Written by Philippe Mege

Wechat: pjazzfunk
Email: solidabass@gmail.com

Modes Matrix 1
Foreword: I created this matrix after being inspired at a master class from Mr Olivier Hutman on Friday, December 1st of 2017 at
Beijing Contemporary Music Academy. Mr Hutman explained to us how to move around a Dorian mode to structure our out playing
and understand better the style of Herbie Hancock. I elaborated from this idea and transposed it to C major scale but you could think
D dorian anytime I say C major for the same effect.

Concept: This matrix represents all intervals created while playing a C major scale (horizontal top row) over a bass moving
chromatically (vertical left row).
When the bass is not included in the C major scale, it creates a collection of 5, 8 notes modes; with Db, Eb, Gb, Ab and Bb bass -
notes from Eb minor pentatonic scale.
Note that I use 9,11, 13 instead of 2, 4, 6 denomination because these new synthetic modes sound much better when playing upper
structures of chords (but i still keep 1 for the root and dont use 8 denomination).
Because these 8 notes modes now introduce what can be seen as passing tones, I will use the traditionally used Bebop term in this
way; bebop9= 1-b9-9, Bebop b7= b7-7-1.

Note C D E F G A B Denomination

Bass

C 1 9 3 11 5 13 7 Ionian

Db 7 b9 #9 3 b5 #5 b7 Altered bebop b7

D b7 1 9 b3 11 5 13 Dorian

Eb 13 7 b9 9 3 b5 #5 Lydian Augmented
bebop9

E b6 b7 1 b9 b3 11 5 Phrygian

F 5 13 7 1 9 3 #11 Lydian

Gb b5 b13 b7 7 b9 b3 11 Locrian Bebop b7

G 11 5 13 b7 1 9 3 Mixolydian

Ab 3 b5 #5 13 7 b9 #9 Lydian Augmented
Altered9

A b3 11 5 b13 b7 1 9 Aeolian

Bb 9 3 #11 5 13 7 b9 Lydian bebop9

B b9 b3 11 b5 b13 b7 1 Locrian

Application examples: these are made to create tension. Go with an open mind/ear. Dont expect comfort.
(not transposed for the sake of clarity, please transpose for yourself):

1- Over a Ab minor vamp, create tension by playing C major scale (or D dorian). This Example was played over a F minor vamp by
Mr Olivier Hutman at the master class, phrasing with B dorian.

2- Over a Db7alt the matrix suggest that I could use a C major scale. Or you can see it as D Dorian over Db7alt. General rule;
dorian mode played a half step higher than a alt7 chord root.

3- Over a Ebmaj7 chord, I could use C major scale so I hear the exotic tones of Lydian augmented with passing tones from 1 to 9.
General rule; major scale from the 6th of a Major chord or a Phrygian Mode from a half step above.

4- Over a Bbmaj7, I would use C major scale and thus create a Lydian sound with passing tone from 1 to 9.
General rule; major scale from the 9th of a Major chord.

Suggestions for further studies:

-Hear what happens when using a pair of F an G major triads (no E vertical row in the matrix). Nice modern sound with more
harmonic stability;
-Replace E by Eb in the horizontal top row and find out the sounds created with C Melodic Minor. (could do with Harmonic minor..)
-Each bass note can be harmonized with different types of triads and you can play an Altered bebop b7 over a minor chord if you
hear it. Mr Hutman was at one point using a F# Dorian over a F minor vamp, which is that Altered bebop b7 sound. Or at one point
he was using A dorian over F- vamp: same as C major over a Bb minor vamp (a lydian bebop9 over a minor chord!).
Or sometimes I like to use Phrygian over a Dominant chord (example; G Phrygian over G7alt).. why not!

Practice smart, be creative :)