F Lydian

[DoubleMIDI]

No he doesn't need to relate them to chord changes, just play modal with a locrian scale...

Seriously, for me scales are always the complete material for chords and melodies (unless you play outside, overtone chords or whatever more strange stuff exists).
So "F dorian" describes the complete material for melodies, the root and probably also the possible chords that could be played.
In a progrssion of fifth you often see that the modes have a common note material (unless you have a minor I). So thinking in modes there is more complicated that thinking in the common tonality over these chords. But it helps if this is not the case.
Always try to find out where modulations take place (often at V-I, II-V-I, VI-II-V-I or the same without the final I, i.e. II-V).
At least for modal pieces you need to know your modal scales.

[XisB]

Originally Posted by Gerald Spaits

This is the right idea, playing the modes starting on the same root. Try this: play modes from Bright to Dark, Start with the same root. Lydian,Ionian(maj)Mixolydian,Dorian,Aeolian,Phrygi an,Locrian. You change one note at a time.The question should be what do you do with these modes. You need to relate them back to a chord change.

This an excellent way of practising the modes.
Gary Burton, in this great lecture, talks about this:
http://www.youtube.com/watch?v=t2txO_u2eNg

[Stick_Player]

Originally Posted by Gerald Spaits

This is the right idea, playing the modes starting on the same root.
Try this: play modes from Bright to Dark, Start with the same root. Lydian,Ionian(maj)Mixolydian,Dorian,Aeolian,Phrygi an,Locrian.
You change one note at a time.
The question should be what do you do with these modes. You need to relate them back to a chord change.

This is the BEST way to learn the Modes - the SOUND of the Modes.

Bright to Dark. An excellent concept.

I've taken a simple Major-Key melody, 4-8 measures in length, and done this:

Order Bright-to-Dark, as indicated. And following the order of accidentals, per the Circle of Fifths/Fourths, simply add the next Flat.

Example:

1) Start with C Lydian (one sharp) - the brightest Mode. Raise the fourth step of the original melody.

2) Following the Circle of Fourths (the direction of adding flats), the next would be C Ionian (no sharps/flats). This IS the original melody.

3) Continue by adding the next flat (Bb - one flat), C Mixolydian. Lower the seventh step of the original melody

4) Two flats, C Dorian. Lower the seventh and third steps of the original melody.

5) Three flats, C Aeolian. Lower the seventh, third and sixth steps of the original melody.

6) Four flats, C Phrygian. Lower the seventh, third, sixth and second steps of the original melody.

7) Five flats, C Locrain. Lower the seventh, third, sixth, second and fifth steps of the original melody.

You can't add the sixth flat, because that would change the C to Cb.

This demonstrates the Bright-to-Dark concept.

Take the original harmony from your source, and reharmonize according to the key signature.

This will give you a start to understanding and hearing the Modes.

You can also find original Modal melodies as well.