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Major Mode Interchangeability
- Thread starter IamGroot
- Start date
Hey Groot. I'm wondering, what do I do with this information, Re: interchangeability? I don't see that as so much interchangeable as simply descriptive. Meaning, each of those modes is a pitch collection of the exact same notes as the major scale that describes it. so it's not giving you anything different harmonically. It's just the mode, starting on "C" that's associated with that scale.
If I'm missing something, I'm always open to a fresh look at stuff.
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Groove Master
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- Apr 22, 2011
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Actually it can be useful for harmonization.
The C melody will function as a 2nd or a 9th in Bb
C will function as a 3rd in Ab and so on.
Also it can be used as an evolving motif thru different chords for improv or arranging...
OK. I don't see how that relates to modes.
Sticking a "C" in a melody line in the key of Bb major has nothing implicit to do with the fact that C Dorian is the 2nd mode of Bb major. That's a harmonic fact. A melody line is gonna consist of any number of notes from that key. Nothing special n particular about a "C". And in the case of improvisation, it's just a personal harmonic choice. You can add the 9th. Or not. It doesn't matter. Because you can play what you want if you know how to resolve it. I mean knowing the C is the 9th in this case is just a fact.
I'm still speaking to interchangeability as stated in the topic, not basic harmonic facts. C is the 3rd of Ab major. OK. Yeah, it is. So? I guess I'm not getting the interchangeability part and probably reading too much into it. I'll just leave it.
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Ok, making this quick.
If you are playing "inside" in diatonic major modes,you probably can play the related major scale for any mode without thinking about it. Its under you fingers. But if you want to play something outside in chords that are non diatonic, so you will never play the 1, it is helpful to be instantly aware what thr major chord is, and choose your outsde option from the major chord rather than from the related modes.
If you are playing "inside" in diatonic major modes,you probably can play the related major scale for any mode without thinking about it. Its under you fingers. But if you want to play something outside in chords that are non diatonic, so you will never play the 1, it is helpful to be instantly aware what thr major chord is, and choose your outsde option from the major chord rather than from the related modes.
Ok. Back again. I am on very shakey ground about playing "outside". I have developed my own vocabulary rather than lookrd it up in a book. And one of my choices is to start outside phrases like a diminished or whole tone scale on the 1 or 5 of the related major scale. I dont know if there is a sound basis for this, but it orks for me. I start jazz improv on Tuesday and its on my list of questions.
Most people learn about modes by reference to a given major scale. Here we are looking back from the other side of the relationship. That's it. I think this is more relevant to fingering patterns than actual music. YMMV
Modal interchange is the borrowing of chords from a different scale based on the tonic or root of the key you are in. For instance when in C major you use an F min instead of F. Very common on the IV chord in major scales in many songs, even immediately following the corresponding major chord. Check out creep by radio head for a good example of the IV to iv change.
C
"Youre just like an angel...your skin makes
Cmin
me cry....." That's a IV to iv in G
This has been going in since the baroque period.
What you described is not exactly interchange because all of your C modes fit into the corresponding tonic scale
C
"Youre just like an angel...your skin makes
Cmin
me cry....." That's a IV to iv in G
This has been going in since the baroque period.
What you described is not exactly interchange because all of your C modes fit into the corresponding tonic scale
LOL.
As I can recall, we have had an emotional discussion about that “super locrian”, maybe even, unfinished and undecided.
Here is one version of Db super locrian:
Db D E F G A B
How can that note E associate with Cmin or to C (minor) Dorian?
Maybe, B super locrian is very close to C melodic?
As I can recall, we have had an emotional discussion about that “super locrian”, maybe even, unfinished and undecided.
Here is one version of Db super locrian:
Db D E F G A B
How can that note E associate with Cmin or to C (minor) Dorian?
Maybe, B super locrian is very close to C melodic?
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Db is enharmonic equivalent of C#, so C# Superlocrian is 7th mode of D melodic minor, not C. So Bb in key signature but B natural as 6th is raised in melodic minor. Also, D melodic minor has C# leading tone.
C Dorian is 2nd mode of Bb Major, so Bb amd Eb in the key signature with no accidentals.
So, differences are B > Bb, E > Eb and C# > C.
I screwed up. Db melodic minor is C Super locrian. One shouldnt drive and do scales at the same time.
