Modal Modulation If you're still daunted by modes, fear not as our resident Creative Rocker Shaun Baxter shows you how to practise all seven modes in one progression and in one position on the fretboard... $858 \Willimprove your: {8 Knowledge of modes (Musca use of modes when improvising ‘Fretboard knowledge HIS MONTH'S SOLO study features ‘modal modulation, which s also cal i's the practice of playing hey changes (mdiating) ing various modes from the same ‘Thican only be done tan progressions, buts one chor progression. Modes etic of this sujet see Dave Kirst’ Tasty Solos feature on page 20 This month’ slo study, 2 oueve, nee going tb start blocking at aw various mod before jumping sai Learning the modes Most ofthe confusion wth modes preoccupied with thee origin (0 Doran sin C major etc) stead, itsinporant that each mede seen asa scl ints oan night. By leering the modes inthe flowing des ts posse to change from [iden 12305 . | meciytan 2 6 cone to another simpy by fa Ctwerng bya sem:tone) one no The foloning neck dag ‘odes in one area ofthe When yo lok tthe neck agra opposite, take paul Shapes shown within each scale shape (lack notes) 2)all he minor modes 3, Aeolian and ted and ONTHECD @ Tracks 48-51 in chord hi 3) The rior thed and adi sve outined 3 within ech scale shape, becouse ‘Sminshed 7 cho ‘mode has botha shed ith Learning the shapes ‘Aafist unc, you may get engresson that tere 3 rub fsa pattrs oe over espection, ou Imades have the same five ater theyre tina erent because the even medes represen thesame sae he mao sale viewed om adfeent pers the root note'sn a tern pa acyantage of hs symmetry mos attempts to look ora usualy end up leading toa dead end that you have Do cr) modultion 0 ‘ompastonl device that an be oben insore cscs! coors te Bla art, a wel 3 ‘modal zat Ke Wayne Shorter, Joe Henson and Pat Meer (ten ois song eed Bight Life, from te um ofthe ae Truss varus modes rm a0 note troughout As menone, Je Satin sone payer rocknho Les his rind hemos ebvious tml being yng in Boe Dreom ain, forme albu of the same i) match he sahil fom Cyan 19 Aeon, 66To know a scale everywhere on the neck you need landmarks - that’s why the CAGED system is the best place to start 99CAGED system i five shape sytem Ce ee > ee eeidud soseot Ulan » eran » Mohan » Doran » Acoli » Phygian » loan | Coa‘creemapitvecbok wie Sahni ae Stale farams again and ead down ‘The CAGED system tc However in ocerto get to ‘the lefchand side ofthe page, yout Pap sales three notes per sting the point where you row ascale see thatthe vanous chord shapes isfineand timate, we should everywhere onthe guitar neck, you within the lyian sae pater go allkrow our sae ets: but we _needlandmarks-that'sty the "Eshape,"O-shape’, Cshape et). In aso needtoknowascale alongthe CAGED sjstemis the bestplaceto the CAGED sytem, scale shapes stay length ofone sting, rtwostings star. fou doit aeady know, the over the teritory ofa chord (rather Alydian ——Aionian Amixolydian dorian aeolian A phrygian os “2 del] than dt aay rom the cho ke the thee-notes-pesting approach) tesa unified system: there ae five shapes for chords, scales, and arpeggios. How canyou hope to lear your scales propery fyou stat off by tying to pt seven patterns 005 ve ches? Changing from shape to shape Wen tein note ofa moden crc to produce note mode is inarowon asl sting ats reve happenin ay te CAGED see shapes Sa, neato toes are sing tobe crested on he sare Sng, when atten ante irpy trove down oto he adacert thier sing jou red oe alnays be a sem-one gher than ‘ened nae on tate) For example let's ake shape S Ayan the flowing dag Sons the th degrees bth OF hohighted below 2. Next, we can create loian by lowering each one ofthe ath dearees by er tone (0D) ‘thus creating a nv, yet foi, CAGED shape: Note thatthe #4th (0 on the secon sting was simpy lowered ‘semitone onthe sme sting, meres the one on thefurth sting was brought down onto the fith, incrder to avoid resting two tones, Asan execs, ty staring tom cach Aydin scale shape an, by_sstematcaly flatening the relevant rnotesin order to gt each mode, metamorphosing each CAGED shape fight hough tothe Locian Reading from eft to ight across each ne, use the cal diagrams to check tat you venta, you must aim to 90 ‘through ths proces without looking atthedagams. Seualreforonces visual Alene dagen eer amare omemont es ‘cr eve ra nes Cyaan enna cia he bape hen coon See spr peace seq 323 oy nesnng tn tet nt due craton eet dan = 1234956 0 wenn 123° 56 0) Macian= 1.2.3 (8) 5.6 (7) Silay, al the minor modes (Dotan, ‘Aeon and Phygian) share the minor pentatoncseale(1 63.4 5 17, meaning that onl the second de sb dares are ferent. Dein = 10) B34 5 © b Aeolian = 12) tB 4 5 Ge) b7 Pylon 1 (2) 6345 (bs) B7 The solo In The Mode, snot ast thats why itsontyrecerded atone speed) Hopeful tdemonsrates thats possible o get some musical results ‘sing the reevant modes throughout the progression. Apart fom the sol youilao get an extended backing tack, which repeats the sequence in the box belo). ONTHECD & Tracks 48-51 Yourightfindit dificutt© fom the bottom or topo each scale make the varous sales sound Shape each time). 'simportant to ‘musial over the backing rack butit_ try to pursue amore musical rain of ‘maybe because youre smply running thought. {ur and down each sae tying 2) Developing musica themes means to prove to youself thatyoucan_thatyou end up playng what you remember each shape. This however, needto play, not what you jst wilnot be inspong for te istene:. happen to see. CConsequenty, when yng to wethe 3)Lisen to what you are doing, scalesn a musical way, alwaysfous 4)Take your time. ‘on the flloning 5) Use bends, vibrato and mix up ‘Leave space. Dont fee cbiged picking and legato harme-ons toplayevery net (or intact stat andpul-tts). OT AMaydan—AAzolan gan Aight Dotan —_APingin Emit (4bars)—AmTBIB(ABars)——DIE(Abars) rb (bars) Anmohdar —AAediane gan ADWaN fod Geman (ars) taj (¢bars) Amt (bas) Gn bars) Ayean oan Aviaysan Alone m7 ars) (bars) Ett bars) EPA, DIA bas) ns) 7 ‘Amactyin oan ~