For instance if you start a scale on the 2nd note of the C major scale you will be playing “D dorian mode”.
THEN WHY DO PEOPLE FIND IT CONFUSING?
That is because of “transposition”.
For instance:
We can transpose that “Dorian mode of D” to any tonic we desire.
In the example below it is transposed to C as the tonic.
How did I do this?
Well if the note D [Tonic of D dorian] is two 1/2 steps up from C then what is the note C two 1/2 steps up from?
Answer is B flat.
So we have a B flat scale staring on the note C.
Below is a Clear explanation and diagram in music notation. Or for my free modes ebook CLICK HERE
For more information please download my free ebook “Modes of the major scale explained in detail” CLICK HERE
Why are the modes useful for the guitar player?
The modes [in this case of the major scale] open up the guitar fingerboard and it becomes easier and easier to connect arpeggios,
phrases, quartal, pentatonic and melodic lines together and create
smooth transitions across the guitar fingerboard.
The first example below consists of connecting the arpeggios contained within the modes. Here we have f major 7 to Dminor 7 to B Minor 7 flat 5 to F major to E minor 7 and finishing with B minor 7 flat 5 [or G9 depending on the bass note]. The Modal connections are smooth and open up the guitar fingerboard easily!
Below you will see how easy it is to connect together arpeggios and then create triad pairs from them.
Modal Arpeggios Lesson Example
Again, more arpeggio connections from the major modes
Modal Arpeggio connections
Below, a mix of arpeggios and triad pairs from the modes
Modal Triad Pairs/Arpeggios
QUARTAL HARMONY. JOHN COLTRANE 4THS DEVELOPED FROM THE DORIAN MODE. THIS IS HOW YOU GAET THAT JAZZY SOUND!
Modal Quatrtal Chord Lesson/Example
D Minor to E minor
Modal Quartal Chords Example
Simple quartal dorian mode jazz/fusion vamp
Modal Quartal Chord Vamp Example/Lesson
Below is a simple pentatonic line from the major mode to play over a dominant G 7 chord
Modes of the Major Scale Blog
Finally an extended F major 9 extended line from the major mode
Music Modes of the Major Scale Lesson/Example
For more information please download my free ebook “Modes of the major scale explained in detail” CLICK HERE
John Mclaughlin Alternate Picking Jazz/Fusion Guitar Lick/Lesson
This John Mclaughlin Jazz/Fusion guitar lesson employs alternate picking for solid rhythmic fluidity. I start on the down stroke with the guitar plectrum.
Alternate Picking Mclaughlin Lick in Parts.
The first part is built from simple Pentatonic cells.
John Mclaughlin Guitar Lick
The second part uses scale fragments 4ths, and Arpeggios
John Mclaughlin Guitar Lick
The last part Uses 4ths and a Pentatonic Shape
John Mclaughlin Guitar Lick
Full Score of Lick:
Alternate Picking John Mclaughlin Guitar Lick
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THE FOUR MAIN ALTERNATE PICKING GUITAR RHYTHMS FOR CREATIVE ACOUSTIC GUITAR JAZZ/FUSION IMPROVISED LINE SET-UPS
Basic Rhythms
THE FIRST ALTERNATE PICKING RHYTHMIC SET-UP EMPLOYS THE 8TH NOTE AND TWO 16TH NOTES. THIS IS A USEFUL RHYTHM AS IT GIVES YOUR PICKING RIGHT HAND A MOMENT TO SET UP THE “UP STROKE” AND FIRE THE PHRASE FORWARD LEADING TO A Â SMOOTH ALTERNATE PICKING LICK/LINE.
Alternate Picking Guitar Set-up
THE NEXT RHYTHMIC SET UP EMPLOYS A DOTTED 8TH NOTE AND A 16TH NOTE. AGAIN THIS SLIGHT DELAY BEFORE THE PHRASE TAKES OFF GIVES YOUR RIGHT HAND TIME TO FLICK UP AND FIRE OFF THE PHRASE WITH CONFIDENT ALTERNATE PICKING.
Alternate Picking Guitar Set-Up for Jazz/Fusion Improvisation
THE PHRASE BELOW IS THE “OFF-BEAT” PHRASE AND IS ONE OF THE MOST IMPORTANT BECAUSE IT CREATES ANTICIPATION AND SYNCOPATION IN YOUR ALTERNATE PICKING WHICH IS ESSENTIAL FOR JAZZ AND FUSION GUITAR PLAYING. [AS I SUGGEST IN THE VIDEO YOU WILL FIND THIS A LOT IN THE JOHN MCLAUGHLIN ALBUM/CD CALLED “BELO HEROZONTE]
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Mode 4 Improvised line: 
