I wish I was still a guitarist... 

MakeShift
Beepster, I greatly look forward to what you are working on. I have always been basically a rhythm player and have just started in the last couple of years to learn to solo. I felt that I may have started off on the wrong foot, so I was just recently starting to go back and take a look at scales and modes, rethink what I have been playing.

Hiya, Mike. Honestly I don't think that is starting on the wrong foot at all. By playing rhythm I think you physically get a better head start than someone working through something like the old Hal Leanord books and the note by note, string by string method. You are exactly the type of player my method is geared toward. Someone who's been playing for a while but is looking for answers and exercises. Really I'm super pumped and I must confess since I've started actually writing it all down I've become obsessed with doing so (which is why I haven't been around... I am writing non stop). Unfortunately it's a long process because I want to be as thorough, yet concise, as possible. I'm hoping sometime after the new year I'll have a beta version ready for human consumption which I'll be bouncing off the Cake forums first as a thank you for all the help I've received here in regards to DAW stuff and to get some general input from everyone.
 
In the meantime the article Spacey linked shows a ton of useful stuff and then his post about possible ways to practice it all is great.
 
I'd say learn those modes backwards and forwards, jam out on them with backing tracks you made in Sonar, try seeing if you can take songs you know and figuring out what modes they are using and really get comfortable with the "shapes" of those patterns so you can move them around. It'll all start making sense and meshing together.
 
Cheers, buddy.

craigb
I wish I was still a guitarist... 

Yeah, me too. Apparently now I'm a do nothing "theorist" with no time to actually play. Oh well. That big hit album will have to wait.

Beepster
 
Now here's a question for you... how and when would you deal with concept of 7ths in relation to the modes while dealing with a newcomer to modal theory? I always kind of want to point it out when dealing with the actual tone/semitone structure but considering how many other ideas are floating around I think it is best to leave it to a separate chord study that points to the scale structure study as a reference.
 
Cheers.

 
The reason I suggested the change (order of what to practice) I listed rather than his is because I think when one knows this stuff  it's easy to forget how hard it might be when trying to show it for someone else.
 
I think it pays to break it down into smaller sections for many of the theoritical aspects/lessons. Especially with modes since it seems that so many seem to be having trouble with them...at least that's what I'm reading and noticing all the articles about them.
That is why I limited it to dealing with one key and a key with no accidentals ( sharps or flats). It may help some keep track of the thought process. ( I think some refer to key centers to make it faster and easier based on the way they see or were taught....for instance in his lesson of starting with the Lydian and thinking about the 4th being raised (in C it would be F#) some would just think, "play a G scale starting on C" which would be perfectly fine. Again...just an example to show different way of looking at the same thing.
 
Your question (about 7ths) is a good example of deviating from the task at hand. Probably a mistake many make. Rather than focusing  and practicing on the specific lesson until it's learned to point of "not forgetting it easily" or addressing questions specific to the lesson it can all become very confusing.
 

Beepster
The only exception being (and you probably already noticed the omission) is the Locrian mode.  
Cheers.

Beep, it's not omitted. Check 05.

Beepster

craigb
I wish I was still a guitarist... 

Yeah, me too. Apparently now I'm a do nothing "theorist" with no time to actually play. Oh well. That big hit album will have to wait.

Although time is certainly an issue, I've sold almost all my gear (most of what's left is either not selling quickly or will be put up for sale as soon as I can get it ready to list).  Unfortunately, my guitars are already gone and I've heard those are required if you want to be a guitarist. 
 
That said, I'm hoping a new job/project that is starting this month will finally have me back to a predictable income.  Then the process will reverse and I'll be buying gear again!

spacey

Beepster
 
Now here's a question for you... how and when would you deal with concept of 7ths in relation to the modes while dealing with a newcomer to modal theory? I always kind of want to point it out when dealing with the actual tone/semitone structure but considering how many other ideas are floating around I think it is best to leave it to a separate chord study that points to the scale structure study as a reference.
 
Cheers.

 
The reason I suggested the change (order of what to practice) I listed rather than his is because I think when one knows this stuff  it's easy to forget how hard it might be when trying to show it for someone else.
 
I think it pays to break it down into smaller sections for many of the theoritical aspects/lessons. Especially with modes since it seems that so many seem to be having trouble with them...at least that's what I'm reading and noticing all the articles about them.
That is why I limited it to dealing with one key and a key with no accidentals ( sharps or flats). It may help some keep track of the thought process. ( I think some refer to key centers to make it faster and easier based on the way they see or were taught....for instance in his lesson of starting with the Lydian and thinking about the 4th being raised (in C it would be F#) some would just think, "play a G scale starting on C" which would be perfectly fine. Again...just an example to show different way of looking at the same thing.
 
Your question (about 7ths) is a good example of deviating from the task at hand. Probably a mistake many make. Rather than focusing  and practicing on the specific lesson until it's learned to point of "not forgetting it easily" or addressing questions specific to the lesson it can all become very confusing.
 

Beepster
The only exception being (and you probably already noticed the omission) is the Locrian mode.  
Cheers.

Beep, it's not omitted. Check 05.

Heh... I meant you may of noticed I had omitted locrian and then redesignated to a diminished chord. You had it in there where it is usually placed. I just like making sure it is pointed out that the vii is different than the other minor modes even though it has the same minor third.
 
In regards to separating ones self from the perspective of an experienced player and thinking like a student I agree completely. That is one of the biggest challenges I am facing. I keep finding myself trailing off and explaining things that I shouldn't be but I go back and edit it out. It's annoying but because of it it has made me start getting into a "coaxing" or "pre-coaching" style of teaching where I'll say "Okay... you see this little weird anomaly? We aren't going to talk about that yet but just make a little mental marker that it's there." I figure that way I'm not overburdening the student but just sloooowly making them notice little things and developing around those nuggets as we move along instead of plopping a bunch of stuff into their laps all at once. A gentle and gradual prodding toward where I want them to go without straying too far from the topic at hand.
 
It could be disastrous as a teaching style but time will tell and I can always edit things later based on user input. It's worked pretty well whenever I've taught people privately so I'm hopeful. Being face to face with a student is a lot different than teaching through text and diagrams though.

craigb

Beepster

craigb
I wish I was still a guitarist... 

Yeah, me too. Apparently now I'm a do nothing "theorist" with no time to actually play. Oh well. That big hit album will have to wait.

Although time is certainly an issue, I've sold almost all my gear (most of what's left is either not selling quickly or will be put up for sale as soon as I can get it ready to list).  Unfortunately, my guitars are already gone and I've heard those are required if you want to be a guitarist. 
 
That said, I'm hoping a new job/project that is starting this month will finally have me back to a predictable income.  Then the process will reverse and I'll be buying gear again!

Poverty inspired fire sale? Ugh... sorry to hear it. I had to do that a while back and it blowed. If you are looking for a cheap but decent and reasonably versatile guit I picked up a mid 90's Yamaha Pacifica strat style for $300 that had been modded out with Seymour's. It ain't my old SG but it plays great and sounds good. They have newer versions out of the Pacificas but I haven't played them so I'm not sure if the quality is the same. Might be worth a look for a cheapo to at least get under your fingers. I've always like Yammies for decent utilitarian guits.
 
I'd lend you one of my other spare axes to jam on if distance and a border weren't issues but they're kind of crappy anyway.

Thanks for the offer Beep, I'd do the same if I was able!  Right now it's time to just get a reasonably "normal" life back then move forward slowly.  I love these types of threads - theory can be fun (though it certainly is NOT the be-all-end-all of making music!).
 
Oh, and I agree with your sentiment about Yamaha Pacificas - very underrated guitars!

I only work in Amelodic minor and it's moats. 

My favorite mode is "a la mode" (the North American definition).