modes..

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tom1325
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just a quick question here about modes,
my understanding is that modes are used to emphasize a note in a scale? is this right?
any help appreciated, thanks
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Breeder
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Jeries
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simply, modes are just more scales.

however, modes are created by playing regular major scales starting from different notes.

an example is a C major scale is C D E F G A B C

if i play those same notes and go from a different note to that note an octave above it is a mode

so if i go to D-D with the notes of C major we call it a D Dorian Mode D E F G A B C D
tom1325
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ahh i get it now, thanks :D
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burnt out
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tom1325 wrote:ahh i get it now, thanks :D
Famous last words. 8)

The Natural minor scale or Aeolian mode is found by starting any Major scale starting from it's sixth degree to arrive at it's own unique pattern of whole steps and half steps, or whole-TONES and semi-tones.

If you begin the C Major Scale C D EF G A BC from the sixth tone,A...then you'll get the A natural minor scale, or Aeolian mode's steps of A BC D EF G A -- half steps shown in BOLD type.

But it is of utmost importance that you grasp it as an A scale and not as a C scale. So therefore you should immediately compare it with the A Major Scale A B C#D E F# G#A

If you move the C Major Scale up a whole step to D then the D Major Scale would be D E F#G A B C#D

Now if you begin the C Major Scale (C D EF G A BC) from D then you get the D Dorian mode D EF G A BC D ...which you should then immediately compare to the D Major Scale! - That way you are properly thinking of it as some type of D scale or a scale that's rooted in D (musically). Because the D Major SCale and the D Dorian mode both will instantly sound like very musically different types of D scales. Like comparing D Major Pentatonic and D minor pentatonic. Same root note, but different SOUNDS. And that's what it's all about.

That way you avoid confusing modes with their relative parent Major Scale.

The reason why I say all of this is because when you play or improvise, you have that scale or mode across the whole fretboard and that way you can cover the full range of the scale or mode in your playing or improv. Scale or mode fingering patterns, in an improvisation or playing situation do not have to begin on the scale's or mode's root note. You can go lower or higher and exploit the full range of sound available. To not do so would simply be ridiculous. You are not stuck in a box. You can play all up and down each individual string. The root note is held down as the tonal center of the music by the chords or the bass note.

Hope I didn't just screw you over. :mrgreen:

:guitar
TongueNGroove
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It's all about the chords....

If I play C Ioanian or A Aeolian without a chord behind it, they sound exactly the same. They have the same notes, CDEFGAB.

However, if I play a Cmajor under it it will sound Happy, if I play an A Minor under it it will sound sad.

In other words, the chords are what make the modes sound different, not the solo notes.
LucasO
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TongueNGroove wrote:It's all about the chords....

If I play C Ioanian or A Aeolian without a chord behind it, they sound exactly the same. They have the same notes, CDEFGAB.

However, if I play a Cmajor under it it will sound Happy, if I play an A Minor under it it will sound sad.

In other words, the chords are what make the modes sound different, not the solo notes.
You don't need chords, the important thing is which note you take as your root note.
When you play the C-Major scale with the C as your root, it will sound completely different as if you play the scale with A as your root note, even without chords in the background :wink:
Jeries
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TongueNGroove wrote:It's all about the chords....

If I play C Ioanian or A Aeolian without a chord behind it, they sound exactly the same. They have the same notes, CDEFGAB.

However, if I play a Cmajor under it it will sound Happy, if I play an A Minor under it it will sound sad.

In other words, the chords are what make the modes sound different, not the solo notes.
No offense but i think thats a bad example and bad advice
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burnt out
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TongueNGroove wrote:It's all about the chords....
Yes.
If I play C Ioanian or A Aeolian without a chord behind it, they sound exactly the same. They have the same notes, CDEFGAB.
Without a chord behind it, they may or may not sound different depending on how it's done.

However, if I play a Cmajor under it it will sound Happy, if I play an A Minor under it it will sound sad.
This is true. Providing that it's a Cmaj chord all alone and by itself, or an Am chord all alone and by itself.

In other words, the chords are what make the modes sound different, not the solo notes.
Pretty close. It's the tonal center or central pitch or key note (or in other words "the mode's root note" as the central focal point of the music) that does it.

It would have been better to say that if you played C Ionian or A Aeolian over a C Major chord, then they would both sound the same and that they would both sound like C Ionian. But if you played them both over an Am chord then they'd both sound like A Aeolian.

But it's true a Cmaj chord all alone and by itself under A Aeolian will sound happy and like the major scale, or an Am chord all alone and by itself under C Ionian will sound sad like the minor scale. Because that's what they would be with the mode's root being held down as the "fixed" pitch. The mode's root is then heard as the tonal center or central pitch of the music, and becomes the clear focal point of the music. Thus strongly helping to convey that mode's unique sound.

I'm not nit-picking, I knew what you meant. ;)
I'm just clarifying it for anyone who may be confused.

:guitar
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-SkiZ-
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burntout is right, what makes modal music, well, modal, is the harmony and more specifically the root note, something would sound modal for as long as the general bass line emphazises its tonic, if you change that, it would sound more like tonal music wich is related to major and minor scales rather than modes.
try recoring an improvisation in what you think is C ionian and then play an [|:Fmaj7 | B°/F | Fmaj7 | C/F:|] progression over it, there you go, instant lydian mode, the melody would focus on the fifth(C) but what one would percieve as the tonic of that piece of music is F.
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