06-20-2000, 04:57 PM
Check this out.
What do ya think?
06-21-2000, 12:00 AM
Sure, he tells you the modes, but what would make it better is if it had some examples of those modes in playing, and good places to switch between the modes. You can have all the charts in the world, but if you don't know how to use them then their no good.
06-21-2000, 02:45 PM
I personally like the charts. But examples would be awesome. Maybe if we ask really nicely, erik will post some to his section...
06-21-2000, 02:50 PM
Right now I'm working full time, so I will try to do as much as possible soon. Please be patient.
06-22-2000, 11:43 PM
Well I can sum up what I know about modes, tell me if this is helpful at all. The first mode, ionian (major) can be used over major chords, so that's triads, maj6, maj7, sus4, and so on.
The second mode is dorian, that can be used over minor triads and 7ths and minor 6th chords. Dorian is good if you want a minor tonality with a slightly less harsh sound.
Third is phrygian, works with same as dorian cept for the sus 2, cause phrygian has a minor second, it won't work over a normal sus2 chord, but sounds great if you're soloing over a minor or minor7th chord and you wanna sound exotic.
Fourth is lydian, that will work over the same chords as the ionian mode, except sus4, because lydian has an augmented 4th. Lydian can be used if you want a major tonality with a dreamier, spacier sound.
Fifth is Mixolydian, used often in blues and funk. It works over dominant seventh chords (as opposed to maj7th), major triads, and the same 6th, 4th, and 2nd chords as the ionian mode. It's a good alternative to the standard minor pentatonic when soloing in a 12 bar, might be a good way to break out of boring ruts.
Sixth is Aeolian, that's your normal minor scale. It works over minor triads, m7 and m6 chords, and you know how to use it.
The seventh mode is locrian. It works over diminished triads, m7b5 chords, and is used for a diminished tonality in general. It has very limited uses for soloing, because there is no perfect fifth, there is not a stable resolution on the tonic note, but if you do encounter a minor7th b5 chord in a progression, and you dont know what to do, u can try locrian, very very exotic sound.
Remember, you only really have to change scales when u encounter a chord that doesn't fit in the key u are in. For example, if they play a C major chord, and you're playing C ionian, then they play a D minor chord, you can keep playing C ionian and it will sound fine. If they play an E7 chord after that (this progression won't sound too hot, by the way) u do have to change scales, mixolydian would be the logical choice.
The way I look at modes isn't so much "here's the mode I'm using because this is the chord." Its more like, you think abotu what intervals will sound like what, and if you want a cool dark sound, u play the minor seventh, that happens to be the phrygian mode, u know? I think a good use is to think of modes as a way of safely playing notes that aren't in the key you're in. If you're in C major, why not play the augmented 4th for a cool sound, even though it's not in the key signature, that happens to be the lydian mode, and if you know the lydian scale patterns, its easier to incorporate that into your playing. That's just the way i see it.
06-23-2000, 01:02 AM
Bingo...but your explanation seems remniscient of the 'Mastering the Modes' article in the June issue of Guitar One...you've read it, no?
06-23-2000, 09:34 PM
I saw it in barnes and noble. Didn't read the whole thing, but I know I read the one about lydian, cause I liked how they described it as "dreamy." Didn't read the rest though, or at least i don't think i did.
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