" don't get why people get pissed off at breaking down a diatonic progression into "modal" components. ("its a fooken E scale!"). Great, one scale relates. But before you can solo and throw in some nice outside notes, you need to know the flavors of each mode. Examining a diatonic progression is the starting point since you are using the same 7 notes to solo with. After you can deal w/ that idea (each chord has a flavor in relation to the parent scale, ie "modes") you are ready to mix in modes from different scales."
Because what you are talking about is CHORD SCALES not MODES. Modal music is when you're home base is the mode. What you are doing is just chord scales, yes it resembles the modes, but you are talking about TONAL MUSIC. I dont know why i have to reiterate this so much, it is rather simple. Each chord does have a flavor in relation to the parent scale I.E. CHORD SCALES. Each mode has its own flavor, but the music isn't modal if the mode isnt the parent scale. What's so hard to understand about that? I agree that one should get to know the flavors of each mode, but also in a strictly modal context, on their own, detached from the scale it derived from. THIS is when you get the individual flavor of the mode. When IT IS the parent scale. Each mode's flavor can be attibuted to 1, and sometimes 2 notes. Dorian's = nat. 6. Phrygian's = b2. Lydian's = #4. Mixolydian's = b7. Locrian's = b2 and b5, more importantly the b5. Lydian Dominant's = #4 and b7, etc. etc. etc. But one should be able to hear these modes as THEIR OWN PARENT SCALES, and be able to just dwell in the sound of that mode itself. THAT is modal music.
The progression given, E F#m7, A, E will be using chord scales and not modes. Yes they sound the same but they dont function as modes. Traditionally: E = E major, F#m7 = 2nd chord scale which could be thought of as F# Dorian but isnt "in dorian", A = 4th chord scale which could be thought of as A lydian but isnt "in lydian", and back to E major.
"E-E lydian(Bmaj) or E phyrgian dom(A harmonic minor)
F#m7- F# dorian (Emaj) or F# phrygian (Dmaj)
A-A mixolydian(Dmaj) or A phrygian dom(D harmonic minor)
E- same as before or the earlier opptions."
Yes, this is the concept of super imposing "the wrong mode" over the chords. I like the idea. Sure you can play Dorian #4 over that F# minor 7. You're just changing B's to B#s for the moment. The only thing is that whats being talked about ISNT changing keys, it's just using accidentals to change to the "wrong mode" that is being chosen. We haven't modulated. Modulation would mean there is a new tonic, and tonic is still E. You've just uses some accidentals to get a borrowed exotic modal flavor out of it.
In the end though you shouldn't be thinking "i have to play this mode now over this chord" and "whoops i HAVE to play this one over this chord too". All you should be doing is melodically fitting the chord progressions. You dont HAVE to play any fuggin scale or mode anywhere. Breaking it down more simply - with the guide tones. All that's really important on a more simple level is leaning on the chord tones. E maj is you're first chord, G# is the 3rd. I wish you made it E maj 7, because then the other guide tone would be D#, the 7th. F#min7 is your 2nd chord, A is the 3rd, E is the 7th. A maj is your 3rd chord, C# is the 3rd and if youd be using 7ths G# is the 7th. And back to E, same guide tones. You can play to that progression by simply...playing 3rds and 7ths, no chord scales at all, and it'll sound great. But those aren't the only options. I take a more upper structure route to the guide tone concept. I use 9s, b9s, 11s, #11s, b13s, and 13s over chords (the chord doesnt even have to contain the interval, as long as the result isnt overly dissonant). "Color Tones" are my guide tones. I'd be playing F#'s and C#'s over that E major chord (9's and 13's), G#'s and D#'s over that F# minor 7 (9's and 13's), B's and D#'s and F#'s over that A major chord (9's, #11's, and 13's). These intervals posses very unique qualities that make playing over progressions much more interesting. The father of upper structure notes/color tones being used melodically is the great jazz player Bics Beiderbeck. Then a whole slew of greats took it to another level. Anyways, cheers.
Last edited by brainpolice
on Tue Nov 02, 2004 9:47 am, edited 1 time in total.