G Mixolydian Or D Dorian? |
|
|
|
|
Jul 16 2014, 09:32 PM
|
|
Hi everybody,
Im learning the line below (paying attention about notes over chords, dif neck positions, etc). https://www.guitarmasterclass.net/lick-of-t...2/G_Mixolydian/ I was playing this jazz line over the backing track and i think it sounds more dorian than mixolydian. I know, both has the same notes but its sounds different. Maybe i am wrong but the bass line (backing track) seems to be more a Dm7 than G7 So, if the chord is D-7...that jazz line is G mixo or D dorian? I am very confused! Thank you! (thanks Bodgan, again) |
 |
 
|
|
|
|
|
|
Jul 16 2014, 11:16 PM
|
|
Hi Nico! Welcome to GMC!
This is a very interesting question because sometimes is tricky to identify the mode that it's being used, and even more the there is not context as in the video. The lick is played using a mode but also using some chromatic notes as passing notes. If we compare G Mixolydian and D Dorian, we have the same notes.   I invite you to to do an experiment. Record an audio with you playing G7 chord all the time, and another one playing Dm7 chord. Play the notes of the lick over both chords and see what happens. how does it sound? If the lick sounds good over both chords, this means that the context (the backing) will define the mode that it's being used. But if you feel that the lick fits great over one of the chords but not very good over the other one, the answer is different. Dm7  G7  There is an improvisation trick used that makes me confirm what I hear when I do this experiment but also makes me confirm what Stephane wrote in the description. When I play the lick, I don't feel that the note F# (major third) sounds good over Dm7 chord. I know that it's a passing note, but for my ear it doesn't feel good, try it and let me know. However this same note (F#) is the major 7th of G7 and that's the improvisation trick that I'm talking about. Every time your are playing scales that have a minor 7th, the major 7th will sound good as a passing note, it sounds cool, it makes the movement from minor 7th to root and from root to major 7th very nice to hear. Try it, and let me know what you think!  So, in other words, this is not an easy question, but I hope that my method helps you and give you ideas to improve your improvisation abilities as well as your theory knowledge. Keep me updated! This post has been edited by Gabriel Leopardi: Jul 16 2014, 11:17 PM -------------------- My lessons
Do you need a Guitar Plan? Join Gab's Army Check my band:Cirse Check my soundcloud:Soundcloud Please subscribe to my:Youtube Channel |
|
|
|
|
|
|
|
|
Jul 17 2014, 12:58 AM
|
|
Either/or ...
Out of context with no chord behind it I hear it as a D (dorian) minor 7 line because it ends on a D note. *It's very common for jazzers on all instruments to play dorian up a 5th from a dominant chord: G7 or G9 or G13 = D dorian. That's known as 'minor conversion'. The jazz guitarist Pat Martino is a big proponent of this. In fact the line in that lesson is a very Pat Martino inspired line. Check out this cut ... Two chord song. Am7 and Bbm7. I think you'll hear a lot in common. This post has been edited by klasaine: Jul 17 2014, 08:10 AM -------------------- - Ken Lasaine
https://soundcloud.com/klasaine2/foolin-the-clouds https://soundcloud.com/klasaine2/surfin-at-the-country-hop Soundcloud assorted ... https://soundcloud.com/klasaine3 New record ... http://www.cdbaby.com/cd/kenlasaine Solo Guitar ... https://www.youtube.com/playlist?list=PLXZh...5iIdO2tpgtj25Ke Stuff I'm on ... https://www.youtube.com/playlist?list=PLXZh...b-dhb-4B0KgRY-d |
|
|
|
|
...that's why i felt confused about G7 mixolydian|
|
|
|
Jul 17 2014, 07:57 AM
|
|
Hey mate! Gabi's explanations are excellent and as this is a tricky question, it is one whose answers are given by experimenting with the possibilities you have. Try Gabi's suggestions and see what the outcome is. In the end, if you want to make it sound even more interesting, you could always throw in some chromatic notes.
Since you like the Dorian mode and tricky stuff, I thought I might recommend a lesson I did a few years ago, which deals with understanding pivots - common notes in different scales and using them to smoothly cross from one scale to another: https://www.guitarmasterclass.net/ls/Common-Notes/ Please let me know if you like it and if it also sparks some nice ideas 
|
|
|
|
|
|
|
|
|
|
Jul 18 2014, 01:32 PM
|
|
Thanks Stephane for clarifying! That's why the lick sounded that good over G7 chord.
-------------------- My lessons
Do you need a Guitar Plan? Join Gab's Army Check my band:Cirse Check my soundcloud:Soundcloud Please subscribe to my:Youtube Channel |
|
|
|
|
|
|
|
|
|
Jul 19 2014, 08:06 AM
|
|
Stephane was definitely the one with the necessary experience for such an input! Thank you Stephane!
|
|
|
|
|
|
|
|
|
|
Jul 19 2014, 05:26 PM
|
|
You can also use the same thinking for chord voicings. Minor 7 up a fifth.
If there's a static 1 chord vamp on G7, try playing (smaller) Dm7, Dm9 and Dm11 shapes. Play up and down the D dorian chord scale ... Dm11 - X 5 5 5 6 X Em11 - X 7 7 8 7 X Fmaj9 - X 8 10 9 8 X G11 - X 10 10 10 12 X This post has been edited by klasaine: Jul 20 2014, 12:44 AM -------------------- - Ken Lasaine
https://soundcloud.com/klasaine2/foolin-the-clouds https://soundcloud.com/klasaine2/surfin-at-the-country-hop Soundcloud assorted ... https://soundcloud.com/klasaine3 New record ... http://www.cdbaby.com/cd/kenlasaine Solo Guitar ... https://www.youtube.com/playlist?list=PLXZh...5iIdO2tpgtj25Ke Stuff I'm on ... https://www.youtube.com/playlist?list=PLXZh...b-dhb-4B0KgRY-d |
|
|
|
|
 
|
1 User(s) are reading this topic (1 Guests and 0 Anonymous Users)
0 Members:
