Lessons with thatguy

Hey...

Feel free to get the ball rolling....where do you want to start?

I was thinking about modes. I've never really dabbled with them, except on a few occasions. Maybe a little refresher to start?

I also wanted to learn more about 9th chords and above, as far as functionality and their usage.

Vince

...Maybe a little refresher to start? ...

Cool....

We'll start with modes of the Major scale. Basically, modal theory uses the same notes/scale, just changes where you start, thus changing the intervallic relationships with the root. This makes for subtle changes in colour and mood from mode to mode....

Ionian, starts on scale-degree "^" 1 of the major scale. Dorian starts on ^2, and so on.

Makes sense?

More soon.... we'll look next at the chord/scale relationship.

Makes sense! Honestly my biggest problem is remembering the names :/

*waits for more*

Cool...

Now we get to the chord/scale relationship, and how to specify a particular modality with a chord symbol.

It's good to be able to work with two ways of deriving modes. One will be more efficient for YOU....

Parent Scale: Means always thinking back to the parent Major scale. I.e. you want G-phrygian, you think Eb-Major. You want D-Lydian, you think A-Major. The Major scale is the first one we learn, it's a pattern we're so intimate with from early on...it quickly becomes second nature

Alterations: meaning, you consider modes based on the alteration TO the major scale of the root. This method is weirder, and takes more shed-time, but can yield better results.

Basically, you need to know how each mode differs from the Root Major Scale.

I.e. How is F-Lydian different from F-Major (ionian)? What changes to make Eb-Major into Eb-Locrian.

• Ionain [-]
  
• Dorian [♭3, ♭7]
  
• Phrygian [♭2, ♭3, ♭7]
  
• Lydian [♯4]
  
• Mixolydian [♭7]
  
• Aeolian [♭3, ♭6, ♭7]
  
• Locrian [♭2, ♭3, ♭5, ♭6, ♭7]
  

This is a tough system, and I personally use a hybrid method of the two - depending on the situation.

Making sense though? Whichever way works best, we need to get the thought process down to zero-latency - which usually boils down to getting the brain to remember what the hands/face should be doing....

We need it fast, because (from an improvisor's perspective here), we're going to add another factor - the non-universal shorthand for chord symbols.

---------------

When working modally, it's important to be specific with your modes... unless you want an ambiguously interpreted sound (which can be useful) ... Aeolian is VERY different from Dorian, from Phrygian, from... we'll get to more soon.

So, here's my (and the generally accepted norm) take on symbols and their scalar counterparts:

[n00b stuff: min = ♭3 // 2, 4, 6 become 9, 11, 13 respectively when used as extensions (sometimes)]

[*]Ionian -- CMaj7 (d'uh)

[*]Dorian -- Dmin7 (vanilla)

[*]Phrygian -- Emin(♭9) (hip - the 7th is implied)

[*]Lydian -- FMaj(♯11) (hip, again, the 7th is implied, but you're welcome to include it. )

[*]Mixolydian -- G7 (D'uh)

[*]Aeolian -- Amin(♭6) (7ths are usually omitted when the 6th comes into play)

[*]Locrian -- Bmin7(♭5) (Also common: B

The sets show up properly :happy:

I think I've got everything so far. To me, thinking of modes are in the middle of how you explained it. For instance, when I think of E-Lydian, I think of E major with a raised 4th. Is that wrong? I mean, can that way be detrimental down the road?

However, everything seems to be smooth sailing so far. One question though, with teh chord symbols near the end. Are you saying that when you see those specific chords, you should think a specific mode? Like b9 means Phrygian?

The sets show up properly :happy:

I think I've got everything so far. To me, thinking of modes are in the middle of how you explained it. For instance, when I think of E-Lydian, I think of E major with a raised 4th. Is that wrong? I mean, can that way be detrimental down the road?

Detrimental? Not at all - this of often the smoothest way of doing it, since it kind-of eliminates an unnecessary step of thinking back to a different scale and then transposing it.

One question though, with teh chord symbols near the end. Are you saying that when you see those specific chords, you should think a specific mode? Like b9 means Phrygian?

Yeah, because each mode has at least ONE specific alteration that distinguishes it from another.

Dominant chords aside (they're funky) you can generally associate a particular chord symbol with a single mode.

Where we run into the COOL STUFF is stepping OUT of the mode, or juxtaposing different scales...and all that nonsense. ;)

Let me think a little more, then I'll lay the Melodic (Jazz) Minor modes on you.

:w00t:

Ok!

Dude....sorry for appearing to abandon you.

I attribute it to the broken arm and being busy and lazy at the same time...

ANYWAY....just so you know I haven't forgotten about you:

Modes of the Melodic Minor

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You know your melodic minor? Ignore the back half - we care only about the ascending portion: the Jazz Minor!!

i.e. C D Eb F G A B

NOW, we can do the same thing as we did with the Major scale:

• Melodic Minor - Cmin-Maj7
  
• Dorian ♭2 - Dmin(♭9)
  
• Lydian Augmented - E♭Maj(♯11 ♯5)
  
• Lydian Dominant - F7(♯11)
  
• Mixo ♭6 - G7(♭13)
  
• Locrian ♮2 - Amin7(♭5)
  
• Altered - B7alt
  

....

See!!

Easy.... more soon.