Guitar players can apply scales/modes much more effectively if the modes’ pitches are focused directly from off of their appropriate “tonal note.”
This way, guitar players can create a strong tie-in to the shape of the scale/mode directed toward any other associated patterns possible for use along with the mode.
Associated patterns can include arpeggios and pentatonic scales. For example: if a guitarist encountered a chord progression that promoted the use of the D Dorian mode, then this also means that they could use any associated patterns of D minor arpeggio, as well as D minor pentatonic, to better focus upon the modes tonal note.
Therefore, the “tonal focus” always retains a point of center target at the tonic of the mode, (in our D Dorian example this is obviously the tone of D). Targeting this as our primary tonic not only allows for greater melodic options, but it helps us as guitarists to treat the rally point of the mode as the pinnacle tone.
As we achieve greater skills with the use of the modes, targeting each modes tonic and using associated patterns vastly improves our composing and improvising skills.
To demonstrate this in a lesson, I’ve organized a three examples of this for study and practice. The first example places a focus upon the pentatonic. The second applies the focus at arpeggios. And, the third example focuses upon using the complete mode (off of its tonic) along with a revamped group of chords. Enjoy this weeks lesson!
The lesson video:
About the Author:
Andrew Wasson is a 1992 Graduate of Hollywood California’s Guitar Institute of Technology (G.I.T.). He has operated his Canadian Music School; Creative Guitar Studio, for the last 20+ years teaching thousands of guitarists both in studio sessions, and through his popular YouTube Channels, Skype lessons and websites. www.andrewwasson.com