quick mode-related question

[chrisrusty99]

I've been talking to this guy on youtube and he's saying that a D major scale over G major is lydian and C major scale over G major is mixolydian. Isn't D the fifth of G major and isn't the 5th mixolydian? Same with the C - isn't the fourth lydian? Maybe I'm wrong but that's what I've always thought...

[JTE]

If you play a D major scale from G to G, it's Lydian (G is the fourth of D). A C major scale played from G to G (the fifth) is G Mixolydian.

But that's the problem with how modes are too commonly taught. They are NOT best thought of as "a major scale started on some other note", but as distinct scales with distinct uses. It's gotta be all about the whole-step and half-step order that defines each scale. And it's stupid to use modes for chordal music, just stupid.

John

[projectMalamute]

If you use the notes of a D major scale over a G major chord you are using the G Lydian mode.

If you use the notes of the C major scale over a G major chord you are using the G Mixolydian mode.

[chrisrusty99]

alright I got it now - I was thinking he meant playing one of those while being in the key of G instead of actually playing the scale on top of the G so to speak

[MalcolmAmos]

Originally Posted by JTE

....But that's the problem with how modes are too commonly taught. They are NOT best thought of as "a major scale started on some other note", And it's stupid to use modes for chordal music, just stupid.
John

You need modal harmony to pull off modes. The chords used must stick around long enough to sustain the modal mood. Chord progressions do not let this happen. If you are going to use modes play them over a modal vamp. And next time anyone starts talking about modes and walking the key in the same sentence - run.

Want Ionian's up beat attractive mood, just use the major scale. 1, 2, 3, 4, 5, 6, 7
Want Lydian's dreamy mood, use the major scale and sharp the 4th. 1, 2, 3, #4, 5, 6, 7 Check out that WWH pattern for Lydian.
Want Mixolydian's Mexican and or blues mood, use the major scale and flat the 7th. 1, 2, 3, 4, 5, 6, b7

OK that takes care of the major modes, now for the minor modes.

Want Aeolian's sad mood, just use the natural minor scale. 1, 2, b3, 4, 5, b6, b7
Want Dorian's attractive jazz mood use the natural minor scale and sharp the 6th back to a natural 6th. 1, 2, b3, 4, 5, 6, b7
Want Phrygian's exotic Latin mood, yes use the natural minor scale and flat the 2. 1, b2, b3, 4, 5, b6, b7
Want Locrian's dark and tense mood use the natural minor scale and this time flat the 2 and 5. 1, b2, b3, 4, b5, b6, b7

And remember if you are not using a modal vamp no reason to even think modes because a chord progression will call attention to the scale tone --- and not stick around long enough to establish the modal mood. Only reason to do a mode is for it's mood. and you gotta have a vamp to pull that off.

For how to make a modal vamp; http://www.riddleworks.com/modalharm3.html

Have fun.

[Billnc]

Originally Posted by JTE

If you play a D major scale from G to G, it's Lydian (G is the fourth of D). A C major scale played from G to G (the fifth) is G Mixolydian.

But that's the problem with how modes are too commonly taught. They are NOT best thought of as "a major scale started on some other note", but as distinct scales with distinct uses. It's gotta be all about the whole-step and half-step order that defines each scale. And it's stupid to use modes for chordal music, just stupid.

John

+1