Modal Theory |
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Modal Theory |
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Jun 23 2014, 08:07 AM |
Understanding how the modes relate to a 'parent' major scale is really important but that's only half of the game.
Let's take two very common chord progressions: 1) Am - D one bar each chord, repeated over and over. 2) Am - Am - F - G one bar each chord, repeated over and over. Both of these progressions use an A minor type mode but not the same one. Or, as you noticed they could also be explained using two different types of C major modes. Which ones would they be and how would you figure it out? This post has been edited by klasaine: Jun 23 2014, 08:17 AM -------------------- - Ken Lasaine
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Jun 24 2014, 01:18 PM |
Hi guys, I have been working on scale modes for the past couple of weeks and although i now know the shapes of the modes, im confused on how they are related. For example, lets say im playing a riff in C major, and putting a lead over the top. How can this have the same notes as A minor? They seem to both have no sharps or flats, and i would therefore assume the same key signature? Going on from that, how do we know what mode a solo would be in? A 4 bar lick in Phrygian would have the same notes as Mixolydian? Does it really make a difference at the end of the day? I guess i am getting confused on the actual use of the different modes. Note for note, they seem to be the exact same. If i know the major scale for a given key, what use are the other modes? Thank for your help on guiding me on this interesting subject. One thing that might be a sticking point for you, it was for me is the chord progression. Many/Most mainstream pop and rock song chord progressions aren't going to let you explore modes very much, You will just be using your major scale (Ionian mode) or Natural Minor scale (Aeolian Mode) Your confusion between major and minor scale having the same notes is really what modes are all about. Look at the interval gap of the C Major Scale C Whole Tone D Whole Tone E Half Tone F Whole Tone G Whole Tone A Whole Tone B Half Tone C Now A Minor (same notes) A Whole Tone B Half Tone C Whole Tone D Whole Tone E Half Tone F Whole Tone G Whole Tone A The intervals give the quality of the scale, You have a minor 3rd in the scale which give the dark or sad sound. So if you play the Aminor scale it sounds different to the C Major scale because of the intervals. In a solo you aren't going up and down the scale all the time, so in this case using the A as a root or home note as will hitting the important intervals for that mode I'll paste this from The Professor QUOTE Ionian - 4 Dorian - 6 Phrygian - b2 Lydian - #4 Mixolydian - b7 Aeolian - b6 Locrian - b5 Those are the characteristic notes of each mode. Now back to chord Progressions. If you listen to someone like Satriani, his modal instrumentals are generally over 2 or one chord vamps The majority of that song is a constant C bass note with a D major to a C major chord, that sticks in you head, So looking at that how which mode would you play over? C Lydian Why? because it is only mode with a C major chord and a D major chord in it with C as the Root (the constant bass note makes C the root or home note of the song) Why not G Major or G Ionian or E minor (E Aeolian), try playing it over the track and using G or E as your home note, it just doesn't sound right. I hope that helps -------------------- My SoundCloud
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