In this course, Brad demonstrates everything at the 7th position in

the key of C.

Start and end your modes on the roots, but also be aware of the
scale tones below and above the pattern. You want to see the full
range of a scale, as high and low as it can go on the guitar.

For each diatonic chord of the major scale (start with just the triads),
play the corresponding mode. The Locrian mode is only used for
short periods of time as part of a cadence, it’s not a mode you
would jam on in an extended manner as you might with the other
modes.

You don’t change the notes you play, you change how you think,
you change what you think of as the home base.

Visualize the scale in terms of scale degrees numbers, but also be

aware of what the letter names are too.

You have to learn to hear each scale tone and organize it according
to the colors that you hear when it’s played against a particular
chord.

You want to know where each scale tone is in every scale pattern.

A given chord tone may sound more or less strong depending on

what register it’s in.

Take one note at a time, learn to hear it over the chord. Work on
your phrasing. Once you feel really solid with that note, add another
one.

Orient your information around chords that you frequently use.

Don’t just play single notes, add in some double stops and rhythm
approaches too.

Relate chords, arpeggios, and scales together.

When you learn an arpeggio, don’t just play it up and down.
Practice it with all kinds of melodic patterns and rhythmic
approaches just like you do with your scales.

It’s like your multiplication tables: you have to know your scale and
chord tones cold.

Brad views arpeggios two different ways: in chord tone order, which
goes over the octave once you add the 9th and other extensions
and within one octave. i.e. R 3 5 7 9 13 = R 2 3 5 6 7 but the latter
has a different sound because you’re playing it within one octave.

Think of learning to hear the notes as learning what spices taste

like.

Major scale: Start with the R, then the 5, then the 3, then the 7, then
the 2/9, 6/13, and the 4 (with the latter, you will quickly hear that you
don’t want to hang on that note, but it’s a good tone to provide some
tension and resolution). A C major 13 chord contains all the chords
of the C major scale except for the 4th (which you want to avoid).
You want to study all the arpeggios that are a subset of that chord:
C major 9, C major 7, C major 7/6, C add 9, C 6/9, C major, C sus2,
C5.

How to study a mode: 1. Take a note that you’re studying, plot it’s
location out in the position you’re in with the name of the note and
the scale degree. 2. Practice it in strict position. 3. Practice it with
every possible fingering. 4. Then combine it with other notes. Work
out all the corresponding chords and arpeggios. That way you’ll
know what the mode means harmonically.

Reference
Scale Formulas

Major R 2 3 4 5 6 7

Dorian R 2 b3 4 5 6 b7

Phrygian R b2 b3 4 5 b6 b7

Lydian R 2 3 #4 5 6 7

Mixolydian R 2 3 4 5 6 b7

Aeolian R 2 b3 4 5 b6 b7

Locrian R b2 b3 4 b5 b6 b7

Major Pentatonic R 2 3 5 6

Minor Pentatonic R b3 4 5 b7

Blues R b3 4 #4 5 b7

Blues Composite R 2 b3 3 4 #4 5 6 b7

Harmonic Minor R 2 b3 4 5 b6 7

Phrygian Dominant R b2 3 4 5 b6 b7

Melodic Minor R 2 b3 4 5 6 7

Lydian Augmented R 2 3 #4 #5 6 7

Lydian b7 R 2 3 #4 5 6 b7

Mixolydian b6 R 2 3 4 5 b6 b7

Altered R b2 b3 b4 b5 b6 b7

Half-Whole Diminished R b2 b3 3 #4 5 6 b7

Whole-Half Diminished R 2 b3 4 #4 #5 6 7

Whole Tone R 2 3 #4 #5 b7

Tonal colors
Strive to hear each of these tones against all harmonic situations.
Below are Brad’s opinions, form your own opinions about the
sounds.

R: Strongest
5: Very Strong
3: Strong major sound
7: Pretty, major sound, tends to resolve upward to R
b7: Brings out the blues sound
b3 (#9): Brings out the minor sound and also acts as a blue note
against dominant 7th harmony. The b3 wants to resolves to the 3.
6 (13): Not as strong as previous tones
2 (9): Gives an extended jazzy sound. Resolves well to the 7th (you
can use chromatics in between)
4 (11): Sus4 sound, resolves to 3. You don’t want to hang on it, use
it as a tension tone.
#4 (b5): Blue note, sinister sound, wants to resolve to 5 or down to
4 for blues sound
b6 (#5): Weak tone, resolves down to 5 or up to b7
b2 (b9): Tension tone, resolves down to R