Blog - Guitar Lessons by Genaaron Diamente

Going Parallel With Guitar Modes (How To Use Modes Part 2)

In part 1 of How To Use Guitar Modes, we looked at using modes on the guitar over a chord progression, by finding the key centre. In summary, staying di at onic requires finding the key centre or key centres of a chord progression, and using that key centre to determine which modes go over certain chords.

In this lesson, we are going to go parallel. Going parallel refers to a concept discussed in the lesson, guitar modes explained, which looks a each mode in its own right, separate from other modes or keys. Basically, using this approach, when we see a chord, we say in theory that there are a number of modes that could be used over that chord, and it is simply a matter of taste as to which one we choose. Staying diatonic is about following rules. Going parallel is about experimenting and essentially being free.

How To Use Guitar Modes – Staying Diatonic (Part 1)

by Genaaron Diamente

How do you use modes? It can take a lot of practice to understand modes and be able to play the shapes fluently by memory. Once you are starting to get on top of the basics, a greater challenge beckons – Using them in a music situation. This requires a broader understanding of modes. In this two-part lesson on using modes, we are going to look at the basics of using modes over a chord progression.

There are two approaches that we are going to explore in this lesson:

Staying Diatonic
Going Parallel

Functional Harmony – The Relationship Between Chords And Modes

by Genaaron Diamente

Understanding and using modes on the guitar is very important. It takes many hours of practice memorizing the positions, analyzing qualities of each scale and digesting all the theory that goes with it. It’s important to realize however, that an understanding of modes is not really complete without a good understanding of how they relate to diatonic chords. Chords and scales are very closely linked and a strong understanding of chords aids the use of scales and visa versa. In this post we are going to explore how modes relate to the diatonic chords of a major scale.

Firstly, I’m assuming for the sake of this lesson, that you have a basic understanding of modes. You don’t have to be a master just yet. In fact, hopefully this lesson will help you on your way. If you don’t have at least a basic understanding of modes, please read the post, guitar modes explained. I’m also assuming that you have a basic undertstanding of chords and how they are constructed. If not, please read the post on chord construction before moving on. Assuming you know a bit about both areas, let’s explore their relationship a bit further.

Major And Minor Pentatonic Scales On The Guitar

by Genaaron Diamente

Pentatonic scales are widely used scales on the guitar. They are hugely popular mainly because they are quite easy to play and are very easy to use in a musical situation right from the start. Something about pentatonic scales just ‘sounds good’. Used in the right context, it’s almost impossible to make them sound bad or unusual. This means that they are often one of the first scales that guitarists learn and use in their playing.

As the name suggests, a pentatonic scale is a 5-note scale. The two most common pentatonic scales are the major pentatonic and minor pentatonic scales. In this lesson, we are going to discuss the theory behind pentatonic scales and look at how to play them up and down the neck. If the theory gets a bit much a digest, have a go at playing the scales and come back to the theory when you are ready.

Percussive Strumming – Add Groove to Your Strumming

by Genaaron Diamente

The final element that we are going to analyze in the series on strumming is percussive sounds. Strumming patterns take on a new dimension when used with the percussive noises available on the guitar.

What Are Percussive Mutes?

Firstly, when we talk about percussive sounds while strumming, we are really talking about the mute sound that occurs when the right hand strums the strings of the guitar without any notes ringing clear. It produces a muted sound because the palm of the hand follows through, touching the strings and preventing the strings from ringing. The result is a dead, thud-like sound that sounds more like percussion than guitar. Keep in mind that this is different from the traditional ‘palm mute’ which involves playing notes while the palm lightly touches the bridge of the guitar to produce a dry, but still clear notes.

Ionian Mode Explained – Theory, CAGED Positions and Diagrams

by Genaaron Diamente

The Ionian mode is the first of the 7 modes. Essentially, it is just a major scale with a different name. In the lesson, Guitar Modes Explained, we have looked at producing and analyzing modes from a derivative and parallel approach. If these terms are unfamiliar, please read the post on guitar modes explained.

In a nutshell, a mode is produced by playing a major scale and starting on a different note of the scale. For example, to play the dorian mode, simply play any major scale and start on the 2nd note. The phrygian mode is produced by playing a major scale and starting on the 3rd note of the scale. Well, the ionian mode is effectively a major scale that starts on the 1st note of the scale. It’s simplicity is almost confusing, so if you are confused, just know that the ionian mode and the major scale are essentially two different names for the same thing. Therefor, to understand the ionian mode, you need to understand how major scales are constructed.