modes
 

Hypo, in our musical context, means, lower or lower eschelon or beneath, even secondary. In terms of useage, both the mode and hypo mode are the same. The difference between a mode and a hypo mode is resolution. In early times, before me, modes were primarily vocal. Through time and extensive rewrite, the idea is applied to harmony.
Example E phrygian--resolution is E/C. Hypo is E/A. In a modern sense, hypo is not useless, but my view, pretty trivial. One needn't learn or take the time to learn in a traditional sense, only to find out, "Hey, I already know this stuff!" Even notice, said this indirectly, "chords or notes, don't have to resolve a certain way..." Paraphrased, mind you.

I'm still from earth. I wish to be heard, then played, tried out, whatever the new terms. Music theory and music fact, are two different puppies. My application of theory or fact, is much looser with this site, because it's entitled "Guitar Tricks." No malicious intent is intended.
A lot of time and angst could be saved and remedied through simply reading what is written. If one doesn't understand, ask. Saves time and space. Most excellent guitar schools teach chord/scale relationships. Fortunately, it's the way I teach. It's simpler and faster. I've been doing this for a long, long time. I still have my hair and my teeth, though.

modes
 

I am hardly a pentatonic player. I would venture to say, that most people on this site, roughly 90 percent, are pent oriented or the only thing they know. To teach, you have to have some notion of the psychology of whom you are teaching. To reach them, an attempt must be made to explain topics, in "their" POV. Helping them, helps you. Since we're musicians, listening is paramount. A very good teaching method is called the Socratic method. The method always requires a response, of any sort, from the student. The method has changed from the Greeks, and terms have changed, but the methodology has remained reasonably true, constant and consistent.

modes
 

I am still having a problem with your view of the tritone.
I don't know how you can disagree, that a chord with a tritone is not dominant or leading tone. A tritone can occupy a I's postion, but it's still a dominant function. I don't get it. Roughly, 400 years of theory AND practice proves it. Without the tritone, in our present system, music will not and could not move.

Actually I came accost something earlier today that explains the hypo-mode better. I may have been mistaken on how to actually use them. I apologized but here’s the correct usage and it’s interesting. Take the hypo-phyrgian mode I wrote in my first post: B, C, D, E, F, G, A, B. At first look this is a B locrian mode, but what if your tune starting with B and ended on E. This was my mistake, instead of starting on A(the reciting tone) start on the root as natural. This produces a whole new cookie. Playing a mode but ending on the mode of a mode. hehe Here’s a simple way to see it. A good question is which two chords are an acceptable first chord of a song?? The root I and the dominant V. Now if you started on E with this scale, you end up with E phrygian. Start it on B or the dominant (V) of E and you end up with E hypophrygian. These two terms were used to describe the difference of a beginning tone, being either I (phyrgian) or V (hypophrygain). The resolution is the same in both cases, E. Again I apology for the misinterpretation hopefully I cleared it up.

If your wondering where the Hypo meaning works into this, E is a the IV chord if you started with B, or you could say B is a perfect forth below E. Either way and both ways make sense. Again sorry for the confusion.

Griphon-

Sorry, from your posts you seem to be since you explain everything in terms of pents. On your teaching, I agree you need input but one thing that you do. Don’t take this the wrong way, but you assume a lot. Like you said you must assume that 90 percent of the people on here know and may only know pents. You may find your response better taught if you take what the question is that’s being asked rather than what you assume. Like you did with this thread, your first post was so off base. -LOL- The first post on this page should have been you first response. You answered in the context of the discussion (which was hypo-modes), in the first one you didn’t mention hypo modes once instead something about playing the 6th of the major scale.

About the tri-tone and without turning this into a mass debate. I agree the tri-tone can exist within a dominant or leading tone chord. But that’s not the only chord. By definition a tri-tone is an augmented 4th or #4, a b5 is usually referred to as a diminished 5th because it exists within diminished triads. So tri-tone is not a completely accurate way to name that interval. What I was trying to tell you is the #4 or tri-tone also exists within the subdominant chord. Not only the leading tone and dominant chord. If you go back to that thread and read where that debate started, that was the first thing I tried to tell you.

[Edited by noticingthemistake on 08-05-2003 at 11:52 PM]

modes
 

Misread what I said.
"in the first one you didn’t mention hypo modes once instead something about playing the 6th of the major scale."
Your quote. If, for example you want to find phrygian for A, the scale is F (the b6). The mode or hypo rule, if you like, then follows. Very simple. Not much to memorize or to learn by rote.

As for tritones, I don't agree with you. Your view, to me, is far too complicated. I, don't think correct. Your resolutions are in the wrong context and direction. I simply don't understand what you know. I also don't want a mass debate. In roughly, 35 years of playing, performing and studying, I've never heard nor read, this view before. Have at it, it makes absolutely no logical or rational sense, to me.

modes
 

Not being too argumentative. A, only exists 4 times in modern or any music.
Play an A or Am bar chord, and this is what happens.
Play a major scale of C, F or G, (so ironic) and something magical happens. The Am appears in those keys. Real IMPORTANT.! Drastically IMPORTANT! Easy understanding or weirdness begins. Harmony is key!
If you play Bb, a sort of blues exist.
Understanding modes, and how chords function, makes this simplicity happen. This is so incredibly easy. If you are a pent player, modify your scale(s). How simple can this be?
Minor variations are even easier. I am at a lost, as to why this is even debatable. Easy. Guitar Tricks.

[Edited by griphon2 on 08-06-2003 at 09:29 PM]

Dewd- what do you want man?? I didn't say I disagree with you on anything. You need to chill man, we don't hand out Nobel Prizes here. A part of me says just forget it, but I'll try one more time to hopefully get you to see what I am saying.

Take a C major scale. What is the fourth degree or IV of that scale?? F. With me so far? Now what is the 4th interval above F in the C major scale? F, G, A, B, So a fourth above F is B. Okay. What is the name of the interval from F to B. Well a perfect 4th is 2 1/2 steps, and a perfect 5th is 3 1/2 steps. F to B is 3 steps, so which is that? A augmented fourth, #4, or TRI-TONE. Right? Now in the C major scale, what is the given name for the fourth degree (F)(IV)? Well it's sub-dominant (sub-tonic if you want to call it that). But anyways a sub-dominant chord is not a dominant chord, nor is it a leading tone chord. Now as you can see the tri-tone exists within the dominant chord, the leading tone chord, and the sub-dominant chord. What was so complicated about that??

If you don't get it, I don't care anymore. Sorry but this is just senseless and pointless. You have your way and I have mine, we'll leave it at that.