ionian scale
- Thread starter linde_muse
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DoubleBlade
New member
i feel that jazz musicians need to learn all the 7 modes because jazz music can suddenly go from slow and mellow to fast and furious which goes hand in hand with the mood of the song as well...
hahahahhahaha yeahh man say only...
Here's some food for thought Satch...
All the modes use the same set of notes.
The difference between each mode is it's interval structure(distance between notes)
So if you're going bring out a mode's unique sound while playing you'd have to be aware what key your playing in and then work out which intervals are unique to the mode that you are going to use only. Once you do that, you just play those notes or as they say...outline the intervals and then you've 'used the modes when you play'
Here's some food for thought Satch...
All the modes use the same set of notes.
The difference between each mode is it's interval structure(distance between notes)
So if you're going bring out a mode's unique sound while playing you'd have to be aware what key your playing in and then work out which intervals are unique to the mode that you are going to use only. Once you do that, you just play those notes or as they say...outline the intervals and then you've 'used the modes when you play'
Mr_KeyboardMan
New member
Actually learning modes is not that hard if you are used to soloing or improvise. One thing though you have to be familiar with major scale(ionian) cos you really need to compare each of the 7 modes to a major scale.That way you can memorise each of them easier. next is that you need to actually know what are the brightness of each of the modes. This is usually is compared with the chords that goes along with it ... for example darker sounding phyrigian or aeolian would goes well with minor chords eg (Am) ... remember to take the root of the chord for the modes (eg Am then u use A Aeolian or phyrigian). Then brighter sounding lydian or ionian would go well with major chords... and mixolydian would go well with dominant chords ... but this is not a set of rule ... you can experiment with them by mixing with different chords and it will create different feels ...
Its true that steve vai use a lot of lydian which is why his feel sounds very bright ... but that many for songs like for the love of god ... he even use lydian(the brightest mode) on minor chords which create "the steve vaish" kinda feel to it
Its true that steve vai use a lot of lydian which is why his feel sounds very bright ... but that many for songs like for the love of god ... he even use lydian(the brightest mode) on minor chords which create "the steve vaish" kinda feel to it
jeremyrozario
New member
satch said:
same for mi oso, i learn this stuff oso i dunno how to use
I think its more important to know the NOTES you're playing relative to the key signature etc. Knowing the theory and formula behind each and every scale and mode is of cos a good way to build the foundation.
However, I think what's most important is realising why certain modes give certain moods..its the notes that are important, not memorising the modes. The pain for guitarists is the fact that we need to memorise shapes and patterns and because of that, sometimes we are caught up with the shapes and we neglect the actual notes we are playing. I can never develop the fast 'eyes' on my fingers to know exactly what notes I'm hitting when I'm on the fly so I guess thats where the shapes n patterns come into the picture.
Apart from that, its also important to know what your bassist or other musicians are playing during a song/jam etc..you don't have to stick to the same modes and scales just because they fit into the key signature..you can actually for example form a chordal harmony if you can hear what your bassist is playing..doesn't have to be the same roots..
Once I had the pleasure of listening to two acclaimed yamaha teachers jam impromptu..just bass n guitar..they were actually LISTENING to each other's notes and complemented each other in the most unusual yet musical way..and anticipating which notes they were playing next..totally cool...
However, I think what's most important is realising why certain modes give certain moods..its the notes that are important, not memorising the modes. The pain for guitarists is the fact that we need to memorise shapes and patterns and because of that, sometimes we are caught up with the shapes and we neglect the actual notes we are playing. I can never develop the fast 'eyes' on my fingers to know exactly what notes I'm hitting when I'm on the fly so I guess thats where the shapes n patterns come into the picture.
Apart from that, its also important to know what your bassist or other musicians are playing during a song/jam etc..you don't have to stick to the same modes and scales just because they fit into the key signature..you can actually for example form a chordal harmony if you can hear what your bassist is playing..doesn't have to be the same roots..
Once I had the pleasure of listening to two acclaimed yamaha teachers jam impromptu..just bass n guitar..they were actually LISTENING to each other's notes and complemented each other in the most unusual yet musical way..and anticipating which notes they were playing next..totally cool...