dahmbomb wrote:Stop learning all of these patterns!
Just learn the major scale backward and forward...over one octave...over two octaves...over three octaves.
Be able to play the major scale using just one string...two strings...three strings etc...
You will use the same notes regardless of which mode you are playing. The only difference is which note you call homebase.
Agree. Just learn twelve frets of the pattern (call it CAGED if you want) and then you move that template around to fit the chords of the song to the major scale and then you're locked and loaded for sweet music.
Personally, I never bother with modes. You'll keep coming up with more questions, and someone will answer your question, but have a slight mistake in their answer, or even mistype a letter, and next thing you know confusion abounds again.
Modes do not matter when a song has more than one chord. Two chords define only one possible major scale fitting if the two chords can fit into a key. A good example is the IV and V chords. Once you see where they are on the fretboard, you know immediately how the major scale relates to those chords, where it fits under them, all over the fretboard.
If you go into a jam that resides on one chord for a long time, then you can go modal. This is because constraints that would have been defined by a second chord are removed. For example, the D chord as a stand alone chord: It could be the major scale of D, or G, or A because each of those major scales have the D chord as one of their chords.
So, although the original poster was asking if all those modes were the same assortment of notes accented differently, and the answer was yes, it doesn't really help the guitar player very much.
What does matter is why does a song that has many chords, which then is constrained to a particular major scale (forget modes), why do the notes that you pick out of the solos sometimes not match that scale?
The answer to this question is that the artist is playing outside of the key. Maybe for just a second, maybe for a few measures. It won't be for two long or everyone listening will start to cringe. The further you shift outside the key, as measured, say, by the circle of fifths, the more "far out" your solos get. Play practically at the furthest point removed, the bottom of the circle of fifths, and you will have so few notes in common with a song's original key that you will sound completely out of tune. (If everyone in the band shifts at the same time, however, then you have, I think, modulation, and that doesn't count in the context of this discussion.)
The dead did this from time to time so that when they reeled it back in again, becoming once again completely diatonic, then Jerry's solo lines would sound all the sweeter.