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I have to confess I've never worried about it myself and have used the terms interchangeably when conversing with others. But when I play a mode (or scale ) I don't really think in terms of the major (or harmonic minor) scale from which it is derived.
2221221 - Lydian
2212221 - Ionian
2212212 - Mixolydian
2122212 - Dorian
2122122 - Aeolian
1222122 - Phrygian
1221222 - Locrian
What makes these particular scales special? Apart from they’re made up totally of 2s and 1s - though there are twenty-one such possibilities - so what’s unique to these seven? It’s difficult to see if you put them in this order. The only thing you might spot if you play them is that each one has a flattened note compared to the one above, so they get ‘darker’ as you play each one. Try playing each scale on the E string, starting with open E.
1221222 - Locrian
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
To me modes were just different positions of major scale, so I likely taught them as that.
these days I think of them as just vibes.
Its not my natural approach, as I would normally revert to the theory, but I’ve found that the theory has got me to a point and I don’t need to analyse more.
now it’s just “this tune sounds better if you play in a minor key but with a sharped 6th”, or that “playing along to blues goes well if use a flattened third and 7th” etc
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Most of mine are visual are go by ear - and usually watch me play it a few times before they understand it. Modes is theory though so its different. I try to use different methods, e.g you can view dorian as a minor pentatonic with a major 2d and 6th or the a C major scale starting on D (if you're using that as your parent key).
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
As already mentioned, "major" and "minor" scales are also modes. So in that sense, they're all modes and there's no need to discuss "scales" at all.
But it's also possible to say that there's only one scale -- the Major Scale -- and that the others are all just different modes of that scale. Like, the same scale but with different start/end points. Same scale, different position. So in that sense, perhaps the answer is to discontinue referring to a minor scale and only say minor mode. And subsequently, we can say that, just as every major has it's relative minor, we can also explain more easily that every major has a relative dorian, phrygian, lydian, mixolydian and locrian.