ok yall, I did a little resarch over lunch and I think I got it straigth now. I was confusng 2 different ways of looking at modes.
A mode as a "rellative" scale vs a mode as an alteration of the major scale with the same root as the mode.
Take C and Am.
Am is the relative aolian mode of C maj. Starting on the 6th, of C maj.
but looked at as an altered Amaj scale its
So the relative mixolydian of C is G
or as an altered Gmaj its
I had that much right.
Now to Dorian
The relative Dorian of C is D Dorian
or as an altered Dmaj its
So for my way of thinking, a dorian scale contains a b3 and a b7
In summary, here are all the modes as intervalic structures
Lydian-one sharp, the 4th
1,2,3, #4,5, 6,7,8
Ionian, the maj scale
Mixolydian- one flat, the 7th
Dorian -2 flats- b3 and b7
Aolian-good ol relative minor-3 flats-b3,b6,b7
Phygrian-is aloian but subs a b2 for 4 flats
And the devilish Locrian adds the b5 as well for 5 flats only the 1 and 4 remain unscathed.
Now I just need to hit the fretboard and work some of the sounds out.
I know I aready play a lot of them, just trying to get a handle on some new patterns and think of some existing ones correctly.
Thanks all for the help.
And yes, getting a handle on how to harmonize the modes is the next step.
I understand this much about harmonizing the maj scale:
I, ii, iii, IV, V, vi, vii
and why its that way and how you get to that.
But all my practical theory experience revolves around folk music and the typical associated harmonizations
major scale over
I realize that mix. mode works w/ a chord prg w/ a b7.
Like key of G with an F chord, G mix works with the F.
To truly understand modal theory, you need to understand chord/ key harmonization. Do you know how the Major scale and the chords that belong to it are constructed? If not, say the word and I ( or I'm sure some others onhere ) will be only to happy to help you out. Once you get that, it all falls into place pretty simply.