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Dobro Lessons: Theory and Chord Scales

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Lets jump into a little bit of music
theory here.
We touched on a few things but I'd like to
get a little more involved.
Now that we're in the advanced curriculum,
I'm gonna share with you a few things that
are really helped me quite a bit and
I'll try to make it as straight forward as
I can.
Theory can be a little bit challenging to
understand but I'm gonna try and just do
a overview of a few things and hopefully
you'll understand my meanings so.
Let's talk about the key of G a little bit
probably what you've heard of as modes.
In the key of G, let's go to the G-major
scale and just play it real quick.
So that's the G-major scale.
Now there's seven notes in that scale.
One, two, three, four, five, six, seven,
and then G is the octave.
Now what modes are, is basically if you
play a G scale starting
from the second note of the scale you get
a totally different scale or mode.
So essentially you can play the G scale,
but starting on the second note here.
That's all the notes of a G ste, scale,
starting and ending on A.
That's the Dorian mode.
You can also play the G scale starting and
ending on the third note of the scale,
which would be B.
That's Phrygian, right here.
If you start and end on the fourth note of
a major scale, that's Lydian.
We can start on C and play the G major
scale up to C.
Each one of these modes has sort of its
own unique sound.
If you start on the fifth note of a major
scale, it's called mixolydian.
If you start on the sixth note, that's
aeolian or minor.
Now remember, we're just playing notes of
a G scale, just starting and
ending on different notes than G, and then
the last mode is called Locrian, It's
pretty odd sounding and not used a whole
lot, but this is what it sounds like.
So if you've ever heard of modes, that's
what they're talking about and,
it's interesting but there are also
practical uses for this.
One of my favorite modes is the Lydian
mode, and what makes that one unique
is it sounds just like a major scale but
it actually has a sharp four in it.
So the sound is like this.
If we're, if I were to play G Lydian.
It has a C sharp in it, instead of a C
So essentially I'm playing G and A major.
The, but the Lydian is one of the most
unique modes, and
I tend to use it quite a bit.
So, but anyway, back to G.
So you've got all the different modes, and
then each note of the scale also has a
chord associated with it.
So if we take our G scale and just play it
up all the way on the lowest string.
Each one of those notes has a certain
chord associated with it.
The G is obviously,
G major.
The second note
is A.
That's A minor, it's got a minor chord.
Again, these are all notes in the G scale.
The third note of the G scale,
that's the B.
That has a minor chord associated with it
as well.
You can go to C.
We know that's major.
That's the four chord.
The five chord,
also major.
Now the sixth chord based off the sixth
note of this scale is minor.
That's the relative minor.
E in the key of G.
Then the last one, the one based off of
the seventh note of the scale is a little
odd, it's sort of like a diminished.
Now I know that sounds weird, but those
are all notes right there in the G scale.
And then of course G once again,
So that's what you'd call a chord scale.
So each note of this, of the major scale,
has a chord associated with it.
And that's where you get numbers like one,
four, five.
One, four, five are just the first chord,
the fourth chord and the fifth chord.
The six is a minor.
Two is minor.
Three is minor.
There's one.
So that's just a brief overview of some
music theory.
And if you start playing some of these
chord scales,
you can see how they can be beneficial to
I've written one out here in the key of G,
so you can check it out.