Lesson with Franzman

Originally Posted by Franzman

I've wanted this too, but... but... why haven't I been told that it's possible.. Robin, you make me cry... I want a private lesson too...

To be honest, it never occured to me to do these...

Okay...

What do you know about:

Chords?
Scales & modes?

...

This is more like it

I would like some basic theory behind chord progressions, melody composing, harmony and scales. Some Jazz Composing 101. ^^

With simple step by step exercises to go along with (if it's not too much to ask for, I feel like I've already bothered you enough )

Cool.

Does this make sense to you?

Indeed it does. To some degree.

The modes is (correct me if I'm totally wrong)

I - Ionian - Tonic
ii - Dorian - ?
iii - Locrian - ?
IV - Phrygrian - Subdominant
V - Mixolydian - Dominant (leads back to Tonic?)
VI - Aeolian - (the natural minor scale)
? - ?

Modes are, of the Major scale

I - Ionian (Major scale)
ii - Dorian
iii - Phrygian
IV - Lydian
V - Mixolydian (Dominant - often does lead back to I, in trad classical and jazz theory...but they're so much more)
vi - Aeolian (natural minor, yes)
vii - Locrian

Here they are, modes of C Major- with their respective Major key-signatures to demonstrate how the major scale is altered. I.e. D Dorian differs from the D Major scale in that the 3rd, and 7th have been flattened.



Thus, there's the two ways to approach learning/using modes: 1) Parent scale. D dorian = C Major, starting on D. 2)Altering relative Major scale. D dorian = D Major with b3, b7.

I use the parent scale, dumbing it all down to a relative parent scale....you can decide which one works best for you.

Still with me?!

Originally Posted by robinjessome

Modes are, of the Major scale

I - Ionian (Major scale)
ii - Dorian
iii - Phrygian
IV - Lydian
V - Mixolydian (Dominant - often does lead back to I, in trad classical and jazz theory...but they're so much more)
vi - Aeolian (natural minor, yes)
vii - Locrian

Here they are, modes of C Major- with their respective Major key-signatures to demonstrate how the major scale is altered. I.e. D Dorian differs from the D Major scale in that the 3rd, and 7th have been flattened.



Thus, there's the two ways to approach learning/using modes: 1) Parent scale. D dorian = C Major, starting on D. 2)Altering relative Major scale. D dorian = D Major with b3, b7.

I use the parent scale, dumbing it all down to a relative parent scale....you can decide which one works best for you.

Still with me?!

Yes, I think I get it ^^ (I'm just gonna repeat what you said to see if I get it right)
If I encounter a Dm, I just use D Dorian/C major scale starting on D. If I encounter a F#m, I use F# Dorian scale/E major scale starting on F#

Yep, I got it..
I think it'll be alot easier to go with the parent scale thinking, atleast for a start.

Originally Posted by Franzman

Yes, I think I get it ^^
...I think it'll be alot easier to go with the parent scale thinking, atleast for a start.

Yeah, some people find it easier to know where a mode falls within a parent scale (myself included), while others use the chord suffix (the min7 part) to tell them which notes are different.

As long as you know which is which, and how to quickly identify them visually, you'll be all right.

Here's where the chord-scale relationship comes in. Each 7th chord of the parent scale, relates to a particular mode(s). I'll use the most common chord symbols.

I - ionian - FMaj7
ii - dorian - Gmin7
iii - phrygian - Amin7 ...[ Amin7(b9) ]
IV - lydian - BbMaj7(#11)
V - mixolydian - C7
vi - aeolian - Dmin7 ...[ Dmin7(b6) ]
viii - locrian - Eø7 ...[ Emin7(b5) ]

*N.B. With minor-7th chords, it usually defaults to dorian, unless the composer specifies, or uses a more specific chord symbol. Similarly, with Major-7th chords, you'll usually use Lydian, rather than Ionian, unless specified.


...

What about other scales? I kinda realise that you cannot just survive on modes alone. Obviously there is the Blues scale, but I'm kinda curious about the Bebop scale and other "advanced" scales. How do you use them?

Perhaps you could go through some melodic theory too?

Originally Posted by Franzman

What about other scales? I kinda realise that you cannot just survive on modes alone. Obviously there is the Blues scale, but I'm kinda curious about the Bebop scale and other "advanced" scales. How do you use them?

Perhaps you could go through some melodic theory too?

Sure.

One more thing before them...don't forget the minor scale (specifically, the ascending melodic minor - jazz minor).

C D Eb F G A B

Modes are as follows:

i - minor-major - Cmin-maj7 (minor third, major seventh)
ii - dorian b2 - Dmin7(b9)
III - lydian augmented - EbMaj7(#5)
IV - lydian dominant - F7(#11)
V - mixolydian b6 - G7(b6)
vi - locrian #2 - Aø7
vii - altered - B7alt

Again, you have the same chord/scale relationships with their corresponding modes. There's also modes of the harmonic minor scale, but they are rare and would usually be specified by the composer.

....

Later today, I'll get into synthetic and more advanced scales.

Cool?!

Sure thats cool ^^