Do I really need to know my modes?

[dcgbass]

Impressions like So What centers around D Dorian and Eb Dorian

 

[CB3UK]

I don’t really think about modes in relation to each other or their relative major; but I see the modes just as more scales. And each scale has a flavor, a character. The Aebersold scale syllabus shows all the flavors of C:
https://www.jazzbooks.com/mm5/download/FREE-scale-syllabus.pdf

So for each song I think “what flavor suits this song, or this section?” I play mostly rock, blues and country, and I find I use Dorian and Mixolydian quite often.

But ultimately I’m thinking in terms of scale degrees. I don’t really think “I’m in Dorian” but rather “scale degrees 5 6 b7 1 would work here.” I will use a b2 > 1 in my walking, but I don’t really think “I’m switching to Phrygian” just “I’ll put a b2 here.”

So even if you don’t study the whole scope of the modes, it’s nice to play around with them and see which flavors fit your music. If not for your fingers, then for your ears.

hope that helps!

This. If that makes sense to the OP. this mirros how I think about them. I liken them to flavors in a recipe or colors on a paint palette. Its not about, for the majority of us anyway, being the most knowledgeable or flashy. Its about having a deep repetoire and experience with the differing modes so you inherently know the vibe each brings. That way, when you need them, you almost subconciously know what to bust out because you know the flavor it brings.

As musicians, I feel like we tend to overintellectualize and over analyze theory and all of this stuff. Theres an order and a math and all that stuff to this OP. The reality is, as has been said, if it sounds good it is good. Theory helps to explain why it does, thats really all. The whole point of playing music is to play and get enjoyment out of it.

 

[tshapiro]

Can someone name a (preferably well known) bass line which is obviously modal? Not sure I can differentiate a modal approach from a scalar one.

My favorite: Good Times (Chic) Dorian

 

[IamGroot]

Dont lose sight of the forest for the trees.

Your focus should be on the key center and melody first, then the mode options. Understand why the note choices in the option work or dont due to fit or clash.

Instructor made us mark up the key centers on the standards in the real book and understand the transitions. Once you do this, modes arent so mysterious.

 

[Spin Doctor]

My favorite: Good Times (Chic) Dorian

Almost all funk is in a minor key (offhand I can't think of any major key funk songs) and the melody and fills fall into dorian or phrygian 90% of the time.

In my experience, that doesn't make it modal and I've never heard the term applied to funk or R&B. From what I've figured out, Modal mainly has to do with how you approach an improvisation in jazz. Either you follow the changes strictly as in BeBop or you play in a more scalar fashion, regardless of the changes, i.e. Modally.

I guess you technically could call "Good Times" Modal, but that just confuses things to me. It's just a groove.

 

[Spin Doctor]

Dont lose sight of the forest for the trees.

Your focus should be on the key center and melody first, then the mode options. Understand why the note choices in the option work or dont due to fit or clash.

Instructor made us mark up the key centers on the standards in the real book and understand the transitions. Once you do this, modes arent so mysterious.

I'm with you. It's not as hard as people want to make it. But you must have the right approach to get it, otherwise, you do get the big mystery that people have about it.

 

[somebrains]

Dont lose sight of the forest for the trees.

Your focus should be on the key center and melody first, then the mode options. Understand why the note choices in the option work or dont due to fit or clash.

Instructor made us mark up the key centers on the standards in the real book and understand the transitions. Once you do this, modes arent so mysterious.

Thats where I was going with my experience play horns, but the bias btw technique and musicality was where your seat was determined. If you are technically gifted you go 1st row but you’ll never make 1st or 2nd chair. If you are musically inclined, technique can be hammered into you.

If you can lead your section then you get to ego check yourself bc you have to sit 1st chair 2nd, but you get thrown a bunch of solo spots.

Every bass player should sit 1st chair 2nd. That row drives groove, and your solos have to be rethought from 1st row thinking.

Victor Wooten described it best so far: