Now that you say that, I only wish that was what I meant. Damn, opportunity missed.
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My question was more about "adding embellishments", fills, runs, etc... to the existing rhythmic structure of the song, without changing the comping rhythm structure of the song.
We can play it as Waltz, as Bossa nova, etc..., but it would require to change all instrument parts involved in the rhythmic backup.
<Rant on>
What's wrong with just learning the stuff from a fundamental standpoint and being done with it? I know modes and their application pretty well, and I read your "cheat sheet" and I was like what is this even saying? Major = Phrygian? I guess I just don't know how to interpret what this is.
Everything doesn't have to be some kind of shortcut.... Just learn it.
<Rant off>
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I thought the same. I can see the process of analysis used to get there but only because I know why one might be lured into that way of thinking. Sure, F Major might contain the same notes as A phrygian and we might even notate it with 1b, but A phrygian is not F Major, which that tool will have you believe, at least for a while.
I would paraphrase your statement.
I guess the "author" does not comprehend how to interpret that description.
Anyway, as GrooveMaster has said,
Once again,
Dorian mode:
The major 6th is what differentiates the Dorian mode from the Aeolian mode; the 6 is therefore
the characteristic modal note of the Dorian mode.
It's that kind of stuff that has people end up asking the same questions about modes over and over because they never got it in the first place. Then whatever rambling discussion that comes out of a seemingly innocent question, devolves into espousing whichever shortcut the most vocal person has latched onto.
No thanks. I already understand modes, but the way you are teaching this is just going to cause confusion to someone who doesn't get it, because it is not approached from a fundamental perspective.
Musical shortcuts are my personal pet peeve. People should just learn the fundamental principles and then apply them. Not waste time looking for "easy" ways out. Shortcuts are the longest cuts of all. And I said as much in the comments on your website.
You're a well educated man. You should know better. I expect higher levels of teaching from learned people.
Take this statement for example:
- Find the root note on the top string. Example: A.
- Move two frets up (reaching G), and play the major scale (G major).
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My quick & dirty shortcut obviously didn't get into your favorites
No, it's terrible instruction. You really should take it down and re-write it or just take it down and leave it down. I'm not saying this to be mean. It's just bad. It's the place where dumbass questions are going to spring from.
So i am taking jazz performance and two classes in, we are still crippled because some of the players dont know their modes. Like the instructor said, this is stuff you should be able to do immediately without thinking.
So, Just Do It! Like Spin Doctor said.
Rick Beato's book page 13 to 28 has everything you need to know (actually just page 13).
So, Just Do It! Like Spin Doctor said.
Rick Beato's book page 13 to 28 has everything you need to know (actually just page 13).
I truly believe that all those numerous web-sites, youtube videos, tutorials on Modes create/produce more "problems/questions" then answers/solutions.
For example, with Dmin7 (in our Dmin7/G7 vamp) I've decided to play some lame "improvisation" of the following notes (ascending):
(nothing special, just "scale-ishly" going up)
A - B - C - D - E - F
Let's kind of analyze it/ that phrase.
Hey, there is that note B - the major 6th - it's Dorian!, but...
The same note B is #4 - the characteristic mode note for Lydian, and it ends on F. It's Lydian! but...
Hey, there is that note F - as b5 - the characteristic note that differentiates Locrian from Aelian. It's Locrian!, but...
The same note F is b7 - the characteristic mode note for Mixolydian. It's Mixolydian!, but...,
etc...
For example, with Dmin7 (in our Dmin7/G7 vamp) I've decided to play some lame "improvisation" of the following notes (ascending):
(nothing special, just "scale-ishly" going up)
A - B - C - D - E - F
Let's kind of analyze it/ that phrase.
Hey, there is that note B - the major 6th - it's Dorian!, but...
The same note B is #4 - the characteristic mode note for Lydian, and it ends on F. It's Lydian! but...
Hey, there is that note F - as b5 - the characteristic note that differentiates Locrian from Aelian. It's Locrian!, but...
The same note F is b7 - the characteristic mode note for Mixolydian. It's Mixolydian!, but...,
etc...
Groove Master
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- Apr 22, 2011
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You wanna know something interesting?
All the specific notes (SN) for the individuals modes come from the tonal tritone. It is either one of the two notes.
In the key of C Major the tritone is B and F (the 3rd and b7 of the G dominant).
So if we assume that for C Ionian mode the major 7th (B) is the SN.
D Dorian it is the major 6th (B)
E Phrygian is the minor 2nd (F)
F Lydian is the augmented 4th (B)
G Mixolydian is the minor 7th (F)
A Aeolien is the minor 6 th (F)
B Locrian is the diminished 5th (F)
So of course it is more colorful to use the same root as an example but knowing harmony and studying modes is so helpful
It's no wonder folks get confused in all this. Reminds me of explaining to students that a perfect interval is called "diminished" when lowered a half-step, but a major interval is called "minor" in that case." Then, kick in the clencher by saying, "A minor interval is called 'dimished' when lowered a half-step." Then the discussion on how A is really B double flat in a full-diminished C-chord.
Groove Master
Commercial User
- Apr 22, 2011
- 1,808
- 1,291
- Disclosures
- Author of Groove 101, Slap 101 and Technique 101
That's what it is....That is why there are diminished chords and minor chords etc... I haven't wrote the book of harmony, the great composers did it few centuries ago...
Funny aside:
I remember a Far Side cartoon showing an old west saloon scene. In the foreground eas a big, rough-looking customer busting in through the swinging doors. In the background the banjo and piano player were playing. One of them was saying to the other, "Quick, switch to a minor key, bad guy comin' in."
I remember a Far Side cartoon showing an old west saloon scene. In the foreground eas a big, rough-looking customer busting in through the swinging doors. In the background the banjo and piano player were playing. One of them was saying to the other, "Quick, switch to a minor key, bad guy comin' in."
