Dinaga's Mode Method Options

[Cosmin Lupu]

Hehe this is your place buddy let's discuss modal tricks here. As i said, we can start based on the things you will read in the lesson notes thread and we can start with each mode then. I'll try and underline all sorts of tricks and after that, you will try and implement them over backing tracks what say you my friend?

Cosmin

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[Dinaga]

Alright, finally I'm thinking about everything in intervals, not boxes and shapes. I know the construction of basic triads and the four types of 7th chords.

I'll post some of the things I learned here so you can correct me if I'm wrong:



* About many names for one interval

If you raise a Major interval by a semitone it becomes augmented, and if you lower a Minor interval by a semitone it becomes diminished.
Also, if you sharp a Perfect interval it becomes augmented and if you flat it it becomes diminished.

So, we can say, for example, that:

- perfect 4th is the same as augmented 3rd,
- augmented 5th is the same as minor 6th,
- major 3rd is the same as diminished 4th.

But it isn't very common in reality to call a perfect 4th - an augmented 3rd, is it?
That's what confuses me. Because there can be more than one name for the same interval, I suppose there is a convention for naming these intervals when building chords so things don't become too complicated?

I saw in your lesson notes that you write a formula for each mode like this:
Lydian mode: 1 2 3 #4 5 6 7
If I got it correctly, this notation is not absolute (like the discussion about intervals above), but is relative to the corresponding major scale, so for the key of C, the Lydian mode is played exactly like the C major scale with the exception that fourth note of the C major scale (F) is sharpened, so the mode is C D E F# G A B C. I know these questions are stupid but it's the only way to learn

* About 7th chords and extentions

7th chords are built by taking a triad (which already has a root, a major or minor 3rd and a perfect fifth) and "spicing it up" with a minor or major 7th to gain a new flavor, thus the four possible combinations of 7th chords.

That 7th in the chord is the most important note in the chord (obviously besides the 3rd which determines if the whole chord is major or minor), and 7th note in the chord is actually essential for modes, right?

Actually, if I got everything correctly, many modes actually have a 7th chord as a root chord, is this correct? I guess that "flavor 7th" note is very important for modes...

Also, when we extend our 7th chords, for example a if we want to extend a C7 chord with an added major 2nd (which would here be D) we will call it C9, because the D is from the next octave so it is actually C(7 + 2) = C9?

And this should work for every 7th chord, so if we have a C Major 7th chord (I suppose you can write it as C7M) and add a note D to it we get C7M9. Or if we add a D to a Cm7 chord we get Cm9?

But this "adding business" happens when we add a major 2nd to a chord. But what if we add a minor 2nd to a chord? I saw in Guitar Pro that one of the names for a C7 chord with added C# note (which is a minor 2nd) is called "C9-", so I'm wondering if this is how musicians really call these chords...



That's it for now... Sorry if this is a bit too trivial but I'll feel much more confident if I ask someone with experience to confirm if my way of thinking is OK. I suppose as I dig more into this, I'll have more questions Thanks in advance mate!

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[Cosmin Lupu]

Mate, I'll answer everything in about 2 hours when I get inside the house again do we have a deal?

Cosmin

Alright, finally I'm thinking about everything in intervals, not boxes and shapes. I know the construction of basic triads and the four types of 7th chords.

I'll post some of the things I learned here so you can correct me if I'm wrong:



* About many names for one interval

If you raise a Major interval by a semitone it becomes augmented, and if you lower a Minor interval by a semitone it becomes diminished.
Also, if you sharp a Perfect interval it becomes augmented and if you flat it it becomes diminished.

So, we can say, for example, that:

- perfect 4th is the same as augmented 3rd,
- augmented 5th is the same as minor 6th,
- major 3rd is the same as diminished 4th.

But it isn't very common in reality to call a perfect 4th - an augmented 3rd, is it?
That's what confuses me. Because there can be more than one name for the same interval, I suppose there is a convention for naming these intervals when building chords so things don't become too complicated?

I saw in your lesson notes that you write a formula for each mode like this:
Lydian mode: 1 2 3 #4 5 6 7
If I got it correctly, this notation is not absolute (like the discussion about intervals above), but is relative to the corresponding major scale, so for the key of C, the Lydian mode is played exactly like the C major scale with the exception that fourth note of the C major scale (F) is sharpened, so the mode is C D E F# G A B C. I know these questions are stupid but it's the only way to learn

* About 7th chords and extentions

7th chords are built by taking a triad (which already has a root, a major or minor 3rd and a perfect fifth) and "spicing it up" with a minor or major 7th to gain a new flavor, thus the four possible combinations of 7th chords.

That 7th in the chord is the most important note in the chord (obviously besides the 3rd which determines if the whole chord is major or minor), and 7th note in the chord is actually essential for modes, right?

Actually, if I got everything correctly, many modes actually have a 7th chord as a root chord, is this correct? I guess that "flavor 7th" note is very important for modes...

Also, when we extend our 7th chords, for example a if we want to extend a C7 chord with an added major 2nd (which would here be D) we will call it C9, because the D is from the next octave so it is actually C(7 + 2) = C9?

And this should work for every 7th chord, so if we have a C Major 7th chord (I suppose you can write it as C7M) and add a note D to it we get C7M9. Or if we add a D to a Cm7 chord we get Cm9?

But this "adding business" happens when we add a major 2nd to a chord. But what if we add a minor 2nd to a chord? I saw in Guitar Pro that one of the names for a C7 chord with added C# note (which is a minor 2nd) is called "C9-", so I'm wondering if this is how musicians really call these chords...



That's it for now... Sorry if this is a bit too trivial but I'll feel much more confident if I ask someone with experience to confirm if my way of thinking is OK. I suppose as I dig more into this, I'll have more questions Thanks in advance mate!

You are at GuitarMasterClass.net

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[Dinaga]

Mate, I'll answer everything in about 2 hours when I get inside the house again do we have a deal?

Cosmin

It's a deal! Thanks man

You are at GuitarMasterClass.net

Don't miss today's free lick. Plus all our lessons are packed with free content!

Don't miss today's free blues, jazz & country licks. Plus all our lessons are packed with free content!