Hi Guitar Hackers,
Kiko will be hosting another private live session for Guitar Hacks paying members this Thursday, 20th at 2PM EST (11AM PST, 8PM CET).
The theme is modes and the video will be recorded and published as a lesson to watch again later or for people who could not attend.
As usual, Kiko will pick the top 3 or 5 most liked questions in this topic to cover during the live. So ask away!
Hi Giorgio,
Why not talking about how to highlight modes in rhythm section/chords progression. Especially in between lydian and mixolydian as you have to use chords IV & V to make them sound.
Best regards
Hi again,
7 shapes of modes but 5 shapes of triads in the CAGED system. Interesting to discuss.
Best regards
May I suggest some discussion about modes as they relate to Pitch Axis Theory? I feel like there’s more to it than Satch has already demonstrated, but I’m not savvy enough to put a finger on it.
Welcome to the forum @arc1861!
Do you have a link to the Pitch Axis Theory?
Interesting topic! Thanks Laurent
Hi Giorgio,
I don’t have a link, unfortunately. I just read about it and listened to Satriani’s Not of this Earth and his other stuff. Not everyone’s cup of tea, for sure, but a potentially interesting topic.
Forgive me if this has been talked about before; I’m new here. But I’m really interested in an in-depth look into the setup that Kiko used to get the wonderful sounds that we can hear in Open Source.
All I can find for now is a rundown of his rig when playing with Megadeth.
Here’s something I’ve been thinking about lately:
There are obviously more moods/feelings than modes. And I started to set up a “thought experiment”: how would one go about describing basically endless phenomena with a limited number of moods. My first superficial conclusion was that I’d either have to categorize the feelings and moods and assign them to one of modes or “compund” the modes and use certain combinatons to describe the mood. The first solution leaves more room for interpretation, the latter is more precise. I’d love hear Kiko’s take on this, what his usual thought process is etc.
(I am aware that the answer might be both and none, as music is a form of art and there are no hard and fast rules. But this sort of experimental/methodological approach is ingrained in me as I am a molecular biologist trying to become a musician… :D)
Hi- having just joined this may have been discussed before. Are there common notes used to shift from one mode to to another? Take Ionian/ Dorian or Lydian / mixolydian, the different notes can be seen in the TAB in the lessons but is there more focus or intention to project the change from one mode to the next? Probably makes more sense in a slower legato part opposes to something up tempo.
Thanks! Looking forward to this live session.
-John
Sorry I won’t be able to attend the live feed due to work. Damn work always gets in the way lol. So was wondering about the use of slash chords and how to use them to construct modal progressions that best represent the mode. Like if playing D Dorian, you use the IV and V chords of the C major with a D in the bass? Is that the best way to do it? As opposed to just playing over the tonic. More for jamming over in a loop for instance.
Hi Giorgio,
My question was how important do you think it is to use other genre influences in your writing?
Sometimes I think when I played some feeling stuff or write some solo is not perfectly.Some people suggest me must learn more blues etc.In addition,I play metal and feel comfortable in this.But some people suggest me need to learn more other genre.I feel confused cuz I just want to do what I want. I want to hear Kiko’s opinion.
(Please forgive my english is not very well to expression 
)
Thank you so much ! 
Ah, another rather scientific one came to mind…
So the first overtone/second harmonic is an octave above the fundamental and has twice the frequency of the fundamental because it is produced exactly at the hafway point of the string (1/2L). We find this first overtone above the 12th fret. But the 12th fret is NOT the exact halfway point! All strings line up at the nut, but at the bridge they do not line up if intonated properly, thus all strings have different lengths, yet the first overtone is produced at the exact location across all strings, at the 12th fret. How is that possible? Is this a byproduct of the equal temperament system we use?
Hey Ron! I’m not sure I get it… 
Why would one chose the the IV (F Major) and V (G Major/ G7) of CMaj for D Dorian? The IV (F-A-C) over a D gives a Dm7 so actually I understand that. 
But using G-B-D (the V of CMaj) just surpasses my current knowledge… 
Exactly, clarification and guidance for this topic would be great for me and maybe others.
Thanks nexion!!
Harmony concepts, and how to analyze a song.
I’d love a rundown (musically of course) of one of my favorite songs: Conquer or Die.
I’m not at a level that i feel like i can compose something even similar to this myself, but that’s why i think it’d help me to understand how a genius works
I would love to break down Angel and Demons solo, analyzing Harmony, Modes selection and part connections
Yes! I would love to see Kiko explaining this 
Laurent_gimenez, this would be very interesting. I keep hearing Kiko say the chord is very “Dorian” or the minor 6th is “?”. I don’t understand what gives the chord the that context and that feel. It would be very interesting to hear a discussion around the chords and the harmony and what creates that “modal” context. “D” Dorian doesn’t just jump out of the music at me! How do I listen for this!