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Drill the sandwich exercise using major scales Drill the sandwich exercise using lydian scales (#4) Drill the sandwich exercise using mixolydian scales (b7) Drill the sandwich exercise using Aeolian scale (b3,b6,b7) Drill the sandwich exercise using Dorian scales (Aeolian with nat.6th) Drill the sandwich exercise using Phrygian scales (Aeolian with b2) Drill the sandwich exercise using Locrian scales (Phrygian with b5) Use the CAGED system to find any mode anywhere in any key
How to apply modes to improvise diatonically Using the chart above at 4. use the appropriate mode to improvise over the sequence to I will Survive!
Note that the Non-diatonic chords E7b9 and E7 take the mixolydian mode. This is because they are dominant chords (Natural 3rd, but b7) and the mixolydian mode is the only one with this combination of intervals).
This is a great song to practice modes over as it includes all seven modes.
Mixolydian mode over any dominant chord (7ths, 9ths 11ths, 13ths etc.) Ionian or Lydian over any Major chord (6ths, 6/9, Maj7, Maj9, Maj11, Maj13 etc..) Dorian, Phrygian or Aeolian over any Minor chord (m6,m7,m9,m11,m13 etc..) Locrian mode over any half diminished chord (m7b5, m9b5).
Example:
Watermelon Man
F7 (F Mixolydian)
| F7 (F Mixolydian) |
C7 (C Mixolydian)
C7 (C Mixolydian)
:||
No. 1 2 3 4 5 6 7
Mode formula
(same) b3,b7 b2,b3,b6.b7 #4 b7 b3,b6,b7 b2,b3,b5,b6.b7
Chord formula
1,3,5,7 1,b3,5,b7 1,b3,5,b7 1,3,5,7 1,3,5,b7 1,b3,5,b7 1,b3,b5,b7
First we divide the modes according to whether they are major or minor. Then we compare the major modes to the major scale and the minor modes to the natural minor scale.
Mode 1 = IONIAN = same as major scale Mode 4 = LYDIAN = major scale with #4 Mode 5 = MIXOLYDIAN = major scale with b7
Mode 2 = DORIAN = natural minor scale with natural 6th Mode 3 = PHRYGIAN = natural minor scale with b2 Mode 6 = AEOLIAN = same as natural minor scale Mode 7 = LOCRIAN = natural minor scale with b2 and b5
Posted by Kinshuk Chandra at 8:42 AM 0 comments Labels: modes Posts Relacionados
Mode formulas
This gives us a bunch of formulas which we can apply to create modes starting on any note, but learning the formulas off by heart is still a pretty daunting task.
Example- Modes derived from C major, but analysed against major scales of each root: No. Name 1 2 3 4 5 6 7 C Ionian mode D Dorian mode E Phrygian mode F Lydian mode G Mixolydian mode A Aeolian mode B Locrian mode Mnemonic In Dorset People Live Mostly Along Lanes Notes CDEFGABC DEFGABCD EFGABCDE FGABCDEF GABCDEFG ABCDEFGA BCDEFGAB Home scale
CDEFGABC DEF#GABC#D EF#G#ABC#D#E FGABbCDEF GABCDEF#G ABC#DEF#G#A BC#D#EF#G#A#B
Compar-ison
same b3,b7 b2,b3,b6.b7 #4 b7 b3,b6,b7 b2,b3,b5,b6.b7
Derivation of modes
Example- Modes derived from C major: Number Name 1 2 3 4 5 6 7 C Ionian mode D Dorian mode E Phrygian mode F Lydian mode G Mixolydian mode A Aeolian mode B Locrian mode Mnemonic In Dorset People Live Mostly Along Lanes Notes CDEFGABC DEFGABCD EFGABCDE FGABCDEF GABCDEFG ABCDEFGA BCDEFGAB
So remember In Dorset People Live Mostly Along Lanes. This view of modes is useful, but limited in application, especially when dealing with modes of more complex key signatures. For example, in order to work out the key signature of the Bb Phrygian scale one would have to ask the question: What is the key signature of the major scale that has Bb as its third note. Brain damage could result! So we try this view instead::
Posted by Kinshuk Chandra at 7:27 AM 0 comments
The Roman numerals and generic names of each degree of the scale are constant for all keys. These are used, somewhat confusingly, to refer both to the notes on a major scale and to the chords built on those notes:
Here is the scale of D major harmonised. Notice that the key signature ensures the sequence of chord types remains the same, ie. I = major, II = minor, III = minor, IV = major, V = major, VI = minor, VII = diminished, VIII = major. This is true in all keys.
Posted by Kinshuk Chandra at 7:09 AM 0 comments Labels: Guitar Scales, guitar theory, Major scale, modes Posts Relacionados
You will also need to understand how chords are constructed and how they can be altered to make new chords. This is because modes are played over chords, and without understanding the harmony created by the chords you won't be able to use modes!
Practical Skills Required You need to know AT LEAST position 1 of the Major Scale, but it will be a great help if you know all five positions. And not just play them up and down, but be able to use it / them. If you don't then I would strongly advise you spend your time getting to know your major scales well before you attempt to use and understand modes. You can learn 1 position 1 position for major scale is (for C scale)
Posted by Kinshuk Chandra at 9:10 AM 0 comments Labels: Guitar Scales, modes Posts Relacionados
the notes D and A a little tense, but kinda nice too. And I hope that you found the notes F and B quite dissonant and kinda wrong sounding. The B is actually quite a cool note in the right circumstance but not one that you would commonly stop on... but the F :( that is a yucky sounding note to stop on. To pass through it sounds great, but to stop a melody line on the note F while a C chord is playing generally sounds pretty horrible. The reason for that is that it is the 4th degree of the scale - and played over the chord the 4th often clashes with the 3rd of the chord, mainly because they are a semitone apart. Lets look at all the notes in the scale (mode) against the chord to make that very clear... CT means Chord Tone.
I C Major C ROOT C CT
II D 2nd
III E 3rd CT
IV F 4th (yuk!)
V G 5th CT
VI A 6th
VII B 7th
Now go and play the scale again and make sure that you are convinced that the CT notes are all real good and listen to how the 4th (F) sounds... Spend a bit of time with this if you really want to get this concept in your head. Learn to LISTEN not THINK. Your ears should be the judge of what sounds good, not your brain. OK - hope you are still with me... so important point to remember: All the notes of the scale are good, but some are better than others. So now lets look at a mode - and we're going to look at playing a C Major scale over the 5th chord in the Key of C: which is G7. We would call this playing G Mixolydian, but that is not important now... we're just getting into why Modes are useful - worry about the names and all that later. Now you need a G7 backing track (either your friend playing, or record your own G7, or use my G Mixolydian backing track) and you will again LISTEN to all the notes of the C Major scale being played over the G7 chord. So now you need to try it out (please actually do this - don't just read it) because that is the only way that you will really understand what I mean. When you do that, you will discover that the notes that sound good over the G7 were very different from the notes that sounded good over the C... they are the same notes but each will have had a very different quality over this different chord.
I G Mixolydian G ROOT G7 CT
II A 2nd
III B 3rd CT
IV C 4th (yuk!)
V D 5th CT
VI E 6th
VII F b7th CT
So if you listened well and played all the notes from the C Major scale over the G7 chord, you would have found that the Chord Tones (CT) G, B, D and F all sound great, A and E sound interesting, and C doesn't sound so good (it's the 4th clashing with the 3rd again). SO in this case the note C (which is the root note of the Parent Major Scale) is not a good note to play - and the note F (which did not sound so good over the C Major Chord) is great to play over a G7. THIS IS WHY WE NEED MODES! The notes from a C major scale can be played over a Cmaj7 chord and a G7 chord (if you understand basic diatonic theory you should be cool with this concept) but the RELATIONSHIP between the scale notes and the chords change. The quality of the note changes when the chords change.
Another example... the III chord in the key of C is E minor. Play a C note over that and it sounds well horrible! Learning modes will help you play over chords, instead of thinking about keys. Which is very important when the keys change a lot, which happens a lot in jazz and modern blues. Modes help us understand the relationships between scales and chords. That is all it is. It's understanding why some notes from a scale will work well better over some chords than others. Now we are going to look more how to look at the modal theory (series and parallel) and then look at how you should practice them. Then we are going to look at each mode one at a time and look, practice and listen to what it sounds like and understand why and when we might use it. I hope that gives you a better understanding of why we use modes.
Posted by Kinshuk Chandra at 11:40 PM 0 comments Labels: Guitar Scales, guitar theory, modes Posts Relacionados
Introduction to Modes
MODES ARE EASY, when you understand them! I personally had a difficult time with modes and spent many hours reading every book I could find on them, but all I got was more confused. Now I understand how they are used, they seem so simple... so what I want to do is to try and explain all the things that confused me, and hope that it helps you. MODES ARE THE SAME AS THE MAJOR SCALE, but have a different tonal centre. What does that mean, and why is it important? Well to understand that you need to understand a bit about Diatonic Chord Sequences, which will be covered in a lesson by itself. What you need to understand for now is that all the modes have the same notes as a major scale, but you would play it over a chord other than the root. huh? If play a G Major Scale over an A minor chord, you would be playing the A Dorian Mode. Don't try and understand that just yet, just grasp that idea. Using the modes is as easy as playing the Major Scale, just the tonal centre (or chord that you are playing over) does not have the same tonal centre as the Major Scale. So lets get to grips with a few terms that you will need to understand first: Diatonic Chord Sequence - This explains the chords found in a key. For example: The diatonic chord sequence in the key of C is, C, Dmin, Emin, F, G, Amin, Bdim. More in this in couple of lessons time. Tonal Centre - This is the foundation of the harmony, usually the chord that the mode will be played over. This will also help define what I call the "Home Notes" which are the notes that you can settle on and sound good. It's really important that you get to grips with this idea and I will give you some examples of how to use this later. Parent Major Scale (PMS) - This is my term for the Major scale that a Mode comes from. The notes of the mode and the PMS will be the same but the tonal centre will be different. For example, I might write B Dorian mode (PMS: A Major) which will mean that the PMS of B Dorian is the A Major Scale. Home Notes - These notes will help you define the tonal centre and are usually the chord tones of the Tonal Centre. Series - Looking at the series of modes that come from one Major Scale. For example, the modes that all come from the same PMS: in C Major would be C Ionian, D Dorian, E Phrygian, etc.
Parallel - Looking at all the modes that have the same tonal centre. For example, The modes that have the tonal centre of C (but different PMS) would be C Ionian, C Dorian, C Phrygian, etc.
Posted by Kinshuk Chandra at 9:50 PM 0 comments Labels: Guitar Scales, Major scale, modes Posts Relacionados
A triad is the 1st, 3rd, and 5th notes of a scale played simultaneously to form a chord. All chords are formed based on their respective major diatonic scale. A C chord is built on a C major scale, a D chord is built on a D major scale, etc.
When these triads are formed from each degree of the scale we get a series of chords, called the diatonic chord sequence.
There are 7 chords for each key, which correspond to the 7 notes in each key's scale. Some chords can be in more than one key - for example, a D major chord can be in the keys D, A, or G.
Even more is revealed when you look at diatonic quadad (4 note chords) sequence. You should know the formations of Major 7, minor 7, Dominant 7 and min7b5 chords.
I'll use the key of C as an example: The key of C includes the notes C D E F G A B C. Each note of the scale corresponds to a scale degree as shown: Note: CDEFGABC
Degree: 1 2 3 4 5 6 7 1
You can form 7 basic chords (triads) from the notes in the key of C. Each different note is the root of a different chord.
We know that triad formation is: Major triad: 1 3 5 Minor triad: 1 b3 5 Diminished triad: 1 b3 b5
Quadad formation Major 7th: Minor 7th: Dominant 7th: 1 3 5 7 - Abbreviation: maj7 1 b3 5 b7 - Abbreviation: min7 1 3 5 b7 - Abbreviation: 7, dom7
Your first chord will be a C chord, because C is the first scale degree. Now, since this is a C chord, it will be based on the C major diatonic scale. Take scale degrees 1 3 5 as shown below: C scale Note: CDEFGABC
Degree: 1 2 3 4 5 6 7 1
This gives you notes C, E, and G. Since all 3 of those notes are in the key of C, you do not have to modify them to fit, and you have a major triad (1 3 5). So your first chord is C major. Similarily quadad is CEGB.
The second chord will be a D chord, because D is the 2nd scale degree. It's based on the D scale, which is D E F# G A B C# D. Now, take 1 3 5 of D scale: D scale Note: D E F# G A B C# D
Degree: 1 2 3 4 5 6 7 1
This gives notes D F# A. This presents a problem - F# is not in the key of C! In order to keep this chord in key, we have to flat the F# (lower it by 1/2 step) down to F natural. This gives D F A, which is scale degrees 1 b3 5 of the D major scale. 1 b3 5 is the formula for a minor triad. Therefore, your second chord is D minor. Quadad has notes DF#AC#....so we have to flatten 3rd and 5th note....So it is 1 b3 5 b7......This gives us minor 7th chord....
Degree: 1 2 3 4 5 6 7 1
Our notes are G B D F#. F# (7th) must be flatted to an F natural (b7). Our scale degrees are 1 3 5 b7, which is the formula for a dominant 7th chord. Our 5th chord is G7!
The seventh chord will be a B chord, because B is the 7th scale degree. It's based on the B scale, which is B C#
Degree: 1 2 3 4 5 6 7 1
This gives notes B D# F#. D# (3) and F# (5) are not in the key of C, and must be flatted to D (b3) and F (b5), respectively. This gives us scale degrees 1 b3 b5, which is the formula for a diminished triad. Based on these examples, you can figure out the rest of the chords. However, they always follow a pattern: 1 - major 2 - minor 3 - minor 4 - major 5 - major 6 - minor 7 - diminished In other way Major Minor(2).Major(2).minorDiminished(Note alternate maj n minor n end with d) By applying this pattern, you can quickly figure out that the chords in the key of C are:
All the notes contained in the above chords will be in the key of C.
Shared notes are numbered 1 234567 C 1 3 5 dm 2 4 em 3 5 F 1 4 G 2 5 am 1 3 Bdim 2 4 Notes in the chord C-E-G C Major Chord (I) D-F-A D minor Chord (ii) E-G-B E minor Chord (iii) F-A-C F Major Chord (IV) G-B-D G Major Chord (V) A-C-E A minor Chord (vi) B-D-F B diminished Chord (vii)
This pattern works for any of the keys in the Circle of 5ths. It does not, however, cover any scales that are not the major scale (such as the harmonic minor scale, for example. That has its own pattern of chords). Chord progressions for various Keys
Using the same method you can figure out the other chords. They also follow a pattern. That pattern goes as follows: 1 - maj7 2 - min7 3 - min7 4 - maj7 5 - dom7 6 - min7 7 - min7(b5)
And, as you may have guessed by now, the chords in the key of C are: Cmaj7
Dmin7 Emin7 Fmaj7 G7 OR Gdom7 (they are the same chord) Amin7 Bmin7(b5)
I hope you know that to improvise over any of the above chords (in any order) you can play the C Major Scale. Be sure to notice that the order of the chords will stay the same in every key. So you can place this chord sequence on the notes of any major scale. Please check this out yourself and try it on a few different keys, maybe Key of E and Key of Bb. Check that the notes for each chord add up to the chords shown in the sequences below. This will help you memorise the Diatonic Sequences and also help solidify your understanding of chord construction. Both are essential to understand modes.
II minor min 7
IV Major Maj 7
V Major 7
VI minor min 7
Before you even think about modes you need to be good at playing over these chords in any order, and your ear needs to be tuned into hearing when you are on a good note and when you are on a bad note. Pick a key, write out the diatonic chords in that key and then record them and practice doing solos over them. Or get a jam buddy, get him to play any random chords from a chosen key (he MUST stay only playing chords in that chosen key) and then you solo over it. Then swap over and give him a turn at soloing. Of course this will help you with your barre chords too! Generally a good note will be a chord tones of any note you are playing over. The bad ones will be the notes in between. Get your ears to recognise the good notes. There is theory behind it of course, and we will explain all that, but most importantly is that your ear can hear the difference between the good and bad notes.