I Understand which Modes, but how Exactly to use them?

[owensea777]

For example, I understand that if a song I'm making is in the key of A major, with a I-IV-V progression, the first mode is A Ionian. The IV is D Lydian, and the V is E Mixolydian.
How do I use these in the context of a song though? Which mode (which determines the scales and chords to use) should get the verse or chorus?

And what about a I-V-IV-I? I have gotten myself self so caught up in understanding basic theory (which is exciting) that I've missed how to use the stuff to make a simple rock song. I think I'm missing something big here...

Many Thanks

[Tinybasschick]

I'm struggling with the same thing. Sometimes it's difficult to get from a lesson book to the "real world", but here's what I'm doing. Get some magazines that have transcriptions of actual songs (like Bass Player). Keep your headful of theory in mind and look at what the bass is actually doing in the song, what notes are being used, what the chords are, and what order things happen in. It helps if you are familiar with the song. Study a lot of songs, and you start to see some patterns. Good luck, and don't give up!

Welsh proverb: It's steady tapping that breaks the stone.

[ba55i5t]

Well, it depends what kind of song you're playing. For example, in the jazz tune "My Funny Valentine" you get this progression

Abmaj7 / Fmin7 / Dmin7b5 / G7b9 / Cmin7

I / vi / ii of iii/ V of iii/ iii

Don't worry so much about the analysis, but you'd construct your walking bassline based on the chords. So for example, you're going from Abmaj7 to Fmin7. I'd go Ab, C, Eb, E. I constructed that line using the root, 3rd and 5th of the scale plus a chromatic tone leading to the next chord. Now to go from the Fmin7 to the Dmin7b5. I'd go F, C, E, Eb. Constructed from the root, the 5th and a downward chromatic approach to the next chord. I'm not going to write out a whole line for that progression but I think you get the idea.

Furthermore, if I were playing in a rock band setting and our chord progression was

C maj / E min / F maj / D min

I'd do a bassline that satisfies each chord. Some bassists will just use the root method...playing the root through each chord. I use that sometimes, but I find that the bassline becomes a bit dull and boring. So I usually mess around by playing the root on the 1st beat and then going through the scale until the measure is over and moving on to the next root.

Don't worry so much about verses and choruses, I'd play the chords as they appear. If I noticed that a chorus or so was in one key I might fool around with modes if say the progression was:

G maj / D maj / C maj / G maj

I know that D is the 5th of G major. I might use the b7 in the mixolydian scale to give it a different sound. I also know that C major is the 4th of G major and I might use the sharp 4 to give it a different sound. It's all about what you're comfortable playing too.

Modes are good for adding colour to your playing, and IMO are definitely worthwhile to learn.

[DocBop]

First stop looking at things at hard fast rules and think of them as tools in your tool box. Modes can be used in many different ways. Some of those way vary depending on the style of music your play and what you ear wants to hear. Scales, modes, arpeggios, and theory devices are starting points you have to take and make you own music with the tool.

Okay I IV V in A. A major/ionian D lydian, E mixolydian are the modes associated with the key if you are staying strictly within A major. You said you are playing Rock to me that start suggesting chords might be changed from strict A major and more Blues and make dominants. They might be Power chords and that is way to avoid rules.

If you are playing Blues and all chords are dominants it can be analyzed with but a mess of V of x stuff. Skip to the chase and each chord can use Mixolydian, Lydian b7, your favorite pent's and Blues scale. Your ear will be your guideline as to what fits, theory is giving a starting point not a fence. If this was power chords then no 3rd no real harmony (to me) so the melody line or root movement is going to define the flavor of the tune major, minor, or ??? sounding. Again you ear is going to say that sounds minor or whatever. Once you decide on the flavor then you can reach into your theory toolbox for things use try.

You last example I-IV-V-I is no different than the first other than you have gone back to I all the scale modes are the same.

Theory for me is used two way. First to analyze music to learn from it and be able to talk to others about it. Its a language. Second theory is tools that can use as a starting point. By knowing theory I know more about what NOT to do than what to do. So if playing a tune I've never seen or heard before and there is a CMa7 chord. My years of practice come into play and in the background my brain is saying C, E, G, B are my chord tones. The AVOID note is F. Starting scales/modes choices are Ionian, and being a Jazzbo Lydian. My Blues notes are Eb and Gb. The chord substitutes for CMa7 are Emi7 and Ami. It's a I chord probably go to II or IV maybe down to VI for Oldies tune. The key thing was the first to bits of info the chord tones and the Avoid note, just that will get me started on a bass line or even a solo.

Now that is not stuff you drill in over time, but more important over time you PLAY with that info in practice, in jams, and as you get better on the bandstand to know how to make music with that info. Again don't let theory fence you in, use theory as a starting point, and most important whatever theory you learn you have to get it the sound in your ear learn to make music with it.

[owensea777]

So basically a progression sequence doesn't actually determine the uh, sequence (for lack of better term) of chords/scales/what have you. That's up to me based on what I like.
I constructed this chart last night, and while it didn't translate well form Word, I'm sure you get the picture.
Another question I have is, is it safe to say if the guitarist or keyboarder is playing a C# minor seventh (found in the first group), I could play C# E, G#, and B, and avoid A's, D's, and F's?

Key of A major, I-IV-V
I. A Ionian: A B C# D E F# G# A

A major ninth: A C# E G# B
B minor ninth: B D F# A C#
C# minor seventh: C# E G# B
D major ninth: D F# A C# E
E major third: E G# B D#
F# minor ninth: F# A C# E G#
G# min7th(b5): G# B D F#

IV. D Lydian: D E F# G# A B C# D

D major ninth: D F# A C# E
E dom. Ninth: E G# B D F#
F# minor ninth: F# A C# E G#
G# min7th(b5): G# B D F#
A major 9th: A C# E G# B
B minor ninth: B D F# A C#
C# minor triad: C# E G#

V. E Mixolydian: E F# G# A B C# D E

E major sixth E G# B C#
F# minor ninth F# A C# E G#
G# min7th(b5) G# B D F#
A major ninth A C# E G# B
B minor ninth B D F# A C#
C# dim triad C# E G
D major ninth D F# A C# E
E dom ninth E G# B D F#