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Easy Modes

Discussion in 'Tab & Music Forum' started by RyanDangerMcCall, Oct 30, 2017.

  1. RyanDangerMcCall

    RyanDangerMcCall New Member!

    Age:
    29
    6
    Oct 30, 2017
    Stillwater, Oklahoma
    I like using the lydian mode for major stuff. It can really add some cool vibes to the song. This is how I do it. Check it out!

     

  2. Virgman

    Virgman Strat-O-Master

    823
    Nov 2, 2012
    Joisey

  3. alderre

    alderre Strat-O-Master

    529
    May 1, 2014
    New Braunfels
    Immediately made me think of Crying song by Pink Floyd.

    Love learning about the modes
     
    RyanDangerMcCall likes this.

  4. fezz parka

    fezz parka The Wiggler of Sticks Strat-Talk Supporter

    Since lydian is the fourth degree when derived from a major scale, of course it "works". It's one of the three major modes: Ionian (first), Lydian (fourth), Mixolydian (fifth).

    If you were playing over a I/IV/V in the key of C, you could play C Ionian over the I, F Lydian over the IV, and G Mixolydian over the V. ;)
     
    RyanDangerMcCall and Ebidis like this.

  5. Ebidis

    Ebidis Providing the world with flat bends since 1985 Strat-Talk Supporter

    Age:
    51
    Nov 14, 2013
    Alabama
    Very cool. I subscribed to your channel.
     
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  6. Musician78

    Musician78 Strat-Talker

    Age:
    39
    269
    Dec 14, 2009
    Hillsboro, NH
    I don’t understand modes, what they are or how they apply. When I’m playing a particular scale, I know what notes I can use and solo based on that. Anytime I’ve ever tried to learn about modes, I get these long drawn out explanations of theory and boring rubbish that loses me very quickly. I need to find something that explains concisely and efficiently without too much noise. I simply don’t understand how knowing them would help.
     
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  7. fezz parka

    fezz parka The Wiggler of Sticks Strat-Talk Supporter

    Modes. It's a sometimes it confusing thing. But when you look at it through chord triads, it clears right up .

    The modes in the key center of C:

    1. The C major (Ionian) scale (C-D-E-F-G-A-B-C)
    2. The D Dorian mode (D-E-F-G-A-B-C-D) ...
    3. The E Phrygian mode (E-F-G-A-B-C-D-E) ...
    4. The F Lydian mode (F-G-A-B-C-D-E-F) ...
    5. The G Mixolydian mode (G-A-B-C-D-E-F-G) ...
    6. The A Aeolian mode (A-B-C-D-E-F-G-A) ...
    7. The B Locrian mode (B-C-D-E-F-G-A-B)
    C-D-E-F-G-A-B
    1-2-3-4-5-6-7

    Pay attention to the intervals and their numerical identification. Then pay attention to the numerical identification for the chords, then the modes. 1-7. Chord progressions are harmonized scales.


    I. CEG - C major. You can play the first, third, and fifth degree.
    ii. DFA - D minor. Second, fourth, and sixth.

    Now you fill in the rest. Remember 1-7, I-vii°, 1st - 7th

    iii. EGB - E minor
    IV. FAC - F major
    V. GBD - G major
    iv. ACE - A minor
    vii°. BDF- B dim.
     
    stratobiker likes this.

  8. RyanDangerMcCall

    RyanDangerMcCall New Member!

    Age:
    29
    6
    Oct 30, 2017
    Stillwater, Oklahoma
    When I first started studying modes, I didn't understand them either. What worked for me was finding the particular notes that gave the distinctive sound for a mode. I would emphasis that note and build a solo around the "target" note. Mixolydian is probably the easiest to start working with. This is a video I did on mixolydian.

     
    Mansonienne likes this.

  9. fezz parka

    fezz parka The Wiggler of Sticks Strat-Talk Supporter

    To understand modes pre Jamey Aebersold (chord/scale method), look at how the modes relate to the parent scale. The modes are degrees of the parent scale.

    Here's how three modes will build a C major chord progression:

    CDEFGAB = Ionian 1,2,3,4,5,6,7.
    EFGABCD = Phrygian 3,4,5,6,7,1,2.
    GABCDEF = Mixolydian 5,6,7,1,2,3,4.

    Play the C Major scale. Record it.
    Play the E Phrygian scale over it. Record it as an overdub.
    You're harmonizing in thirds.
    Now play the G Mixolydian scale over that. Record it. You're harmonizing with fifths.

    This is what you end up with. The C major scale harmonized to create a C major chord progression in triads.

    I. CEG - C major
    ii. DFA - D minor
    iii. EGB - E minor
    IV. FAC - F major
    V. GBD - G major
    iv. ACE - A minor
    vii°. BDF- B dim.

    3 "scales". 1 chord progression.
     
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  10. trapdoor2

    trapdoor2 Strat-Talker

    Age:
    60
    163
    Oct 25, 2017
    Nawth Alabama
    I ran across an old 1930's guitar method (I can't remember who's method, maybe Eddie Lang?) that had this 'stacking' method of showing how the modes relate. I built a spreadsheet so I could visualize the relationships.

    chord stacks and modes.jpg
     
    Doghouse_Riley and fezz parka like this.

  11. fezz parka

    fezz parka The Wiggler of Sticks Strat-Talk Supporter

    Blowing modes is a relatively new thing. It's a shortcut. Truth is this: As long as you hit/ touch on chord tones on the changes and resolve to chord tones on the tonic/I, you can play whatever you want in between. Anything in the chromatic scale. :D
     

  12. Paperback Rocker

    Paperback Rocker Nitro-mancer Strat-Talk Supporter

    Sep 18, 2014
    Victoria TX
    Agreeing with Fezz, a player with a nice touch and a good vibrato can make almost any note work, at least for a short time. It's the note of resolution that is the most important.
     

  13. Duotone

    Duotone Senior Stratmaster

    Feb 12, 2016
    Norway
    Corn with Corn syrup and Corn Starch on top.:)
     
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  14. fezz parka

    fezz parka The Wiggler of Sticks Strat-Talk Supporter

    There are no wrong notes...just wrong resolutions. :D
     

  15. fezz parka

    fezz parka The Wiggler of Sticks Strat-Talk Supporter

    Or you could do this:

    I - C . Triad C-E-G. 1-3-5.
    You could play E Phrygian (3rd degree) or G Mixolydian (5th degree).
    IV - F. Triad F-A-C. 4-6-1.
    You could play A Aeolian (6th degree) , or C Ionian (1st degree).
    V - G. Triad G-B-D. 5-7-2.
    You could play B Locrian (7th degree) or D Dorian (2nd degree).

    The B Locrian sounds super jazzy over the V, especially if it's played as a Dom 7. Glen Campbell did this all the time. It was his jazzy trick. :D
     
    RyanDangerMcCall and Omar like this.

  16. alderre

    alderre Strat-O-Master

    529
    May 1, 2014
    New Braunfels
    I feel like I’m getting closer to getting it. I see it, but when I play it I immediately go back to my pentatonic and add the notes I feel sound appropriate. Maybe what I should do, is study the backing tracks is use before I jump in.
     

  17. fezz parka

    fezz parka The Wiggler of Sticks Strat-Talk Supporter

    This is as good of an approach as any. Chord tones, pent major and minor, and the diatonic major and minor scales will take you far.

    Modes (for me anyway) are for when I want to harmonize, or just blow off for the fun of it. The chord scale modal approach is for blowing off IMO. To make melodies...you know...music... the chord tone/arpeggio method is the one I prefer. :D
     

  18. alderre

    alderre Strat-O-Master

    529
    May 1, 2014
    New Braunfels
    Maybe the image of the improvising musician in my mind has been greatly romanticized. You know the one where the musician just hits the right notes effortlessly as if by accident.
     
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  19. fezz parka

    fezz parka The Wiggler of Sticks Strat-Talk Supporter

    You do it enough, you can think without thinking. :D
     
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  20. Dadocaster

    Dadocaster Most Honored Senior Member Strat-Talk Supporter

    I would think that working on the modes until the point you could "blow off" would train your ears to HEAR those relationships and allow for their use in a not "blowing off" manner. :D
     
    alderre likes this.