We move on to the Spelling Out the Scale segment. In G with a G bar chord at the third fret. We see the charts and the roots and we assign the notes numbers: one, two and so on up to seven. He counts us the scale 1 2 3 4 5 6 7 then to make our 1st mode; Dorian, we flat the third and the seven. Where this falls down is the lack of written material. His constant referring to pattern numbers is annoying.
How he can expect us go to the trouble when its something so obviously lacking. On the other hand its right there on screen in a chart or two waiting for us to connect the dots. Will says we should remain at the third fret with our E shape bar chord firmly in mind and play pattern number two starting at the root note (G note, 3rd fret).
If we did that then we would be playing Dorian relative to G thus G Dorian. He points out by playing some licks that many Blues and rock riffs come out of Dorian.
The Mixolydian mode is next and Will calls it in between the Major and Dorian since it only deviates from the major scale by 1 lousy note... only having a flat 7 in it.
Jazz guys use that and even Jerry Garcia used it a lot in early Grateful Dead Music.
Lastly we go to a minor scale The Aeolian Mode. Even though Dorian has a flatted third and is a minor scale Will doesn't mention that here. Which is string pattern X in the Y position. Just kidding! Its natural minor. Or relative minor. The 6th. In the Key of C its A minor. In the key of G its Em or Aeolian pattern five played in root position. Lets see if this gets clearer with the lick examples. 32:33 One hour 21 minutes left!
He intersperses basic string physics such as the practical meaning of interval such as thirds and fourths and perfect fifths as length of vibrating string. With modes made simple. We've got the major scale and our Dorian which is the major altered with a flat 3rd and flat7... Then we have the Mixolydian and the Aeolian.
The first Lick starts A Dorian at the 5th fret. A very Rock and Roll and Blues and Chuck Berry sounding grouping to riff over. Pattern three in Key of A.
These lick examples continue giving you example after example of the 4 different modes mentioned earlier. Like anything learning this is going to require some repetitive application and study but seems like a real practical way to introduce yourselves to modes and to see how a real live professional guitar player applies them to his playing.
Sure Will wants to hear more from you but gives the intermediate player some great lesson material to put all their previous scale work into context.<www.willray.biz>
Back to the lesson at hand I have feeling that Wills' down home approach will get you over your shyness of the 3 modes you need to know most. Beginners can learn an approach to playing scales here too but will also be advised to obtain a good guitar reference book to supplement their knowledge bank.
The guitar is still playing us rather than we it without this knowledge. Another good modes lesson is the serious business Musicians Institute Soloing styles guide. All including Will Ray's are worth consideration. If you don't want to be that thorough and still know more than 80% of most guitar players this is ideal!
Knowledge is power plus you may be worthy enough to learn some cool moves early on and over time, perhaps a few months and 20-40 viewings later you would be getting flavourful like hickory smoked BBQ sauce on slaw!
It’s your place in the world; it’s your life. Go on and do all you can with it, and make it the life you want to live. – Mae Jemison