free Standard Notation scale sheets?

[skycruiser]

You are thinking of relative modes (same 7 notes, different Tonic) ,
@Rhythmman535 is writing of parallel modes (Same Tonic, 7 different scales)

If you play C Ionian = Key of C major
C Dorian = same notes as Bb major
C Phrygian: Ab major
C Lydian: D major
C Mixolydian: F major
and so forth

Thanks - I realized later that that probably was not correct but didn't go back to fix it. The "key" is the root note of the scale.

 

[mambo4]

The "key" is the root note of the scale.

Musicians tend to use "Key" and "Scale" and "key signature" interchangeably.
But there differences between those concepts that can sometimes cause confusion here.
(See also "Root" and "Tonic")

I've recently started referring to theory concepts as "lenses" for understanding music
They often involve exactly the same notes but carry different implications and connections

 

[Pacman]

You are thinking of relative modes (same 7 notes, different Tonic) ,
@Rhythmman535 is writing of parallel modes (Same Tonic, 7 different scales)

If you play C Ionian = Key of C major
C Dorian = same notes as Bb major
C Phrygian: Ab major
C Lydian: D major
C Mixolydian: F major
and so forth

so 7 different modes all staring on the same tonic yield 7 keys.

Using Modes to "unlock the fingerboard" works for some
But, Pac Man's method is , as advertised, sure-fire.

I want to add that the parallel method is the only way to *really* understand what the modes are. (Pet peeve - they're *not* "Major scale starting from different note") I really like the LIMDAPL method of studying them.

 

[Papageno]

I want to add that the parallel method is the only way to *really* understand what the modes are. (Pet peeve - they're *not* "Major scale starting from different note") I really like the LIMDAPL method of studying them.

Agreed 100%. Best way to check if one really knows the modes is to sing the parallel modes (i. .e., on the same tonal center) one after another: e.g., C Lydian, C Ionian, C dorian, etc.

And my own pet peeve: a mode (say D dorian) is not restricted to one octave between D and D, as many people write when they try to explain what a mode is; all the notes of the C major scale between open E to the highest notes on your bass are notes of the D dorian mode; what make them being D dorian and not C major or F lydian is the way one plays them as gravitating around the tonal center D). So patterns to play one octave from C to C for C ionian, then from D to D for D dorian, etc., are not very useful; that's not how music works.

 

[SteveCS]

all the notes of the C major scale between open E to the highest notes on your bass are notes of the D dorian mode; what make them being D dorian and not C major or F lydian is the way one plays them as gravitating around the tonal center D). So patterns to play one octave from C to C for C ionian, then from D to D for D dorian, etc., are not very useful; that's not how music works.

Which is why it is important to play actual music - melodies - and not just scales. Running D Dorian from low E to the top of your instrument and back is no more D Dorian than it is C Major or E Phrygian. Playing modal melodies centred around the finals and dominants is the only way to understand the nature of each of them. Just fiddling around with D mixolydian over a D7 chord that resolves in the next measure to G major is tonal, not modal.

 

[Bass]

While not notation at all, I believe in this method.

https://www.talkbass.com/threads/pacmans-sure-fire-scale-practice-method.50170/

I would also like to vouch for this method, which I have practised for the last 2 1/2 months. Outstanding!