wisedyes wrote:I'm pretty sure that there have been many threads about this topic already, you may want to run a search and see what you come up with. If I remember correctly, there was some really good info in some of those. However, here is a quick breakdown of modes.
You are correct in that the modes follow the diatonic chords of the Major scale ( although there are also minor modes that follow the diatonic chords of minor scales ).The chords are as follows ( we'll use C Major to avoid sharps and flats ).
C - C major ( I or tonic ) extension - CMaj7 C-D-E-F-G-A-B-C
D - D minor ( ii or dorian ) - Dmin7 D-E-F-G-A-B-C-D
E- E minor ( iii or phyrgian ) - Emin7 E-F-G-A-B-C-D-E
F - F major ( IV or lydian ) - FMaj7 F-G-A-B-C-D-E-F
G - G major ( V or mixolydian ) - G7 G-A-B-C-D-E-F-G
A - A minor ( vi or aeolian ) - Amin7 A-B-C-D-E-F-G-A
B - B minor ( vii or locrian ) - Bmin7b5 B-C-D-E-F-G-A-B
So, if you look at the notes in the modal scales, they are all the same, just arranged in a different order. Doing this gives you different orders of major and minor intervals in the different modes, though, and each corresponds to the chord it is based off of. So, if say you are playing, to use your example, in A, and the chord of the moment is D, then that would be the 4th scale degree of A, or the lydian mode ( in C it would be F ). So, you could play A Major or D lydian all over that D chord, and either would sound fine, they would both be very safe, inside choices.
However, you could also go more outside, and play any of the modes from A Major over that D chord, although some are going to sound much better than others. Some will be funky as hell.The best primer to listen to for getting the idea behind modal playing that I can think of is Miles Davis' Kind of Blue. The whole thing is an exercise in modal improvisation.
myoung6923 wrote:Some progressions will require you to change modes - like the jam in eyes. On the Emaj 7 I use E maj (ionian) but you'll notice that during the Bm the flat 3rd is missing. To make it really fit you'll need to change modes to B dorian.
Billbbill wrote:Question here - would this be considered more of key a change or modal change? When i go from soloing over the Emaj7 to the Bm (not taking into account any chromaticism) I just change from the Eb note over the Emaj 7 chord, to the D note over the Bm chord. All else is the same (also not considering some pentatonic runs within the standard 7 note scale). Would seem to me that even this slight change represents a key change rather than a modal change as the modes are generally viewed as existing within one key, all the same notes, with only differing intervals. No? Or no.
Billbbill wrote:myoung6923 wrote:
Also for Emoto i think in your IP you got the E and D thing backwards - In D the Dorian mode would start on E...I think.
RiverRat wrote:The mode should fits the chord you're playing over, not the key you're playing in... That's why there are accidentals. Notes in the chord progression that fit within a certain chord but do not fit within the current key.
cunamara wrote:Emoto, there have been previous discussions about using modes and they say most of the things you've already heard in this thread, just in various ways.
We learn the scales and get them under our fingers mechanically and get the sounds in our ears so that we *don't* have to think explicitly "hmm, Bmin7, I think I'll play the B Aeolian scale over that" because by the time we've gotten through that thought we will be three bars behind the rest of the band! We can just play that spooky sound or that sweet sound or that sad sound to express and evoke the emotions we want to express or evoke.
Try this: loop 24 bars of A minor in a tape or on your computer. Then solo 8 bars each in the key of G major, F major and C major (the three major keys in which an A minor naturally occurs). You will hear the emotional tone change and that is the aural effect of modal playing. Respectively, that would be in the B Dorian, B Lydian and B Aeolian modes. You can do the same thing over C major and play in C, F and G major (Ionian, Mixolydian and Lydian modes, respectively- remember, all the modes relate back to a parent major scale). With practice you know what those modes sound like over those chords and you will easily select the one that provides the effect you want when soloing.
Hope this helps. Basically: play the modes, learn the sound of each and the emotions they represent to you, and think about applying those *sounds* to a musical situation rather than focusing on the *mode*.
We can get into the modes of the harmonic minor scale another time <evil cackle>.
Return to The Think Tank
Users browsing this forum: No registered users and 2 guests