practicing modes a little differently

bassdog · #1 10-26-2010, 05:23 PM

http://playbassnow.com/author/gigu/

Check out this guys approach to practicing modes. Scroll down his list of lessons to "Afrocuban grooves in different modes." I think it is challanging and musical. Bob

Samsound · #2 10-26-2010, 07:12 PM

I'll have to check out some of those lessons. One thing that bothered me though; he kept saying B#, when I think he just meant B. Could be a language barrier clam.

bottomzone · #3 10-26-2010, 07:29 PM

Cool post!!! Learning and applying modes while grooving at the same time.

A Groove is a Terrible Thing to Waste!

Chris K · #4 10-26-2010, 10:35 PM

Just now, in another thread, I wrote another of my sceptical posts on applying/learning modes.

This, however, is not a different way to learn modes. It is THE way.

The examples show patterns that are strictly modal. This is how modes should be used, to create a real atmosphere by using the diatonic range of a specific mode, spinning around the tonic of that mode (as opposite to using a modal run somewhere in a chord progression, which has little to do with modal music.)

After listening to/playing the examples, you should be able create your own stuff for each mode.

champbassist · #5 10-26-2010, 11:39 PM

I went straight to the Locrian video since, IMO, that's the most difficult mode in terms of establishing a solid resolution to the root. I felt that he did a great job regarding that.

Just wonder why he keeps referring to B as "B sharp"

Chris K · #6 10-27-2010, 07:43 AM

Quote:

Originally Posted by champbassist

I went straight to the Locrian video since, IMO, that's the most difficult mode in terms of establishing a solid resolution to the root. I felt that he did a great job regarding that.

Just wonder why he keeps referring to B as "B sharp"

Because he is German.

In German, B means Bb.
For B, they use H.

Don't ask me why.

catyak · #7 10-27-2010, 07:51 AM

Quote:

Originally Posted by Chris K

In German, B means Bb.
For B, they use H.

Don't ask me why.

So they can write tunes with the notes BACH?

martskre · #8 10-27-2010, 11:13 AM

Quote:

Originally Posted by Chris K

In German, B means Bb.
For B, they use H.

Don't ask me why.

Because of a writing error. No, really! The old monks of the 10th century or something confused b with h, and gradually over a period of time, it stuck.

Anyway, great videos! I really like what Marlowe is doing with all these educational videos. The amount of videos can get a bit overwhelming though, and the information could be a lot more focused and refined, but it's a really great start of a new form for education!

bassdog · #9 10-27-2010, 08:55 PM

I constantly find stuff to work on from this site.

Chris K · #10 10-27-2010, 10:25 PM

[quote=martskre;9903587]Because of a writing error. No, really! The old monks of the 10th century or something confused b with h, and gradually over a period of time, it stuck.

QUOTE]

Stupid monks

fearceol · #11 10-28-2010, 02:55 AM

None of this explains why the guy in the video talks about B sharp

champbassist · #12 10-28-2010, 06:26 AM

Quote:

Originally Posted by Chris K

In German, B means Bb.
For B, they use H.

I was thinking it could be something along those lines (I remember H-Moll-Messe

) . So, in terms of German music, isn't 'H' pronounced as it is in English?

Rudreax · #13 10-29-2010, 08:28 AM

Sounds interesting. I wish he would base all the modes on one note rather than move to a different note for each mode. I feel as though you can hear the difference in tone in each mode better that way. Might just be me, though.

champbassist · #14 10-29-2010, 09:12 AM

Quote:

Originally Posted by Rudreax

Sounds interesting. I wish he would base all the modes on one note rather than move to a different note for each mode. I feel as though you can hear the difference in tone in each mode better that way. Might just be me, though.

This was why I like the 'Modes: No More Mystery' lesson vid by Frank Gambale so much. He bases all the modes on C and shows modal progressions constructed from them.

A tempo · #15 10-29-2010, 10:49 AM

I am really enjoying Gigu's take on the modes. Much thanks to he and MarloweDK. As for,

Quote:

Originally Posted by Rudreax

......I wish he would base all the modes on one note rather than move to a different note for each mode. I feel as though you can hear the difference in tone in each mode better that way.......

Have you ever considered converting the 7 studies to intervals? Then you can easily play in any key that you want, including the same tonal center, "C" in your post. For an excellent reference on modal wisdom, check out Chris Fitzgerald.

Rudreax · #16 10-29-2010, 01:10 PM

Quote:

Originally Posted by A tempo

I am really enjoying Gigu's take on the modes. Much thanks to he and MarloweDK. As for,

Have you ever considered converting the 7 studies to intervals? Then you can easily play in any key that you want, including the same tonal center, "C" in your post. For an excellent reference on modal wisdom, check out Chris Fitzgerald.

Yup. That's how I originally learned about modes and scales (specifically, through that post and a post on another site a while back when I first started playing) and it makes a lot of sense specifically because of the reason you posted. Also, as I'm learning a number of instruments at once at the moment (piano, trumpet, melodica, starting harmonica again) it makes it much easier to translate it to each instrument. That's why I'm wondering why this guys chose not to do that...from what I've experienced people tend to understand modes better when you start off focusing on one starting note and introducing how the intervals in the mode define that mode, rather than going to C major and doing up the scale with each mode.

Chris K · #17 10-29-2010, 11:29 PM

Quote:

Originally Posted by Rudreax

Yup. That's how I originally learned about modes and scales (specifically, through that post and a post on another site a while back when I first started playing) and it makes a lot of sense specifically because of the reason you posted. Also, as I'm learning a number of instruments at once at the moment (piano, trumpet, melodica, starting harmonica again) it makes it much easier to translate it to each instrument. That's why I'm wondering why this guys chose not to do that...from what I've experienced people tend to understand modes better when you start off focusing on one starting note and introducing how the intervals in the mode define that mode, rather than going to C major and doing up the scale with each mode.

Maybe he just wanted to adapt to the beginners' level of C= Ionian, D= Dorian etc.

Seen from the perspective of 'usefulness' that is not a bad choice, since in a piece, a bass solo might start on any spot in the harmonic progression. So if f.e. the piece is in G and you are starting on Bm, you will know that Phrygian is an option.

Better is IMO to emphasize the relativety of the modes, buidling them not on C, D, E etc. but on do-re-mi.

A tempo · #18 10-30-2010, 05:33 AM

Quote:

Originally Posted by Chris K

Better is IMO to emphasize the relativety of the modes, buidling them not on C, D, E etc. but on do-re-mi.

Chris, please help me out with the superiority of using solfege over using intervals. I am most interested in how you apply it. By the way, I am intervals all the way, in every application.

I hope that no one finds this to be a thread jack. I do believe that using intervals has really helped me apply Gigu's study and improved my grasp of modes. All the best.