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Modes are used in two different ways:
Modes created from a common root note are known as relative modes - C major, C lydian, Cmixolydian, C dorian etc.. they're all relative to the same root note. This kinda stuff is used by Joe Satriani in his "pitch axis approach" given a C5 power chord he can use the C relative modes to create movement in the music.
Modes starting on degrees of the scale are known as derivative modes - they're derived from one key signature... C major, G mixolydian, F lydian, D dorian... etc. For this you're always playing the notes of C major but the chords or bassline beneath is changing the context of those notes. Youtube Guthrie Govan's Pirate Modes for an audio example of this - if you've not seen it before.
Often people don't differentiate between the two when they're talking about modes and it gets confusing trying to follow the discussion.
Well don't keep us in suspenders, share
Knowing that each mode has a "character note" was extremely useful for my Modal playing, any chord that contains this "character note" sounds unstable and wants to resolve to a more stable chord in the mode's harmony.
This is similar to common functional harmony where the Ionian scale has the "character note" a perfect 4th, so any chord that contains "character note" a perfect 4th will sound like it needs to resolve.
there are only 12 different musical notes, you can play any one of them at any time in a bar but for different durations...
The rest is number wang that sounds fabulous on an internet forum but is largely (if not wholly) irrelevant on a stage.
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
Each Mode has a Character note.
Dorian's 6th, Phrygian's 2nd, Lydian's 4th, Mixolydian's 7th, Aeolian's 6th, Locrian's 5th and 2nd (not popular).
Tension chords contain the Mode's character note.
Non-Tension chords don't contain the Mode's character note.
When the character note is the Root of the chord it has the most tension, then it's the 5th, then the 3rd and the 7th has the weakest tension.
So, for a simple diatonic "F" Lydian Mode progression, knowing "F" Lydian's character note is the 4th, "B".
Simple three note chord example:
Chord 1 could be simply 3 note major triad F, A, C.
Chord 2 could be 3 notes F, A, B.
Chord 3 could be 3 notes E, A, B.
Chord 4 could be a E minor triad with the notes E, G, B.
Next, non-diatonic modal harmony or polymodality?
F major : F,A,C
B7 : B,F,A
A sus 2 : A,B,E
E minor : E,G,B
yet whilst my suggestions of G, Am and F were constructed of the correct scale notes (thus safe chords), only the G chord exploits the lydian raised 4th B note.. right??
I shall try these when I next have my guitar to hand... may just be joining the dots here..
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
My chord examples, have nice sounding voice leading, but experiment with the "B" in various positions in each chord:
Chord 1: F, A, C.
Chord 2: F, A, B.
Chord 3: E, A, B.
Chord 4: E, G, B.
Good luck
Do your triads have names??
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
Chords are just a collect of notes, if it's diatonic, they're just notes from the same scale,,,,,,,,,,,,,,,
C Mixolydian.. flattened 7th note is the flavour note.. C D E F G A Bb C
proposed chords... C, Am, Bb, Gm ... the latter two adding the tension notes
getting warm??
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?