Hi Muris!
When i read Andrew's lesson about modes it opened a big field to think on.
I have actualy 2 questions which is close to each other (i suppose).
First: Three keys C major / D dorian / A minor (aeolian) are the modes of C, and they have one shape on the fretboard. So what makes them sound different (if does) ?
For example i think "Maybe it is all about root note (different for each mode) which is used more often than other in this scale which makes listener to hear the tonal center of music, and other 3d, 5th, 6th create melody around it"
And second question: is there some rules when you soloing certain key. For example i think "I need to start my solo from root note, or end with it, or i should play around it, up and down on a fretbord". As i understand pentatonic scale is more comfortable for soloing and shredding, becouse it excludes "weak" notes?
You are the person i asked to becouse your solo always so melodic even when it is somewhat exotic (Oriental shred, perfect i think)
Thanks in advance!
P.S. Sorry for my english in any case
P.P.S. Is here anybody else from Russia?
Sorry for bumping in before Muris, but i will leave the main question for him to answer
No worries Pavel,glad you've found a country mate,
I'm sure there are many more at GMC tho.
On topic,what determines mode and its sound comparing to other scales/modes
with same notes is chord progression most of all.
You cannot get this after only couple of chords,
you have to listen to whole tune or at least part of tune
to realize chord progression/key.
Few examples:
C,Am,F,G,C- C Ionian
Am,Dm,G,Am- A Aeolian
F,F,G,F - F Lydian
Dm,G,C,Dm,Am,Dm - D Dorian
G,F,G,G,C,F,G - G Mixolyidian
As for the soloing,you don't have to start with root note at all.
Scale is just group of 7 notes(diatonic scales),you pick whatever you want
from there and make some music from it.
All you have to do is to use it wise.
Another example,you're in key of Am and you're using Am scale or Am pentatonic.
Reasonable enough,you'll lay down on A note here and there,on root chord lets say.
Now do the same in key of C(on root chord per example) and it'd be "weak",
cause C chord doesn't have A note.
Try it and you'll see what I mean.
Same thing goes with rest of the modes,
you have the scale/mode but you need to follow chord progression
to get smooth phrasing over it.
Thanks alot!
I think i got it
You[re welcome
I knew it'd come to this Eddie,and I'm damn glad!
Here's the deal with that G7 chord.
Actually it's chord on 6th degree of natural minor scale,B minor in our case.
7th is added to get a kind of bluesy sound from it.
G Mixolydian would be wrong.
But G Mixolydian #4 might be the scale you're looking for.
Why might be?
Simple because we're still in key of B so we're looking
for a scale with B note as a root.
That scale is B minor -5.
But as you can see,I didn't use that scale,
I was only playing around notes of G7 chord.
But if you're looking for a scale,that would be a scale.
Maybe it has another name,dunno,
to me it's reasonable enough to call it minor -5.
Thank you Muris!
Very clear now, that F in G7 is the flattened 5th of B Aeolian.
Btw, does the bass stay in B over the G7? Is that the reason why we're still in B?
It's incredible how many things there are to learn from your lessons
besides just trying to play what you play!
More mode questions to come for sure!
Have a nice day.
Eddie
No Eddie,bass goes on G over G7 chord but we're still in Bm key.
How stupid of me to have asked you this!
I guess I'm trying to understand too many things at once.
Back to practice.
Cheers
Eddie
That's not stupid question at all Eddie.
Whatever bass is on G or B you're still shifting through different scales with B as a root note,
keep exploring,well done!
Yes Eddie,that's right,or that's at least the way I see things.
I put all minor modes in group of current minor key.
Same thing with major modes.
Maybe I'm wrong,dunno, but it works fine,easier to track things imho.
Hi Muris, what a constructive day!
I came up with two simple triads: C and Fmin.
Now we can give this simple progression
two different tastes:
We can either modulate from C (any major mode) to F Aeolian (C phrygian),
or keep it in C flattening the 6th (C 6-) over F min.
Is this right?
BTW: I was playing this C Ionian scale with a flattened 2nd and a flattened 6th and it sounds very arabic...
Does it have a name?
Cheers, Eddie
That progression is really fine example of how to mix few scales.
You may stick with C Aeolian over Fm as well,kind a small modulation into Cm key.
Or you can play C Ionian with flat 6th.
Dunno the name for Ionian with flat 2nd and 6th
tho it's just like Phrygian Dominant with sharp 7th,
too many names,I just can't follow it all.
Once more,theory is just a way to explain the things you're playing.
And if you hit couple of cool names for certain scales,bingo.
I forgot to say,you can look at Fm as a root chord,
which opens a lot more options scale wise.
F harmonic minor over C,F natural minor over Fm.
Or even F Dorian over Fm,explore,like always.
This is all starting to become a bit too much!
I think I'll continue experimenting tomorrow!
Ouch, my head hurts...
It's been a great day today.
Good night and thank you always.
Eddie
You're welcome Eddie,keep working.
Yeas Eddie,Phrygian Dominant has major 3rd while Phrigian has minor 3rd,
it's mode on 5th degree of harmonic minor scale.
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