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The modes are dangerous black magic!
- Thread starter John Metta
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- improvising modes
Let's take a look at that Frank Gambale's book.
(The first book is, kind of, all about Dorian.)
Could anyone explain to everyone why(!) it's D Dorian?
Please, check the "melody" notes, the chords.
Why is it D Dorian (according to Frank Gambale) instead of C Ionian?
(The first book is, kind of, all about Dorian.)
Could anyone explain to everyone why(!) it's D Dorian?
Please, check the "melody" notes, the chords.
Why is it D Dorian (according to Frank Gambale) instead of C Ionian?
Are the 3rd and the 7th notes flatted? If so the treble clef notes are from the Dorian mode.
R-2-b3-4-5-6-b7 is the Dorian mode. Using the parallel method.
R-2-b3-4-5-6-b7 is the Dorian mode. Using the parallel method.
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Not sure about Gambale, but if anyone is interested in seeing an application of what @Spin Doctor was talking about: Modes being "pitch collections," Rich Brown shows that in lessons 3 and 4 of his Modes course on Scott's Bass Lessons.
lesson 4: Exploring Modal Harmony
Rich Brown, in that lesson, plays a looped C7 chord, and plays all the modes over it to show how each area of the neck has a different mode that can be accessed to play over that. He does this accessing a sharp 11 (4). It's really illustrative of what @Spin Doctor was saying when he noted that if he wants to play low on the neck, he plays in lydian, but if he wants to play high, he might choose mixolydian or phrygian. I found it a great example of the utility of the modes with regards to being immediately useful "pitch collections" rather than "moods."
lesson 4: Exploring Modal Harmony
Rich Brown, in that lesson, plays a looped C7 chord, and plays all the modes over it to show how each area of the neck has a different mode that can be accessed to play over that. He does this accessing a sharp 11 (4). It's really illustrative of what @Spin Doctor was saying when he noted that if he wants to play low on the neck, he plays in lydian, but if he wants to play high, he might choose mixolydian or phrygian. I found it a great example of the utility of the modes with regards to being immediately useful "pitch collections" rather than "moods."
From your recording, it's C# Phrygian.
Let's listen to your intro from the above referenced song.
It's C#m/D C#m (vamp)
Here is a short soundclip (just SLOW) from your Intro.
N.B. There is some variation as (descending) G - F# (D#) to E that is borrowed from a different mode.
The HARMONY clearly defines your MODE.
Is it possible that you are playing C# Phrygian Dominant?
That F (major) sounds better than E (minor)?
Notes: C#, D, F, F#, G#, A, B, C#
https://www.talkbass.com/attachments/wcmitl-mp3.3617927/?temp_hash=4e2ffc9a459b1c8ef8affa5ba24c80fb
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Yes C# Phrygian in terms of pitch for that one section at 2:57. E Phrygian was in terms of fret position but we are tuned down 1.5 steps to C# standard. The start of the song that you slowed down is different from the part that I was highlighting. I never thought of the start in terms of modes so I don't really know. it's been a while since I played that song, would have to revisit it and analyze what we did.
I really think it's more Phrygian Dominat than Phrygian.
Scale 1459: "Phrygian Dominant"
Chords and scale notes of C# Phrygian Dominant
in terms of scale degrees I play 1-b3-5-1-b2-1-1-b3-5-b6-b2-1. To me that's phrygian due to the b3 and b6.
LOL!
Okay.
Please, explain the following F - major note 3rd not b3 with E (phrygian).
Listen to the bass note.
It's from your(!) bass-line. It's at 1:23 from your song.
The major note, F is around 3.5 sec. from this short clip.
https://www.talkbass.com/attachment...1/?temp_hash=faf8664ae0601fdca8021a57bb5ca4e7
Yep. Its a nice, simple, practical approach to modes for beginners that can be used immediately. Not too heavy, not too light. Vol II is more of the same with less common modes. Its focus is more shred than what I like, but.....
I bought these books at Half Price and never really looked at them as I already knew most of it. Dug em up last night and think a week, going through the books is worth while. I did like that he finally clarified why the phrygian and locrian need special care. His video on diatonic exercises is good also.
More stuff for the toolbox.
I think I've overspent my time trying to analyze your bass-line.
It's not "perfectly" tuned.
Here is what I hear around that 2:57.
Starting at 2:55 - (descending) A - G# - F natural (around 2:57) and D(maybe C# - too many distortion) - F.
Modes are magic in one way.
If I think about them while driving, it makes my planned exit on the highway invisible.
If I think about them while driving, it makes my planned exit on the highway invisible.
By the way, I need to stress that your original music is very well crafted.
I'm not a big fan of metal but I see serious musicians behind your music, a lot of work arranging it, good style knowledge, very nice.
I really enjoyed listening to your tracks.
By the way, I need to stress that your original music is very well crafted.
I'm not a big fan of metal but I see serious musicians behind your music, a lot of work arranging it, good style knowledge, very nice.
I really enjoyed listening to your tracks.
thank you!
A lot of the information I've gotten about applying "modes" in playing situations, comes from guitar books. Most specifically the ones written by Don Mock.
I'm willing to bet that's all it's designed to show you. Don Mock publishes all his books in "volumes" which show you other approaches using other scales, i.e. Melodic Minor, Harmonic Minor, Symmetric, etc. Ramming everything into one book typically isn't helpful and is frequently overwhelming.
Michael Brecker is my current hero and I struggle with everything, but I get better everyday. I spent 6 months on Charley Parker and could use another year.
