I have been studying Music seriously for about 3 1/2 years and the study of modes really escaped me! Your approach of tying the theory and chord progression aspects together made perfect sense to me, and the added blues section really clarified the the blues changes. The concept of each chord being a different key center was a epiphany.
I have a request. A concept that I have had trouble with (and others guitar players)I'm sure, is Tri-Tone Subs,. If you have any advice I would appreciate it.
I appreciate your comments about my DVD, Guitar Modes - The Modal Scales of Popular Music. I'm glad that the information is working well for you. It's amazing how the right guitar theory instruction can make such a big difference in how players view and understand music.
Tri Tone Substitutions
This topic is beyond the scope of my guitar theory materials, and ventures into a pretty heavy jazz concept. But, I'll try to give you one example anyway.
Play a 1 6 2 5 chord progression in the key of G (any key will work) using all dominant seven chords. Play two beats of each chord, or strum each chord twice. For chords 6 2 and 5, substitute a tri-tone dominant seventh chord on beat two, or the second strum. So the progression will look like this:
G7 G7, E7 Bb7, A7 Eb7, D7 Ab7
Reduce this to the chord roots only and you'll have a typical jazz bass line. Many times just the bass player does the flat fifth substituting.
Play Until Yer Fingers Bleed!
Mr. Desi Serna (Google me!)
http://www.Guitar-Music-Theory.com
Pentatonic/CAGED/Progressions/Modes
