 7 scale. Now that the idea of Dorian is covered well, we can similarly derive the structure of all the other modes by knowing the Major scale steps template and which step note each mode uses as it's root. Hang in there it gets easier as we go. Since it's quite difficult without the methods of this course to remember a different finger position for each mode scale and chord at their root; It is much easier to memorize only 1 Major scale finger position and know where it's root needs to be to provide the relative Major scale notes that the mode scale / chord desired is determined from. See the template chart 092601-4 and follow along: Examples, if you want to play C Aolean (Cmin7b6) you can simply play the Eb Major 7 scale notes and VOILA, you're playing C Aolean scale notes. Likewise if you want to play G7 (Mixolydian), then you would play C Major 7 scale notes and you'll be playing G7 scale notes which are identical to CMaj7 notes. THE TEMPLATE MATH: See the template chart 092601-4 and follow along: THE SIMPLE "MATH" THAT MAKES THE MODES (and makes Major scale substitutions possible): I will again use C Major scale notes and then Major scale numbers, to provide the simple relative math of the modes (ALTHOUGH C MAJ AND IT'S MODES ARE ONLY EXAMPLE AND THE PROCESS APPLIES TO ANY KEY): CMaj7 Ionian = Dmin7 Dorian = Emin7b2b6 Phrygian = F#4 Lydian = Gdom7 Mixolydian = Amin7b6 Aolean = Bmin7b2b5b6, a half diminished = They all share the same "MOTHER" Ionian Maj7 notes. So we can likewise compute the same thing for any key, scale or chord desired BY USING NOTE AND CHORD NUMBERS THAT APPLY TO ANY KEY, SCALE OR CHORD, rather than the letter names of specific scales as we've done so far: And what we get is: THE BIGGIE; THE MASTER; THE WHOLE NINE YARDS IN A NUTSHELL; THE KEY TO IT ALL FOR SCALES: IMaj7 = IImin7 = IIImin7b6b9 = IV#4 = V7 = VImin7b6 = VIIdim. AGAIN, THE KEY TO IT ALL AND THE MOST IMPORTANT MENTAL FORMULA / CHART TO MEMORIZE: ''I'Maj7 Ionian = IImin7 Dorian = IIImin7b2b6 Phrygian = IV#4 Lydian = Vdom7 Mixolydian = VImin7b6 Aolean = VIImin7b2b5b6, a diminished. THIS WHOLE COURSE IS CONTAINED IN THIS FORMULA. When you establish a letter root name to ANY ONE OF those modes, what the remaining ones will be is automatic and set in stone. OBVIOUSLY if II is D then I must be C ..just as if Bb is II then Ab must be I. Likewise if I is C then VI must be A and conversely if VI is A then I must be C. Compare the MASTER, BIGGIE, WHOLE NINE YARDS formula as we go along: If we want to play a dominant 7 scale notes (the V / Mixolydian mode), then we could play the 'I' Maj7 scale notes. Meaning if we wanted to play G7 scale notes, we would play CMaj7 scale notes, because C is the 'I' when G is V, and IMaj7 scale notes are the same as V7 scale notes, meaning CMaj7 scale notes and G7 scale notes are the very same. Likewise, if we wanted to play F#min7b6 scale notes (Aolean, the VI root scale), then we would play AMaj7 scale notes, because 'A' is the 'I' when F# is VI, so therefore AMaj7 scale notes and F#min7b6 scale notes are the same. THE SIMPLE MATH TO NAVIGATE THE MODES' Major scales substitutions: Stop for a moment and think: AS THE MODE STEP ROOTS GO UP THE MAJOR SCALE, CONVERSELY THE RELATIVE MAJOR SCALE ROOT (and Maj7 finger position) GOES DOWN THE SCALE IN RELATION TO THE MODE ROOTS. So all you have to do is mentally look down "the Maj7 slide rule" template from the mode root desired, to know where the relative Major scale root is. In other words we are looking / thinking / counting backward from the mode root to the Maj7 "MOTHER" Ionian root, rather than counting from the Maj7 root forward to the mode root; Because most of the time you will be calculating what Major 7 scale to play for a certain given key / chord / mode than vice-versa (ALTHOUGH IT'S COOL AS HECK TO NOW REALIZE YOU COULD PLAY ANY OF THE MODE CHORDS IN SUBSTITUTION FOR EACH OTHER !). Now, for ease of navigation, once the Major 7 scale root gets 1/2 octave down from the mode root, it becomes a shorter route up the guitar neck rather than down WHERE THE BEGINNING OF THE NEXT MAJOR SCALE OCTAVE IS, .but that will take some woodshedding and getting used to once the concepts of this course are familiar and quicker in your mind. THE PRACTICAL CONVERSE MENTAL COMPUTATION: let's look at where the Major scale goes for all the B modes. B min7 Dorian is AMaj7 down 2 frets from B. Bmin7b2b6 Phrygian is GMaj7 down 4 frets from B. B#4 Lydian is F#Maj7 down 5 frets from B. B7 (B9, B11, B13) Mixolydian is EMaj7 down 7 frets from B but a shorter route is the higher octave EMaj7 UP 5 frets from B. Bmin7b6 Aolean is DMaj7 likewise the shorter distance UP 3 frets. B diminished (1/2 diminished) is CMaj7 up 1 fret from B, allot easier than down 11 frets. SO WE CAN MENTALLY COMPUTE: Maj7 Ionian = same position @ 'I'; min7 Dorian = down 2 (frets); min7b2b6 Phrygian = down 4 frets; #4 Lydian = down 5 frets; dom7 Mixolydian = up 5 frets; min7b6 Aolean = up 3 frets; min7b2b5b6 (1/2dim) Locrian = up 1 fret. To make it even more simple, we can simply memorize the position math since we already have to memorize the mode step sequence and names: From the root of the chord desired, down 2,4,5 --- Up 5, 3, 1 to respectively get Dorian, Phrygian, Lydian, Mixolydian, Aolean and Locrian. FOR ME IT'S EASIER TO JUST REMEMBER THE SIMPLE FORMULA AND WHY IT WORKS; That way I know that Dorian is II, Aolean VI, etc etc and therefore always know where IMaj7 is. Remember the "5 times" technique? Click HERE to go to the next section, CHORDS. |
NAVIGATION CONCEPTS: FOR SPANISH GUITAR: (Steel Guitar readers should read also, for concepts; Dedicated Steel Guitar section is at end of the course.) Now comes the magic question: How can we possibly keep up with all this for each mode in a simple manner? QUITE EASY: Since each mode scale is identical to the relative Major Scale the mode is derived from, we can simply play the relative Major 7 scale for any mode in any key rather than having to memorize a different scale for every mode in every key. For instance, if we want to play / jam / vamp Gmin7, then we have 2 choices: We can memorize a finger position for min7 (and 1 for every other mode scale!), OR we could play / vamp / jam using the notes of F Major scale finger position since it's the same notesBUT WE HAVE TO KNOW WHERE THAT MAJOR SCALE ROOT IS TO FIND THE SCALE ON OUR INSTRUMENT. Sticking with the min7 example; Since it's min7 it can only be Dorian and nothing else. And min7 / Dorian simply means the min7 scale is derived from using the notes of it's relative Major scale BUT using THE RELATIVE MAJOR SCALE'S #2 note as the Dorian root giving us the very birth and meaning of minor7. The Dorian will always be made from the 2nd note of the Major Scale it is derived from; So that equally well goes to say that the Major 7 scale ANY Dorian / minor7 comes from is ALWAYS located 1 whole step below the root you want to be Dorian / minor7. If you want to play Emin7 notes you simply play Major7 notes 1 whole step lower which is DMaj7 once again because DMaj7 and Emin7are the very same identical notes. Likewise, if we want G to be min7 / Dorian, then the Major scale MUST be F Major scale, whose root note is one whole step down from Gmin7 root note. WE ALWAYS NAVIGATE WITH THE ROOT NOTES. Where all the remaining modes are located relative to the Maj7 will be presented later herein but don't worry, it is quite easy; And chances are you have figured it out already looking at the charts. Let's go over a few more examples just to get it down good: Bbmin7 Dorian notes / scale are derived by playing Ab Major scale notes because Bb is the #2 note of AbMaj7 and CONVERSELY Ab IS THE b7 OF Bb. KNOWING THE CONVERSE WILL ELIMINATE HAVING TO STOP AND CALCULATE THE CONVERSE; And the converse is simply the Major scale template in reverse meaning that if Dorian root is 1 whole step up from the Major 7 root, then it stands to reason that Maj7 root is down 1 whole step from Dorian root. Remember, in the real world of playing and jamming, we don't play scales, we play the notes of scales in whatever creative manner we desire; So we just need to know where to find those scale notes quickly and in that one single familiar Maj7 finger pattern. Doing that is the essence of this course. BOTTOM LINE: Any time we play a minor 7 scale or chord IT IS DORIAN. Dorian is simply a name for minor 7 scale. And it is always made from the 2nd note of it's Major scale becoming root for the min7. Starting on the 2nd note of a Major scale and playing an octave up or down to the next 2nd note will ALWAYS be a minor 7 scale. Now that the idea of Dorian is covered well, we can similarly derive the structure of all the other modes by knowing the Major scale steps template and which step note each mode uses as it's root. Hang in there it gets easier as we go. Since it's quite difficult without the methods of this course to remember a different finger position for each mode scale and chord at their root; It is much easier to memorize only 1 Major scale finger position and know where it's root needs to be to provide the relative Major scale notes that the mode scale / chord desired is determined from. See the template chart 092601-4 and follow along: Examples, if you want to play C Aolean (Cmin7b6) you can simply play the Eb Major 7 scale notes and VOILA, you're playing C Aolean scale notes. Likewise if you want to play G7 (Mixolydian), then you would play C Major 7 scale notes and you'll be playing G7 scale notes which are identical to CMaj7 notes. THE TEMPLATE MATH: See the template chart 092601-4 and follow along: THE SIMPLE "MATH" THAT MAKES THE MODES (and makes Major scale substitutions possible): I will again use C Major scale notes and then Major scale numbers, to provide the simple relative math of the modes (ALTHOUGH C MAJ AND IT'S MODES ARE ONLY EXAMPLE AND THE PROCESS APPLIES TO ANY KEY): CMaj7 Ionian = Dmin7 Dorian = Emin7b2b6 Phrygian = F#4 Lydian = Gdom7 Mixolydian = Amin7b6 Aolean = Bmin7b2b5b6, a half diminished = They all share the same "MOTHER" Ionian Maj7 notes. So we can likewise compute the same thing for any key, scale or chord desired BY USING NOTE AND CHORD NUMBERS THAT APPLY TO ANY KEY, SCALE OR CHORD, rather than the letter names of specific scales as we've done so far: And what we get is: THE BIGGIE; THE MASTER; THE WHOLE NINE YARDS IN A NUTSHELL; THE KEY TO IT ALL FOR SCALES: IMaj7 = IImin7 = IIImin7b6b9 = IV#4 = V7 = VImin7b6 = VIIdim. AGAIN, THE KEY TO IT ALL AND THE MOST IMPORTANT MENTAL FORMULA / CHART TO MEMORIZE: ''I'Maj7 Ionian = IImin7 Dorian = IIImin7b2b6 Phrygian = IV#4 Lydian = Vdom7 Mixolydian = VImin7b6 Aolean = VIImin7b2b5b6, a diminished. THIS WHOLE COURSE IS CONTAINED IN THIS FORMULA. When you establish a letter root name to ANY ONE OF those modes, what the remaining ones will be is automatic and set in stone. OBVIOUSLY if II is D then I must be C ..just as if Bb is II then Ab must be I. Likewise if I is C then VI must be A and conversely if VI is A then I must be C. Compare the MASTER, BIGGIE, WHOLE NINE YARDS formula as we go along: If we want to play a dominant 7 scale notes (the V / Mixolydian mode), then we could play the 'I' Maj7 scale notes. Meaning if we wanted to play G7 scale notes, we would play CMaj7 scale notes, because C is the 'I' when G is V, and IMaj7 scale notes are the same as V7 scale notes, meaning CMaj7 scale notes and G7 scale notes are the very same. Likewise, if we wanted to play F#min7b6 scale notes (Aolean, the VI root scale), then we would play AMaj7 scale notes, because 'A' is the 'I' when F# is VI, so therefore AMaj7 scale notes and F#min7b6 scale notes are the same. THE SIMPLE MATH TO NAVIGATE THE MODES' Major scales substitutions: Stop for a moment and think: AS THE MODE STEP ROOTS GO UP THE MAJOR SCALE, CONVERSELY THE RELATIVE MAJOR SCALE ROOT (and Maj7 finger position) GOES DOWN THE SCALE IN RELATION TO THE MODE ROOTS. So all you have to do is mentally look down "the Maj7 slide rule" template from the mode root desired, to know where the relative Major scale root is. In other words we are looking / thinking / counting backward from the mode root to the Maj7 "MOTHER" Ionian root, rather than counting from the Maj7 root forward to the mode root; Because most of the time you will be calculating what Major 7 scale to play for a certain given key / chord / mode than vice-versa (ALTHOUGH IT'S COOL AS HECK TO NOW REALIZE YOU COULD PLAY ANY OF THE MODE CHORDS IN SUBSTITUTION FOR EACH OTHER !). Now, for ease of navigation, once the Major 7 scale root gets 1/2 octave down from the mode root, it becomes a shorter route up the guitar neck rather than down WHERE THE BEGINNING OF THE NEXT MAJOR SCALE OCTAVE IS, .but that will take some woodshedding and getting used to once the concepts of this course are familiar and quicker in your mind. THE PRACTICAL CONVERSE MENTAL COMPUTATION: let's look at where the Major scale goes for all the B modes. B min7 Dorian is AMaj7 down 2 frets from B. Bmin7b2b6 Phrygian is GMaj7 down 4 frets from B. B#4 Lydian is F#Maj7 down 5 frets from B. B7 (B9, B11, B13) Mixolydian is EMaj7 down 7 frets from B but a shorter route is the higher octave EMaj7 UP 5 frets from B. Bmin7b6 Aolean is DMaj7 likewise the shorter distance UP 3 frets. B diminished (1/2 diminished) is CMaj7 up 1 fret from B, allot easier than down 11 frets. SO WE CAN MENTALLY COMPUTE: Maj7 Ionian = same position @ 'I'; min7 Dorian = down 2 (frets); min7b2b6 Phrygian = down 4 frets; #4 Lydian = down 5 frets; dom7 Mixolydian = up 5 frets; min7b6 Aolean = up 3 frets; min7b2b5b6 (1/2dim) Locrian = up 1 fret. To make it even more simple, we can simply memorize the position math since we already have to memorize the mode step sequence and names: From the root of the chord desired, down 2,4,5 --- Up 5, 3, 1 to respectively get Dorian, Phrygian, Lydian, Mixolydian, Aolean and Locrian. FOR ME IT'S EASIER TO JUST REMEMBER THE SIMPLE FORMULA AND WHY IT WORKS; That way I know that Dorian is II, Aolean VI, etc etc and therefore always know where IMaj7 is. Remember the "5 times" technique? Click HERE to go to the next section, CHORDS. |
Lesson 4. Substitution Navigation. |
Lesson 4. Substitution Navigation. |
I6 |
Imin7 |
IMaj7 |
Imin7b6 |
1998wdt |
