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Sorry, I forgot that you started this thread, so if you want to discuss adding chromatic notes outside of the mode in a Modal harmony context go straight ahead.
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
Whilst I agree that it can be viewed as theoretical voodoo, it certainly is giving me something to practice with as opposed to the same old pentatonic noodling I have been doing; and training my ear no doubt too.
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
What is the Character note in the Mode and is it in the chords?
It's been a while since I watched "mowds now maw mistruhy" so apologies if the key is wrong (I -> ii) Cmaj7 and Dmin7 - and you've all the information to construct the mode. same goes for ii -> iii, iii -> IV etc... so the next question is making a simple and decent chord progression.
The IV -> V progression is known as a static dominant progression - since the dominant chord isn't returning to the I (say Cmaj) chord... if it were a functional dominant progression ( V -> I ), the solos would be as batshit crazy (AKA atonal) because V -> I (functional dominant progression) is the strongest pull the greatest liberties can be taken with it.
So IV -> V is a static dominant progression and as consonant as it can get. It also icontains all the constituent notes of the mode
Seriously: If you value it, take/fetch it yourself
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
frankus
You have both proved to be extremely helpful in this blog.. I do hope it will continue. I, for one, have had a breakthrough.
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
Debates on theory are sadly never like debates between martial artists. I bumped into a medieval martial artist at Warwick and he regaled me with history and tried to stab me with a short sword and I punched him in the ribs... I meet a cage fighter and we compare roundhouse kicks from Muay Thai, Tae Kwondo and Karate... my boxing coach shows me an illegal boxing move that's an application of a move from Heian Shodan... I didn't tell him that, as he'd hit me at a certain point every martial artist realises - the human body only moves (and can be moved) a set number of ways - so the same moves and locks are found in most martial arts throughout time. They inform each other... and the notion of supremacy of a style is mostly specious - except styles evolved to specifically counter another.
There are only 12 notes in music. If you find a method that works for you, or a teacher who works for you, you'll eventually learn all the same sounds regardless of the system.
I'm a bit sad this seems to have been about competing ideologies, basically - for the most part they're the same sounds described from different approaches, which means, if done right, they should complement rather than contradict - it's cool if you've got to that point bloodandtears ... maybe you can help round my education off re Guy's posts
There's no conflict, I totally understand, I've heard the anti Modal stuff before, Modal Harmony can be difficult to grasp and hear, especially if you've spent all your life only using traditional Major and minor functional harmony. To hear the Mixolydian as the tonic centre is a big ask when you've spent all your life hearing the Major as the tonic centre. :-<
Gambale plays two simple major chord progressions to illustrate.. A,A,D,E and E,E,D,A.... for me this perfectly highlighted concept of changing the tonal centre for mode usage, in this example A Ionian to E mixolydian.
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?