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so that those that think they understand them can inflict their great wisdom on everyone else that think they don't
then they can bask in a universe of smug, warmed by the afterglow of feeling clever as everyone else wades through their vastly extensive modal thesis thinking "WTF was that all about?"
Then, what about creating chords (harmony) built on stacking every fourth note or second note or fifth note with these scales?
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
IMHO, Melodic minor Quartal harmony doesn't really work because of the interval between the 7th and b3rd notes of the scale, example the B and Eb in C Melodic minor. It's technically called a diminished 4th, but obviously it sounds like a Major third, so IMHO it ruins the whole sound of Melodic Minor Quartal voicings/harmony, but it sounds ok if you just skip any chords with these two notes.
But, it's all good, enjoyable stuff.
Guy
If you watch any Ted Greene - there is a man who spent his life getting lost in Harmony, amazing people, being humble and picking himself up to get lost in harmony again. But he did all his "talking" through music, much of his experimentation and discovery in front of an audience and shared his humility with his students to encourage them.
What about harmonizing harmonic modes - answer: you get several of Django Reinhardt's tunes, the reason you probably didn't notice is because you were too busy tapping your feet - rhythm trumps note selection every time.
What about quartal harmony? Well you get lots of sus, 9th,11th and 13th notes - quartal harmony doesn't work on guitars because most of the chord voicings we play are fragmented already.
My beef with some music teachers and guitar mags is they seem to think part of their job is scaring the bejeezers out of guitarists by making a lot of noise about the less pragmatic ways of systemising music - they're great to write and orate about, a f***ing pain to learn (hence the need for advertising) and the returns aren't as marked as timing, repertoire, chord and lick vocab.
And before anyone says it's not scaring, it's not, it's shaming (it's just that most people are scared of shaming - none more so than people prone to use it regularly): "whaaat?!! you don't know..." someone using that mentality even covertly has no place in education of any sort.
Quartal voicings based on diatonic Major modes definitely work on the guitar.
they work on the guitar, but due to the tuning they aren't radically different from normal voices people use was my point.
I don't so much like Chord Chemistry or Ted's Single Note Soloing books but Modern Chord Progressions is one of my favourites as it's experiential, either way I like Chord Chemistry for it mostly being a drilling rather than essays.
I learned them at one point but I've enough to remember with the major scale modes!
My YouTube Channel
My YouTube Channel
My YouTube Channel
I like to think of the melodic minor modes as a mashup of two major modes.
for instance:
melodic minor has a flat third like dorian but a major 7th like Ionian..
Phrygian nat 6th is the Phrygian but with the 6th of dorian.
Lydian Dominant is the important bits of Lydian and Mixolydian.
when you lay the modes out in this way (as is often done)
Lydian (#4)
Ionian
Mixolydian (b7)
Dorian (b3)
Aeolian (b6)
Phrygian (b2)
Locrian (b5)
All the melodic minor modes are there.
I was working on a piece of paper you could wrap into a telescope and look down, it'd show a cycle of fifths, the major modes, the melodic minor modes offset and the harmonic minor modes offset.
It doesn't give a sense of equivalence or use in substitution, but it's a quick way to organise them in your head.
Example:
Major | Melodic Minor
Ionian = Ionian b3
Dorian = Dorian b2
Phrygian = Phrygian b1
Lydian = Lydian b7
Mixolydian = Mixolydian b6
Aeolian =Aeolian b5
Locrian = Locrian b4