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
I get modes as sounds and variations from a major scale.. and a composite of two chord types (describing all the notes in the scale) .. I'll check this out when I have time - have a wisdom for showing this to us
My previous experience has been noodling over static vamps provided in short backing track form.
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
Harmonizing the modes is Lesson 2 if anybody wants to chip in
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
if you line up the modes in a fashion that they get darker each time: lydian, ionian, mixolydian, dorian, aeolian, phrygian, locrian then you get the idea of something akin to declension in languages.. likewise the chords change always in this pattern:
Major -> Major -> Dominant -> Minor -> Minor -> Minor -> Minor7 flat5 -> (repeat from the top a semitone down).
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
Yes that's awesome. And another way to look at them is as parallel couplets:
Ionian and Aeolian are the natural major and minor. Aeolian is the relative minor of Ionian, three semitones below.
Lydian and Dorian are the sweeter modes of each respectively; (Lydian is a sweet major with a sharpened 4th; Dorian is a sweet minor with a sharpened 6th)
Mixolydian and Phrygian are darker modes of each; (Mixolydian is a dark major with a flattened 7th; Phrygian is a dark minor with a flattened 2nd).
In both the Minor and the Major case, the relationship between the natural, the sweet and the flat is I, IV, V (or I, +IV, -IV). In other words when you go up a 4th, you sweeten the natural with a sharpened note; and when you go down a 4th, you darken the natural with a flatter note.
As the major and minor modes are both characterised by I, IV, V, this also means that, in the same way as the Aeolian is the relative minor of Ionian, so is Dorian of Lydian, and Phrygian of Mixolydian.
So it's good to think of these modes as major/minor pairs, where the major is 3 semitones above its relative minor, for each pair.
That can help when moving between major and minor, within the relative, regardless of what mode you're playing in.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Personally I only remember modes by the notes/sounds that make them different from the major scale, or as two adjacent chords.
Chords I think of in a few dimensions - major, minor, dominant, more or less information.
I think of voicings and scale patterns as streetmaps - I don't want to go down every street
I am a bear of little brain and that helps to enjoy myself
Tetra chords and Modal harmony, I think he must have read the classic Jazz book "Ron Miller : Modal Jazz Composition and Harmony"