Theory: Modes and usage

[jamester]

The best way to "get" modes is to stop thinking of them as parent scales starting from different notes. Try approaching them like this:

There are three basic 'food groups' in tonal music: Major, Minor, Dominant. All scales eventually break down to one of these three groups. Modes are no different, BUT the way it works out is that a mode will give you one (sometimes two) different notes from its respective "parent scale". Learn the feel of the mode by how it's affected by the changed note. For example, Dorian is a minor scale with a raised 6th; the major 6th interval creates brightness, and pulls upwards towards the 7th degree instead of the darker lowered 6th falling down to the 5th like in Natural Minor.

As for chords and progressions, it's really the same thing with chord theory: Chords break down to the same three food groups (some would say four, counting Sub-Dominant), and the "rules" of root-motion don't really change with modal chord progressions (unless done intentionally/artistically). However, any chord which includes the "modal note" will be changed just like the scales, and also the re-ordering will usually give some non-normal chord types for their position. So for instance, in Dorian you end up getting things like a Dominant "IV" chord (cuz of the raised 6th), and a minor "V" chord (due to the re-ordering).

[UKRuss]

Totally.

I kind of avoided mentioning it, although alluded to it with the Lydian sharp 4 example. reason being the question was asked in relation to relative scale rather than parallel.

However, like you, I found the best way to get your head round modes is to go from the parallel scale.

so, from C major, what notes do I change to get C Dorian, C Phrygian, C Lydian and so on. Also in the context of what you say about different types of chords and scales.

What is thwe difference, as you said, between Cminor (aeolian) and C Dorian or Phrygian.

It starts to get a bit beyond me in a jazz context once the idea of chord function comes into play...I'm more of a vamp/drone guy and then...move on.

[Aequitas123]

Lets say you have a hook riff written using the notes in the D dorian/C Major scale for the start of a track with a underlying tonal center of D, i.e. a baseline or chord progression that comes back to that tonal center as it's 'home' note. If you are using chords to back it, you'll need to know what chords are in the harmonic scale also. So the start of this track is in D dorian.


Lets say you want to lift the track in a chorus type section and change the mood, you can change the underlying tonal center to C still keep your hook riff untouched but you're now in C Major so the track has a different feel. It's now in C major.


Modes just mean you can keep the same melodic parts and change the underlying harmony, to produce different keys and moods, if you want to play by the rules that is.

Once you know what you are doing you can loose the plot altogether

It's interesting because coming from playing in bands lots, and also being a bassists, this type of theory is utilized constantly and without any thought into it. The guitars maintain a riff and i change the bass note to something that changes the sound completely. But it can be confusing when looking at it purely from a theoretical standpoint.

[Nick the Zombie]

This is my favorite thread in a while, thanks for all this great info! I've studied modes from many different angles but always searched for a practical discussion like this.

[Aequitas123]

This is my favorite thread in a while, thanks for all this great info! I've studied modes from many different angles but always searched for a practical discussion like this.

Yeah i wish there was more of this type of discussion.

[UKRuss]

Modes is always a good discussion!

Kind of extending the chords idea a little, how about making chords by stacking fourths instead of thirds from your favourite scale?

[stringtapper]

And those are only the modes of the Major Scale. Add in the modes of Harmonic Minor, Melodic Minor, and Harmonic Major parent scales and you can really get into some saucy territory. Note that jamester's explanation still works with these parent scales, but the modes will now have altered pitches that correspond to the upper extensions of their related chords.

As to stacking chords in fourths vs thirds, it's really just a question of voicing. In other words I wouldn't stack a chord in straight fourths any sooner than I would stack one in straight thirds. Maybe to teach it theoretically to a student, but never when playing. The voice leading should always dictate how the chord is voiced (barring the obvious considerations like the limitations of a particular instrument).

[UKRuss]

we have a jazzer in our midst!

[Tone Deft]

it could be fun to use Live's File Sharing to get some of these points across. racks with the scale plug-in set to force notes into different modes and whatnots. (me busy as f--k with work for 2 weeks, no life, no promises.)