Modes And Keys ? |
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Modes And Keys ? |
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Aug 1 2009, 04:52 PM |
Those scales are the same. You just think of the new root "D" if playing dorian. Your focus should be that note if the chord in the background is Dm7. Even though it's the same scale your licks/improvisation should be going around that root note instead of thinking of C.
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Aug 1 2009, 05:10 PM |
the mixolydian only really works with 7th chords Just a tiny correction, Mixolydian works over simple major chord as well, you don't have to play 7th chord, it's Mixolydian that would point at minor 7th degree and you'd be able to hear Mixolydian mode fully. Same goes for Lydian, you don't have to play +4 or +11 within chord, you can play simple major chord and let Lydian do the rest of the job for you. And ofc the same goes for "minor" modes as you described already. -------------------- Youtube
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Aug 1 2009, 08:18 PM |
So if i just want to make a little solo thing in the key of C, i dont nessesery have so look what chord is playing right now, i can just play any note of the C major scale and it will be okay. Just in case, and thanks all for helping out If you play some shred it'd be ok. But you need to think of strong notes or chord's notes. That's very important if you want to compose nice sounding melodic solo. -------------------- Youtube
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Aug 1 2009, 10:53 PM |
So if i just want to make a little solo thing in the key of C, i dont nessesery have so look what chord is playing right now, i can just play any note of the C major scale and it will be okay. Just in case, and thanks all for helping out It's best to know all the chords in the key that you're playing in. For example C major key has 7 chords. Every chord is made out of three (or more) notes. So these three notes (root, third, fifth) are so called strong notes of the chord. If you have a progression that goes something like: |C///|F///| then you can use strong notes of the C major chord in the first bar. Notes of C major are: C E G. In the second bar, staring or landing a phrase on strong notes of F major chord (F A C) would be a good thing to do. If you want to discuss more on this subject, let us know -------------------- - Ivan's Video Chat Lesson Notes HERE
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Aug 1 2009, 11:04 PM |
Of course you one does not HAVE to do so, and if one does use it all the time (as I some times do ) a solo can become somewhat predictable, I'd say. I always make a comparison with spice. Every note has it's flavor, some are more harsh to the listener, but can be good in the right environment. Soloing only using the notes of the chords becomes rather "boring", even always landing on those strong notes does so, I'd say. I think it's all about the mood, "environment", tension etc. that one wants to portray though. That was a confusing reply. I'm not sure what the hell I wanted to say, really! Yeah, you end up like Yngwie, arpeggios all day long. -------------------- Youtube
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Aug 2 2009, 01:14 AM |
Of course you one does not HAVE to do so, and if one does use it all the time (as I some times do ) a solo can become somewhat predictable, I'd say. I always make a comparison with spice. Every note has it's flavor, some are more harsh to the listener, but can be good in the right environment. Soloing only using the notes of the chords becomes rather "boring", even always landing on those strong notes does so, I'd say. I think it's all about the mood, "environment", tension etc. that one wants to portray though. That was a confusing reply. I'm not sure what the hell I wanted to say, really! You have a point there actually. My post was mainly about the basics. It's better to go from basics and then build to up, not other way around. Using only arpeggios can be a form of an exercise, not really considered improvising. -------------------- - Ivan's Video Chat Lesson Notes HERE
- Check out my GMC Profile and Lessons - (Please subscribe to my) YouTube Official Channel - Let's be connected through ! Facebook! :) |
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Aug 2 2009, 09:23 AM |
I think the hardest thing to break out of is playing in one key over a progression, I can play all day long in a given ky but it sounds very predictable after only a few bars, trying to modulate with the chords is a hard thing to do on the ly and takes a lot of concentration but its worth it, just having one key change sounds so much better. I agree with you Sted, it sounds a lot better if you try to play on the "sound" or mode of each chord instead of playing a given scale for the whole progression. When it comes to modal improvisation you can even turn it all around, eg. play chord thats NOT there, given that we have a static chord it circles around. This is very common in modern jazz, and coltrane draw it to its edge, but Holdsworth is not so bad either.... *lol* What i mean is, that if we have 8 bars of a plain C, we can do what is known as "back-cycling" = going through all the dominant chords landing on C..... the dominant of C is G7, the dominant of G is D7 and so on...... If we then harmonize the chords with the c major key we will end up with something like: Bm7b5 / E7b9 / Am7 / D9 / Gm7 / C7 / Fmaj7 / Bb7 / Em7 / A7#9 / Dm7 / G7 and finally C...... This progression is found in the famous "Parker-blues" made up by Charlie Parker. Of course its possible to play just on the dominants and not re-harmonize the chords... The easiest way to try this approach out is to play on a minor chord, say Am7, and then sometimes play on a E7#9 even that the backing still plays Am 7, try it, it sounds nice !!!! //Staffay -------------------- Guitars: Ibanez AM-200, Ibanez GB-10, Fender Stratocaster Classic Player, Warmouth Custom Built, Suhr Classic Strat, Gibson Les Paul Standard 2003, Ibanez steel-string Amps: Fender Hot Rod Deluxe, Marshall JMP 2103, AER 60 Effects: BOSS DD-20, Danelectro Trans. Overdrive, TC-Electronics G-Major, Dunlop Wah-wah, Original SansAmp, BOSS DD-2 Music by Staffy can be found at: Staffay at MySpace |
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Aug 2 2009, 09:37 AM |
Great post Staffy ! This is something I discussed with Oxac today... If you have one chord for certain duration, you are allowed (as improviser, especially in jazz music) to enrich that harmony with your soloing. This concept is one of the most important concepts in music. There is 3 very important things that happen : 1) Harmony changes and you follow every chord change strictly 2) Harmony stays static and you change it with your soloing (cadences, modulations, II V I's etc) 3) Harmony changes and you stay static! (example would be if you played blues scale over blues or minor pentatonic = static , but then your harmony player did some reharmonizing and added some modulations, voice leading, constant structure, II V I patterns etc) If you didn't know about these concepts, now you do Every time you listen to music try to find out which of the 3 concepts is applied. You can learn a lot that way and appreciate musicians and their creativity even more Thats absolutely true Pedja ! But I will also add a fourth one.... I dont really know what it's called, but i call it "repetetive pattern".... If You take a pattern and begin to play it on the first chord, and then just change the appropiate notes for the coming chords, You get a very nice effect... especially if You do it FAST (like the late Michael Brecker..... ) //Staffay -------------------- Guitars: Ibanez AM-200, Ibanez GB-10, Fender Stratocaster Classic Player, Warmouth Custom Built, Suhr Classic Strat, Gibson Les Paul Standard 2003, Ibanez steel-string Amps: Fender Hot Rod Deluxe, Marshall JMP 2103, AER 60 Effects: BOSS DD-20, Danelectro Trans. Overdrive, TC-Electronics G-Major, Dunlop Wah-wah, Original SansAmp, BOSS DD-2 Music by Staffy can be found at: Staffay at MySpace |
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