Transcripts
1. Owning Your Ionian: Introduction & Welcome!: Hey guys Chrysippus
here and I'm really excited to share my
lesson, earning irony. In this lesson we're going to be talking about the
irony and how it relates to the major
scale will be playing to one octave and freeing
up the string patterns, as well as playing with across the fretboard and seeing how it corresponds with arpeggios and intertwine and
many other things. Also be using some of these ideas in contexts
with music as well so that you can hear outside of the boring scale context and in a more of a musical context. Sorry, I hope you
guys are excited. Let's take a crack
at this Ionian mode.
2. Owning Your Ionian Part 1 - Finding The Ionian Sound: Thanks for joining me on
this very special lesson about Ionian. In this lesson we're
going to cover the deeper characteristics
of the mode, as well as how to put together
a chord progression and what chords are available to
us in the key of C Ionian. We're also going to be talking about effective ways to solo in Ionian using diatonic scales,
pentatonics and arpeggios. Okay, so let's do a
quick crash course. And exactly what irony is. It's the first of the
seven diatonic modes. It's often referred to as just the standard
generic major scale. It's been used probably
the most out of any of the seven modes in pop
music in the last 60 years, I think a really, really
good way for you guys to start hearing
the Ionian sound, needs to hear it in context with some music that you might
have already heard before. A couple of songs off the
top of my head that might be helpful to No Woman, No Cry by Bob Marley, pushed by Max buffs 20, Let it be by The Beatles and
Every Rose Has it stolen? Okay, so for the purpose
of today's lesson, we're going to learn
everything in the key of C, C major or CIA, and they're both the same thing. I want to start off by learning
that scale to one octave. Go through the tab, we'll
go through the note names and then we'll go through
the modal characteristics. I want to start from three
of the fifth string. I'm going to play 35. We're going to go to the
fourth string, downplay 235. And then I'm going to
go to the third string and play 245 altogether. Okay, so I wanted
to do that again, but we'll go through the notes of the scale if I play it now. So I'm going to play C, D, E, F, G, a, B. And see one really cool
thing about C major, which is different than any
of the other major modes, is that there's no sharps or
flats completely natural. So if we're talking about the special modal
characteristics of the scale, I think two of the most important
things to mention about the Ionian mode is that it has a perfect forth between the
first and the fourth note. And a major seven before the
octave, which is 1234567. So it's having that perfect
fourth major seven. So if we compare irony into
the two other major modes, if I play C Lydian, C Lydian has that raised forth. It also have a major seven, but the race fourth is what makes that different
than the Ionian. And if we have a look
at c Mixolydian, notice I've got to be flat here, that's the flattened seven. And that's a full-time
before the octave. So what's going to
make irony and really special is if we focus on that perfect
fourth interval between the first
and the fourth, and we get that major
seventh involved as well.
3. Owning Your Ionian Part 2 The Diatonic Chord Structure: Okay, So in this
section of the lesson, we're gonna be talking about the diatonic chords structure and the courts
related to C Ionian. So we're gonna go
through all seven notes of the scale and turn each one of those passing
notes into a cord itself. Let's go through
that nice and slow and the first-quarter,
the seventh chord. Okay, so now we're going
to do a diatonic chord progression in the key of C. So we're gonna set
up from C major, which is our one chord that
is made up of C, E, and J. The minor is going to be at
two chord and that is made up of D, F, and a minor is going
to be a three chord, which is made up of a, G, and B. F major is going to be a four
chord made of F, a, and C. G major is going to be a
five chord made up of G, B, and D minor is going
to be a sixth chord, and that is made
up of a, C and a. And finally, our last chord, a minor seven flat five, is going to be a seventh chord, is going to be playing B, D, F, an, a. And then finally, we'll
finish on the C altogether. Let's look at that
one more time. If it's slower, some tabs, C major, D minor, E minor, F major, G major, a minor, B minor seven flat five. And then we can return
home to the C chord. Okay, so now that we
have all of our chords, it's gonna be quite boring
if every suddenly ride. Just cycles through 1234567 like that, it's pretty boring. So I want to show you just
a very, very simple idea. We can use some different
combinations of code numbers. As long as I'm
starting on a one, I'm going to get a
nice irony and sound. So I'm going to take C, which is my one chord, which is my five chord, a minor, which is
my sixth chord. And if which is my four chord, and create a very
maiden voyage pop song. We heard that chord
progression a thousand times, but I can also use that formula 1564 in any Ionian KI want. If I'm in the key of G, I
can use J is my one chord, D is my five chord, a minor is my six,
and c is my fall. More I play through this, this 1564 chord progression
is so maiden voyage, you've probably heard
it a thousand times. So when you guys
have mocking around with these chord progressions
in these options, which I do recommend
that you do. Try pay a little bit
more creative than me. As long as we're starting with
a one and ending on a one, mess around with a couple
of different formations. And try and just keep
to that irony in sound.
4. Owning Your Ionian Part 3 Ionian Soloing Options: Okay, so when I'm Solon whether I'm composing
our improvising, There's three things
I want to know before I even touch the guitar. What is my three-note first
string diatonic scale relative to the root note. What am I pentatonic options and what arpeggios do I
have at my disposal? Okay, so let's talk
about a soloing options. I want to start off by
doing a 3-node per string, C Ionian shapes starting from
eight of the sixth string, I'm going to play 81012. I'm gonna play the same
thing on the fifth string. And I'm going to play 91012 on the fourth and
the third string. And then on the second
and the first string, I'm going to play
101213 as well. So both of them are
gonna be the same thing. So altogether. Okay. So that's a
C Ionian diatonic. Now if we want to use
the notes of that scale, we can create a
major pentatonic. If I use my first,
second, third, fifth, sixth note of
the C major scale, I'm going to end up with this. So I'm going to play it
18 on the sixth string, 710 on the fifth and the fourth. When I buy 79 on the third. And then I'm going to play 810 on the second and
the first string. Okay? Now what some of you
might already know, but I'm going to
reiterate it anyway. Is that the C major
pentatonic is relative to the a
minor pentatonic, which is this scale. Sometimes when they
played back-to-back, you might hear the
a minor pentatonic being the root note of
the minor pentatonic. And then from the seat position, that's the second position
of the pentatonic. So if I play the a
minor pentatonic, which is this, I can play
58 on the sixth string, 57 over the next three strings. And then 58. And the first and
the second string. So if I play that and the C major pentatonic
back-to-back. I can do all sorts of
things like have things like I can blend
the two together. Sorry, position one
and position two of the a minor pentatonic will create quite a nice major sound. If you resolve to the
right notes predominantly, that's sort of happy C and
happy In the major pentatonic. The last thing I wanted to talk about was a C major arpeggio. So let's have a look at
something like this. This is just a basic five
strings, c major arpeggio. I'm going to start from
15 of the fifth string, going away 1514 on the
next 12 for the third. And then I'm going to play
13 of the second string. And then 1215 on the first. So we're going to have this. Okay. So keep in mind that
we're not just limited to the CIO ani and three-note
clustering shape to this key, we have all of the other
modes that are relative to C Ionian available
at our disposal. Things like we could
use a three notes per string Dorian shape, a three-note plus
wearing Phrygian, we could use an F Lydian, Mixolydian, eolian, even
if the lottery and all of those shapes are available for us so that we're not just
trapped in that one spot. If you don't know your three
notes per string, shapes, go check out my introduction to modes less than that should help you
guys out with that. Also, we're not just limited to a minor pentatonic position
one and position two, or the C major pentatonic. There are also three
more branches of the pentatonic available
to us as well. So these are all very important
things to keep in mind.
5. Owning Your Ionian Part 4 Ionian Licks To Help You Get Creative: Okay, So in the last chapter we talked about water
soloing options where we had some pretty boring robotic scale shapes
and arpeggios. So what I wanna do in this
chapter is we're going to turn them into some more
interesting and musical leaks. I'm going to explain
the premise of h of x. We're going to go
forward slowly, not for, not with some tabs. And then you hear me play along with the
backing track just so that you can hear
the look in a bit more of a musical context. The first example
is a lick using the C major pentatonic, however, will use slides to
coral diagonally across the fretboard instead of being stuck in your standard
box position. The second example
is a lick that uses position 12 of the
a minor pentatonic, which is obviously
relative to C Ionian, and uses hammer ons and slides. Third example combines the classic Chuck
Berry rock entry using the a minor pentatonic with also descending nodes from
the C Ionian scale. The fourth example is
a mark for Monte style ascending limb that uses
a three notes per string, C Ionian shape, but also has a few hammer
on and pull ups to throw the timing and break up the monotony of playing
is sending scale notes. The fifth example is a
pedal note roofing using g, which is the fifth
interval from c, the melody notes will change whilst the pedal
note stays the same. This will create a
small amount of tension constantly returning
to the pedal whilst working through an
ascending melody from notes taken from the C Ionian scale. The last example is the
same major arpeggio with a few diatonic notes
from the C Ionian scale. I also slide from a D-sharp
note before the end of the arpeggio to create
a small amount of tension before the
liquor resolves. Okay, guys, so I thought I'd
sum up a few things for you. Really want you guys
to keep in mind that everything we've
learned today in the key of C major or C Ionian can be moved into any other
irony and contexts. It's all very easily modulator
for if such a term exists. Another thing that
I think is really, really important is keep jamming along with
those backing tracks. Getting that irony and feel you could do it with
a mate as well. You could jam with some
friends. Just keep jamming. It's really important for
you to hear the Ionian sand coming out of your fingers
in contexts with music. Another thing that can be
really, really helpful. He's just giving
yourself sort of a homework tasks of
composing in this mode. So get a chord
progression together, get some risks together, and really try and hone in on the characteristics of irony. So when we're
thinking about iron and this is the last point, is we really want to
think about that. Happy major, cheery SAMR really hone in on all of
those characteristics. I hope this has been
helpful on for super and I'll hopefully see
you guys all very soon.
Chris Zoupa, Guitar Teacher, Composer & Author
