It looks like you're new here. If you want to get involved, click one of these buttons!
Subscribe to our Patreon, and get image uploads with no ads on the site!
Base theme by DesignModo & ported to Powered by Vanilla by Chris Ireland, modified by the "theFB" team.
Comments
Listen to Klezmer, Romanian, Bulgarian, Greek folk tunes etc etc and you'll find that many happy tunes are played in "minor" modes.
To be honest, anyone with an interest in modes* should just devour the entire Kind of Blue LP which is almost entirely modal. If I remember right, Blue In Green works its way through three or four modes and All Blues is basically mixolydian the whole way through.
*or just anyone with an interest in absolutely banging classics, to be honest...
thanks loads for posting it..
No that's wrong. You need to know the chord tones.
You can use scales over chord progressions, but it is not the only approach.
The idea that you change scale with each chord is a pathway to some very tedious music in my opinion.
The statement above is both correct and incorrect. If you`re for example playing a c major scale against a chord sequence of C major, A minor, F major and G, then you are indeed playing the same notes but playing four different modes when viewed against the individual chords. For me this really isn`t what most people mean when they talk about modes, as the whole thing has one very obvious tonal center - in this case C major.
However, if you start to compare C Ionian / Major, C Aeolian, C Mixolydian, C Lydian etc directly against each other you really get an idea of how the different modes sound - and in each case they do now have different intervals to create the scale, which gives the different `flavours`
I find the best way to do this is to record a simple one chord groove yourself - just the root note on bass or guitar - and start to play the different modes for that root note against it. You`ll quickly hear they sound vastly different. C Aeolian will be familiar from countless 80s rock widdling, C Ionian (major) is familiar as ingrained in our western music, C Mixolydian will give a bluesy edge, and C Lydian is instant Vai.
And in talking about the Miles Davis above - that is why it is so obviously modal - the groove has a very obvious key center (often a one chord vamp) and the dorian mode is played against that.
Here’s an example of the approach I’m talking about (getting modes from a fixed point). Solo is around the 2:20 mark.
https://youtu.be/Mj7CbQeQzu8
(lights touch paper, retreats and watches ... ‘