Thanks!
I’ve done Pacman’s method, but it takes me longer than 10 minutes.... Though maybe that’s because I’m still doing a lot of thinking. I’ll give it a go again.
Also, that arpeggios exercises in nice, but not everything I play is diatonic. Right now, I’m learning a 12 bar jazz blues progression that has Bb7’s, Eb7’s, G7’s, F7’s, and a Cm7 in it. If I’m working on a song like this, should I maybe substitute the chords in the circle of fifths with these chords?
Pacman's method pretty much seems to be playing through all the modes, starting from the lowest diatonic note on the bass. You can learn the material in other ways that allow you to organize the material to fit the available study time.
Here are the modes and corresponding scale degrees in major
1. Ionian
2. Dorian
3. Phrygian
4. Lydian
5. Mixolydian
6. Aeolian
7. Locrian
Ionian is the major scale and Aeolian is the natural minor scale. All other modes except Locrian vary from the major or natural minor by only one accidental. The Locrian mode varies from the natural minor by two accidentals.
So another way to look at this is to memorize the shape of the modes and how they relate back to the Major scale.
For example:
Major
1. Ionian
2. Dorian (#6)
3. Phrygian (b2)
4. Lydian (#4)
5. Mixolydian (b7)
6. Aeolian
7. Locrian (b2, b5)
Once you have the shape of the modes and how they relate to the major scale memorized, you can make up your own way of working through them that fits the amount of time you have. For example perhaps you might just play Dorian mode in all 15 major keys. If you this is too much, work on the flat keys one day and the sharp keys the next day.
For most people I think the study of modes helps you learn your key signature inside and out, and also teaches you to play different diatonic shapes on the fingerboard.
Of course jazz is full of |ii|V| progressions and you could think of them modally as Dorian shapes to Mixolydian shapes. The shapes on the finger board become archetypes or mental shortcuts. So when you see a |ii|V| progression, eventually you don't think of the notes, you think of the sounds and shapes of the chords, notes, and scales you associate with the chord symbols.
When I improvise I move in and out of various ways of thinking about music. Sometimes, I play by ear, sometimes I think about the notes, and sometimes I think about the shapes.
If you really wanted to go crazy, the modes can be extended to natural minor, harmonic minor, and jazz minor as well. The shapes are the same for natural minor, but harmonic and jazz minor produce new forms.
There are some modal compositions to consider as well. For example the Real Book arrangement for
So What is written with D-7 Dorian and Eb-7 Dorian (See lead sheet below). It's a simple enough tune that you could probably play it in all keys without too much trouble. Do it at your own rate. Work on the original key for a day or month; however long you want. Then move on to another key. Repeat until all keys are done.
My belief is practice needs to be split between work and play. If you just do practice that is work, you will lose motivation and interest. You must have some discipline and study hard, but also make it point to reward yourself with fun activities related to what you are studying.
