In this final video we see an example of how to use the modes over a standard I – VI – II – V progression.

The same rules apply as in part 2, all you do is add the extra notes to create the mode.

Guru finally goes through how to move on from learning all these scales. The rhythm, phrasing etc is what will make you sound good. The scales are there to be understood so you can forget about them.

Thousands of guitarists come to Spytunes every week to learn this new system that has revolutionized the way the guitar is taught. It has been implemented in several music colleges in the UK all ready and tested on “real people” for over several years now with a very high success rate.

A full time student can learn this entire system in less than a year and move on to playing gigs, writing music, jamming, whatever it is that you wish to do with your guitar playing.

Go to Spytunes Practice Routine to get started.

-guru

At your Advanced studies we look at modes. The easiest way to learn the modes is to see them as an extension of: the chord shape – the pentatonic scale – the mode.

This is the heart of what SpyTunes is all about and go way beyond what the original CAGED system do.

By simply adding two notes to the pentatonic scale you can build a full mode.

Since you have practiced how to change pentatonic over every chord (to play like Jimi) this is really easy. Learning modes is not about learning a whole bunch of new shapes, it’s about just adding to what you know.

Minor Pentatonic modes

To build the A minor scale, also known as Aeolian you build it like this:
Em chord - Am, Em shape – Am pentatonic, Em shape – Add 2 & b6 – Aeolain.

The same concept is applied to Dorian, now add the 2 and natural 6^th.
For Phrygian, add b2 and b6.

Major Pentatonic modes

In major we have the same phenomenon, but now we add 4 and 7.

Ionian (major scale) would be:
E chord – A, E shape – A pentatonic, E shape – Add 4 & 7 - Ionian

Mixolydian, just add 4 and b7.
Lydian, just add #4 and 7.

Should you apply all these modes to your chords instead of the pentatonic scales you would move outside Blues and Soul music and enter all other musical styles!

The final video in the series will show you how to use the modes over a simple I - VI - II - V progression.

Stairway To Heaven, the most unlikely hit of all time. No other tune has been requested more on the radio in the U.S.A. Before we dive into the modal works of this tune let’s look at all the reasons for why this shouldn’t have been a hit!

1. The vocal starts at 0:50. Usually the cliché is that the chorus has to kick in at 0:55 latest or it won’t be played on the radio.
2. The tune is almost 8 min long, that’s twice as long as the maximum 4 min.
3. It was never released as single!

That’s three pretty strong reasons for not getting on the radio…

So how did this tune become so huge?

When Stairway was released Led Zeppelin was a very well established band with several world tours under their belt.

The tune was a collaboration between all band members utilizing all their strengths as a  unit.

The recorder(s) in the intro was played by John Paul Jones, who also added the ascending bass line which ties the genius modal progression together.

The odd time signatures before the solo that seem to flow so naturally shows John Bonham's genius of taking something complicated and making it sound natural purely through the way he plays it.

The lyrics were Robert Plants and the guitar chords and original concept was Jimi Page’s. The tune took well over a year to complete and Jimmy Page said in retrospect: “I have to do a lot of hard work before I can get anywhere near those stages of consistent, total brilliance.”

There was a stage of Stairways birth were it was played on piano, but this was later adapted for the guitar.

Why is Stairway To Heaven modal?

So let’s start to look at the modal works of this master piece. Before we begin, remember, No one in Led Zeppelin had any idea about this stuff, it is only in hindsight that we can see these things. But by looking at it like this, we can learn from it. Let’s begin.

Usually people refer to Stairway as: it’s in A minor. Most likely they say this because the intro starts with Am, and the solo use Am, G & F, which are classic chords to solo over in A minor. All Along The Watchtower for example use the same progression. But actually, it’s not in A minor, it’s in A minor, A Dorian and A Melodic Minor. The majority of the tune is in A Dorian and A Melodic Minor.

Using the DIY TAB in The Guitar Conspiracy 2.0 we see how two keys are notated through out: C major (A minor/Aeolian) and G major (A Dorian).

The vocal melody however never hits the 6^th interval, it completely stays away from it leaving the chords to move between these two keys giving the tune several modal interchanges and by doing this drives the track forward.

The second chord, an Am with an added 9^th use the ascending bass lines G# and by doing this we are either in Harmonic minor or Melodic minor. The G# acting as a major 7^th in relation to A.

The third chord, a C/G could either be in the key of G, so a IV/I or in the key of C as a I/V.

The fourth chord, a D/F# or a Bm7/F# carries on the ascending bassline and indicates that we no longer can be in Am or A harmonic minor, we have to be in the key of G here due to the F#.

The fifth chord, a Fmaj7 however tells us we can’t be in G major anymore, we have to be in C, Fmaj7 acting as the IVmaj7 chord.

These chords can therefore only be seen as modal, giving us:

Chord 1, A Dorian (or A Aeolian)

Chord 2, A Melodic Minor (A Dorian with a maj7)

Chord 3, A Dorian (or A Aeolian)

Chord 4, A Dorian

Chord 5, A Aeolian

Chord 6, A Aeolian (or A Dorian)

Chord 7, A Aeolian (or A Dorian)

The tension of this progression is paired with the very simple 8^th note rhythm which makes it feel less adventurous. The vocal melody avoids hitting either the b6th to indicate Aeolian (F) or the natural 6^th to indicate Dorian (F#).

The next part is the chorus (which doesn’t start until 2:15!) is in A Dorian throughout, giving it a more up-feel than Aeolian would have.

These two parts keep interchanging up until the breakdown at 5:35 where we get different odd time signatures almost every bar. The reason they don’t feel strange is because of the loose and behind the beat feel Bonham provides. If you buy the sheet music for this tune you will see how it’s notated 9/8, 4/4 etc. This is very difficult to follow so the conspiracy has written this part as a constant /8 time. Simply double the time throughout as you count and things should be much easier to understand.

The solo, as previously stated is in A Aeolian due to the Fmaj7. The opening lick (one of the two licks in this solo that Jimi Page wrote before the recording) ends on an F. This is the first time the 6^th is played in the melody. Giving us a familiar release after 6 minutes of modal interchange!

The solo carries on into the final vocal section which is sung an octave up, still not utilizing the 6^th.

The last vocal section is then followed by a second solo that ends on the Fmaj7 chord and Plant sings the final very drawn out line now for the first time staying in Aeolian.

Stairway To Heaven can only be compared to Queens masterpiece Bohemian Rhapsody which it ironically usually competes for the #1 spot of greatest rock tunes of all time.

So if your thinking of creating the next big thing, go modal and break all the rules that the music business have laid down as criteria’s to get on the radio, it certainly worked for Led Zeppelin!

Next blog will pick Ain’t No Sunshine apart and show how a factory worker can become world famous by singing “I know” 26 times.

-Guru