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Cosmin Lupu
Since it's truly a never ending subject, let's see what you guys think would be the greatest problem you're facing when it comes to the dreaded modes! smile.gif

Nihilist1
QUOTE (Cosmin Lupu @ Sep 8 2011, 03:59 PM) <{POST_SNAPBACK}>
Since it's truly a never ending subject, let's see what you guys think would be the greatest problem you're facing when it comes to the dreaded modes! smile.gif


Would a mode be better suited for it's own key(i.e. D minor/D Dorian)? Or would I be better off using that D Dorian in a C Major key?
Cosmin Lupu
I guess it depends on the context - I usually look at modes as different sound textures, so if I want to highlight a certain flavor over a chord i choose some notes belonging to a mode who'll provide the needed flavor. if you have a Dm7 vamp you can jam Dorian over it until you drop but if you have a Dm7 G7 CM7 progression, you can highlight the Dorian mode and the Mixolydian mode and conclude in the Ionian mode if you'd like - I see it as a matter of note choices smile.gif
Nihilist1
QUOTE (Cosmin Lupu @ Sep 8 2011, 06:34 PM) <{POST_SNAPBACK}>
I guess it depends on the context - I usually look at modes as different sound textures, so if I want to highlight a certain flavor over a chord i choose some notes belonging to a mode who'll provide the needed flavor. if you have a Dm7 vamp you can jam Dorian over it until you drop but if you have a Dm7 G7 CM7 progression, you can highlight the Dorian mode and the Mixolydian mode and conclude in the Ionian mode if you'd like - I see it as a matter of note choices smile.gif


Thanks! I had actually been thinking about this question for a few days. This was the perfect thread.
MonkeyDAthos
i understand the thoery behind it
i but i have a hard time applying them :c guess i am to lazy to memorize some scales forms and stuff
Nihilist1
QUOTE (MonkeyDAthos @ Sep 8 2011, 07:01 PM) <{POST_SNAPBACK}>
i understand the thoery behind it
i but i have a hard time applying them :c guess i am to lazy to memorize some scales forms and stuff


If you map them out the way they do in the guitar grimoire, then learning the shapes is super simple!
MonkeyDAthos
QUOTE (Nihilist1 @ Sep 8 2011, 08:41 PM) <{POST_SNAPBACK}>
If you map them out the way they do in the guitar grimoire, then learning the shapes is super simple!



still that doesn't solve my lazyness ahah
Cosmin Lupu
We just had a little exercise in the v-chat who allows you to listen to the differences between certain modes in a harmonic context biggrin.gif you'll find details in the v-chat topics thread in the following days!
Nihilist1
QUOTE (Cosmin Lupu @ Sep 8 2011, 08:42 PM) <{POST_SNAPBACK}>
We just had a little exercise in the v-chat who allows you to listen to the differences between certain modes in a harmonic context biggrin.gif you'll find details in the v-chat topics thread in the following days!


Thanks Cosmin! I am always at work when the V-chats go on, so I never get to see them.
djohnneay
One of the biggest problems I have is recognizing modes.
If you're talking about E minor (E aeolian) a song can sound what I could call 'somewhat sad'.
But another song, using the same key and scale, sounds 'heartbreaking melodramatic'.

I understand that the essence lies mostly in the chord progression (Em-C-G-Em versus Em-Bm-F#dim-Em) for instance (iirc, the latter sounds alot sadder). But sometimes it's just hard finding the tonal center (or tonic/key) and figuring out the scale just by listening.

Is there any kind of trick/rule of thumb that can be used?
Todd Simpson
You can help your ear training by just listening to a song and picking up your guitar and trying to find the "Root" note. Once you find it, take a stab at the scale, see how many scales you fit over the song. Which ones sound better? Just practicing this "By Ear" method can really help.

El Fortinero
May i ask about chords theory not related with the modes??.................

So, in a minor scale: the first chord is a minor, the second diminshed, third major, fourth and fifth minor, and sixth and seventh major

in a major scale the chords armony is 1:major, 2minor, 3 minor, 4 y 5 major, 6 minor and 7 diminshed

so far so good, my question is: when and where I can add a maj or min 7 ?, is there any rules? for instance, "if you change the X chord for a maj o min 7 you will get "a blues " cadence........ i know that i colud add to the fifth grade chord in a major scale a 7th minor but really don't know how to "Mix" this things... i am not sure if it is clear what i am trying to say..... Otherwise, i ´ll try it to say again with differnt words.
Muchas gracias smile.gif Cosmin!
Satchstet
QUOTE (El Fortinero @ Sep 9 2011, 02:40 AM) <{POST_SNAPBACK}>
May i ask about chords theory not related with the modes??.................

So, in a minor scale: the first chord is a minor, the second diminshed, third major, fourth and fifth minor, and sixth and seventh major

in a major scale the chords armony is 1:major, 2minor, 3 minor, 4 y 5 major, 6 minor and 7 diminshed

so far so good, my question is: when and where I can add a maj or min 7 ?, is there any rules? for instance, "if you change the X chord for a maj o min 7 you will get "a blues " cadence........ i know that i colud add to the fifth grade chord in a major scale a 7th minor but really don't know how to "Mix" this things... i am not sure if it is clear what i am trying to say..... Otherwise, i ´ll try it to say again with differnt words.
Muchas gracias smile.gif Cosmin!

Going with a Major scale the 7th harmony is as follows.....

I=Maj7
ii= min7
iii=min7
IV=Maj7
V= Dom7
vi=min7
vii*=min7b5
Daniel Realpe
I think it's all about experimenting with them, spending time discover the sound of each mode, and that's how you get familiarized with them
Cosmin Lupu
QUOTE (Satchstet @ Sep 9 2011, 03:04 AM) <{POST_SNAPBACK}>
Going with a Major scale the 7th harmony is as follows.....

I=Maj7
ii= min7
iii=min7
IV=Maj7
V= Dom7
vi=min7
vii*=min7b5


Yup, correct! This is the way you can harmonize the major scale by using chords which include the 7th!
Ivan Milenkovic
Well, the problem I had before is because I wasn't really honest to myself. I needed to really sit down, learn each mode individually on the neck, play some chords, see what mode works over what it's very important. In general, I don't think modes are so "important", these are only ranges of notes. I think people have most problems in connecting complete patterns with chordal positions. Once a player determines what chord belongs to what key, modes are piece of cake.
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