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Double Bass Melodies in Modes.....

There are so many threads on modes here! Forgive me for starting another. As penance I pledge to support TBass in the near future....

I have learned the modes. It was pretty easy. The first mode appears to be a major scale from root to root, the second mode appears to be the same scale from the 2nd of the major scale to the octave of that second and so on. It works very nicely on the fingerboard.

Not sure really how to ask this question so I'll just take a leap. Are there examples of well known melodies that fit within each mode? If I knew a tune that corresponded to each mode I think I could enjoy a better grasp of these things.
 
Stick Player--wondering the same about public posting. You sent me some good stuff and I appreciate it. Would you consider sharing with the rest of the world? You did name a few melodies but I don't know them. I'm really thinking in terms of more accessible simple melodies, jingles, nursery tunes, theme songs etc. I'm sure they're out there. Everyone is invited to chime in. I've been asking mostly classical musicians (my wife is a concert pianist) and I'm wondering if maybe the jazz folks have more experience with improv and may have more to say. Maybe I should post this over on the electric bass side and see if anyone salutes.......
 
Stick Player--wondering the same about public posting. You sent me some good stuff and I appreciate it. Would you consider sharing with the rest of the world? You did name a few melodies but I don't know them. I'm really thinking in terms of more accessible simple melodies, jingles, nursery tunes, theme songs etc. I'm sure they're out there. Everyone is invited to chime in. I've been asking mostly classical musicians (my wife is a concert pianist) and I'm wondering if maybe the jazz folks have more experience with improv and may have more to say. Maybe I should post this over on the electric bass side and see if anyone salutes.......

Did you listen to the three examples? These are quite simple and accessible melodies. The Dorian and Phrygian examples are quite old folk-tunes. The Lydian example rather recent. I did NOT compose these.

* * * *

I PM'd the OP three examples: Dorian, Phrygian and Lydian.

These are not new, I have posted them before.

I'm just not interested in getting into anymore Mode-wars.
 
Ionian mode: "Happy Birthday to You." "Joy to the World" (the Christmas carol).

Dorian mode: "Smoke on the Water" Deep Purple. "Evil Ways" by Santana.

Phrygian mode: White Rabbit, by Jefferson Airplane

Lydian mode: “The Simpsons” theme

Mixolydian mode "Sweet Home Alabama"

Aeolian mode: natural minor "Putting on the Ritz" from Young Frankenstein.

Locrian: Pink Floyd had a part of one of their songs in Locrian, I can't remember which.
 
Ionian mode: "Happy Birthday to You." "Joy to the World" (the Christmas carol).

Dorian mode: "Smoke on the Water" Deep Purple. "Evil Ways" by Santana.

Phrygian mode: White Rabbit, by Jefferson Airplane

Lydian mode: “The Simpsons” theme

Mixolydian mode "Sweet Home Alabama"

Aeolian mode: natural minor "Putting on the Ritz" from Young Frankenstein.

Locrian: Pink Floyd had a part of one of their songs in Locrian, I can't remember which.

Thanks Mike! That's just exactly what I was looking for! We all learn in our own way. If you'll all excuse me, I'm gonna take this out to the woodshed....
 
...

Phrygian mode: White Rabbit, by Jefferson Airplane

Lydian mode: “The Simpsons” theme

...


The harmony to White Rabbit doesn't clearly support Phrygian. The vocal melody on its own, perhaps.

The Theme from the Simpsons uses "more" of the Lydian Dominant Seventh Scale notes: C, D, E, F#, G, A, Bb. And there is some chromaticism used.
 
I think you meant LOCRIAN MODE for smoke on the water ( start smoke on the water on the root of locrian)

What are you suggesting is the "root"? :confused:

Smoke_on_the_Water_riff.jpg


Smoke on the Water is in G Minor - MOST of the notes are derived from a G Blues scale (G, Bb, C, C#/Db, F). This should explain it:

Ritchie Blackmore explains it.

... more explanation.

This riff works because it relies on the two-notes (Perfect Fourths) sounding together. Subtracting the frequency of the lower pitch from the higher pitch produces a pitch two octaves below the top pitch (which is not actually played). This effect is exaggerated with the aid of the electronic distortion. Organ builders from 700+ years ago knew about this effect.