Separate names with a comma.
Discussion in 'General Instruction [BG]' started by PollyBass, Jul 10, 2002.
A minor <b>what</b>?
If you mean a minor 7 (7) as opposed to a major 7 (maj7), then you're right.
Those scales/modes are half-tone related(?) [halbtonverwandt]:
ionian - lydian (11/#11)
ionian - mixolydian (maj7/7)
dorian - aeolian (13/b13)
dorian - mixolydian (b3/3)
aeolian - phrygian (9/b9)
phrygian - locrian (5/b5)
C Myxolydian is the mode based on the fifth degree of the F major scale.
In other words, C is to F what G is to C.
Sorry, ment to say a minor 7th. Thanks, i knew i was right.
Technically, yes, that is correct, but in practice, it's more useful to look at it as a completely separate scale.
This is so true. It's far more useful to learn each mode and scale type as it's own entity than how it relates to the major scale.
I learned modes as how they related to major scales. BIGGEST MISTAKE OF MY PLAYING LIFE. Learn them as the scales they are, not only will you better understand their role and function, but it will make it easier to play them.
Scales are scales, modes are modes.
Scales are modes and modes are scales....Eye of the Beholder.
This always reminds me of the duality of light (wave/particle).
I only have a fraction of the knoweldge that pacman and the rest of those guys have, but I kinda realised this when I noticed that root,3,5,7 of mixolydian is a Dominant 7th chord.
Scaley mold?! Modes are modes are scales but when scales are used as modes the modality is reinforced through scales and scalar modality. Scales can be played as modes if the scalar modality is modally played while interpreting scales as the proper modes.
Modally Scalar DUDE!!
(I'll have the mixolydian pie, please - a la mode of course....)
Exactly my point. We are of one mind on this issue.
Even spookier, the whole sha-bang is a C13 chord.
When I am thinking of a particular mode I generally think of it as having a b3, or b7, #4, etc. Is this what you mean by thinking of it in terms of a major or ionian scale? If so - how else can I differentiate modes?
How else can you differentiate modes? Think chordally.
Ionian = Maj13
Dorian = Min13
Phrygian = Min7 b9 11 b13
Lydian = Maj9 #11 13
Mixolydian = 13
Aoelian = Min9 11 b13
Locrian = Min7 b5 b9 11 b13
I'm not sure I understand... but I want to. I want to.
Could you break it down a little more?
When I say think chordally, think of the modes as a series of stacked thirds or a chord. To me it's more relevant to look at them this way especially in a jazz context.
CMaj13 = C E G B D F A or C D E F G A B
You can look at this mode as a major scale, a CMaj13 chord, or a series of stacked chords, i.e., CMaj7 chord and a Dmin triad or a CMaj triad and a Bmin7b5 chord. Play the above a scale then play it as series of stacked thirds, then create a run using both methods an see which sounds better. Of course there so much here, it's just the tip of the iceberg.
Using the same excercise on all of the modes you get the list that I posted earlier. It's a good idea to get used to looking at this stuff and hearing this stuff as chords because that's what your facing when you get handed a chart and have to come up with something to play be it Jazz, R&B, Rock or whatever.