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01 Introduction Welcome to the Advanced Melodic Concepts workshop with your new teacher, Phil Dyer. This isn’t a shortcut or “5 easy modal licks”, it’s a fundamental understanding of how the modes are used and how to apply them in your playing. 02 Overview of the Modes In this lesson, Phil goes over all of the modes in the major scale: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. He also covers every interval in an octave, as intervals are going to be referred to frequently throughout the course. 03 Intervals In this lesson, Phil covers the correct Latin names for all of the intervals. The Latin names are often used in more classical or written settings, and they’re quick to learn. 04 Building Chords Once you have learned intervals and the modes, building chords becomes second nature. In this lesson, Phil covers not just major 7 chords, but major 9, major 11, major 13, add 9, add 11, add 13, sus chords. All of the chords that sound like they’ve got crazy names are going to be broken down and demystified. 05 Chord Inversions Using a triad or a major 7 chord as the basis for this lesson, Phil covers how to build inversions by using the 3rd, the 5th, and the 7th as the root. By applying this knowledge to other chords, you should be able to figure out chord inversions for other chords all over the fretboard. 06 Using the Minor Pentatonic The minor pentatonic is a great place to start when adding modal notes to your playing. By taking the CAGED system and applying it in A major, Phil breaks down how you can find a pentatonic box shape over each chord, and you can use this to add other intervals to the pentatonic box shapes you already know to integrate modal notes or target colour tones in the chords you are playing over. 07 Ionian Diving deep into each mode now! Phil kicks things off with the Ionian mode - the major scale, the most important scale in western music. Its intervallic structure is root, maj2, maj3, 4, 5, maj6, maj7. This scale is used as the baseline for all the other modes, so when we look at the Dorian mode, which has a min3 and a min7, we’d write the same scale formula as the Ionian mode, but amend the 3rd and 7th notes accordingly. Phil takes you through building an A maj7 chord, and then covers 3 different scale patterns for the Ionian mode, as well as showing you how to you can apply the relative minor pentatonic to access notes from the major scale all over the neck. 08 Dorian Moving onto Dorian, which is the A major scale played from the second note, B, Phil breaks down 3 different scale patterns for the Dorian mode. The Dorian mode is a minor mode that is often referred to as a sweet-sounding minor mode, because of its maj6 interval. The formula is root, maj2, min3, 4, 5, maj6, min 7. When you build a chord from the Dorian mode, you build a min7 by stacking thirds. 09 Phrygian Onto Phrygian now, which is started from the third note of the A major scale. Phil covers 3 different scale patterns and then looks at building a min7 chord by stacking thirds. Phrygian’s intervallic structure is root, min2, min3, 4, 5, min6, min7. The min7 derived from C Phrygian is our 3 chord in A major, as C is the third note of the major scale. 10 Lydian Lydian is the 4th mode of the major scale. Phil breaks down the 3 scale patterns and builds a Dmaj7 chord by stacking thirds. Lydian’s intervallic structure is root, maj2, maj3, #4, 5, maj6, maj7. It is often referred to as the dreamy sounding mode, as it is the least tense of all the modes. Its characteristic sound is the sharpened 4th. Dmaj7 is the 4 chord in our chord structure in A major. 11 Mixolydian Mixolydian is the 5th mode of the major scale. As we’ve been working in A, Phil covers the E Mixolydian mode. Mixolydian’s intervallic structure is root, maj2, maj3, 4, 5, maj6, min7. By stacking thirds to build a chord, this gives us a dominant 7 chord. A dominant 7 chord is a chord that contains both a maj3 and a min7. It’s the 5th chord of the major scale, which in A major is E dominant 7 (often written as E7). It’s important to note that “E7” doesn’t mean you can play a minor 7 or a major 7, it means you should play a dominant 7 chord. Dominant 7 chords are commonly referred to as “5 chords”. The dominant 7 chord is important because it provides resolution. The two characteristic tones in E7 - the min7 and the maj3 - resolve when you move to Amaj. It gives you a feeling of arriving home.“ 12 Aeolian Aeolian is the 6th mode of the major scale and is commonly referred to as the minor scale, or the natural minor scale. In this lesson, Phil is looking at the F# Aeolian mode, which would make F#min our 6 chord in the key of A major. The Aeolian mode’s intervallic structure is root, maj2, min3, 4, 5, min6, min7. If we build a 7th chord by stacking thirds, we’d get an F#min7 chord. Every major scale has a relative minor, and every minor scale has a relative major. F# minor is the relative minor of A majo
