That's true. But the topic is about modes, so that's why I talked about modal music. I was not reacting directly to you. But I agree, almost anything has been said here and in the other modes topic already.
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Adding modes to my playing?
- Thread starter CaribooBass
- Start date
That's true. But the topic is about modes, so that's why I talked about modal music. I was not reacting directly to you. But I agree, almost anything has been said here and in the other modes topic already.
While I was posting my comments at TB, Les Fret has published 2 books and recorded/released two solo albums.
Yes thanks, and the third (slap) book and third solo album is on it's way!
Congratulations.
"The dogs (like WUTP) bark, but the caravan (Les Fret) goes on."
I'd like to hear your opinion about the subtonic VII chord - as bVII - profusely used in rock/pop music.
Your example of C - D would be one of those uses: C as bVII and D as I.
That chord progression/motion has its name,
Subtonic shuttle (from Mixolydian schemas): I–♭VII or ♭VII–I.
Let's take Michael Jackson’s “Wanna Be Startin’ Somethin."
It's in E major.
We have that D major chord borrowed from E minor - the parallel minor E major.
The song has a two-chord repetitive loop: D - E
or with the bass-line,
D/E and E.
Let's say, a guitar player needs to play some "improvisation" over those chords.
And the guitar player thinks,
"It's easy.
We have a simple IV - V progression,"
but the bass player says, "No it's not IV - V progression.
It's the Lydian shuttle I–II♯."
Suddenly, an educated piano/keyboard player says, "No, you are wrong.
It's the Subtonic shuttle bVII - I."
Now, the guitarist says, "Hey, you are confusing me.
What MODE should I use to play over those D and E chords? What "other notes" could I play?"
What would you tell the guitar player?
Let's read the following quote:
"The world of melodic music is based around combining and sequencing specific audio vibrations. These vibrations can be produced by any type of instrument—vocals, strings, woodwinds, brass, percussion, and even non-traditional instruments like car horns and cooking pots. But to organize and sequence those audio vibrations, we arrange them and give them names. They are called music notes."
Therefore, what notes should the guitar player use in order to "solo" over that two-chord loop of D and E?
Those 2 chords DMaj, EMaj may be used either to imply D lydian or E mixolydian, depending upon which of the notes D or E is felt as the tonal center.
Which note is felt as the tonal center is influenced by a number of factors, such as duration, rhythm, metric placement, accents, articulation, phrasing, dynamics, resolutions, rests, etc.
So just tell your guitar player to play all the notes of the A major scale, and to make the listener feel D (respectively E) as the tonal center is the intention is to play D lydian (respectively E mixolydian).
Since we are talking modes but trying to 1) avoid calling them scales and 2) dodge any references to tonality, perhaps "What 'palette' might best suit this song?" would be a more open question.
Good example. I would say play E Mixolydian, because E is the key center.
If he only know his pentatonics you say 'play Bm pentatonic'.
Would you apply the same answer about The Beatles', "Tomorrow Never Knows?"
Again, just two chords: C and Bb/C.
Another one.
Hall & Oates, "She's Gone."
We have an "oscillating two-chord vamp - A/B and B in Intro.
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With low C pedal droning, the tonal center is clearly C. So that's C mixolydian.
Thank you.
Now, we know why we need to understand Modes even if we play Tonal Music.
It's very easy to provide (necessary) information on "note choices" by using a simple "term" of Modes.
The Beatles: C Mixolydian
Hall en Oates: B Mixolydian
Keep 'em coming. I like these little quizzes!
Glad if it helped.
But to be honnest, to me that Beatles tune is not tonal music. It lacks the DNA of tonal music which the interplay of tonic and dominant, as well as any sense of harmonic forward motion. Rather, I'd call that modal music.
I think a lot of our TB members are learning something from that kind of discussions.
Thank you.
Let's take a look at Jane's Addiction - Jane Says.
It's, almost, just G and A, but...
Is it bVII - I,
or I - II#
or IV - V?
That’s a hard one. Could be both G or A. But if I have to pick one it would be A. So bVII-I
