OK, so it's not a recording but it's my creation and I'd like some feedback from you guys, please.
It's a cheat sheet to help guitarists come to grips with modes. It's only 11 pages because I wanted to keep it simple (for me and for everyone else!)
Please send me your suggestions and if I use any of them, I'll give you a credit at the end of the eBook and (at your option) a link to your web site.
[b]NB:[/b] I'll only consider stuff that you can back up and constructive criticism. (Sorry to be blunt :))
Nice modal book dude 🙂 Keep it up, this can actually be moved to the lessons section maybe ?
Thanks boet 🙂 Moving it to lessons now -- no idea why I didn't think of doing that earlier!
Maybe something to add is hints on changing modes in different parts of the song like frank gambale suggested ( to change the mood ) works very well.
Another concept worth mentioning is use of notes that falls under each cord you are playing over. Trying of matching notes in the cord. It will always sound good. Basically show people how to use them.
Thanks -- both great ideas. I just want to be careful not to put too much info in. Maybe I should write a longer eBook (60+ pages) and include the more advanced info in there?
Another thing to remember bout modes. Its not just playing scales for solos etc. Modes affect everything in a song.
The major scale consists of 7 modes. Forget bout the names or scales for now. You have to remember that these 7 modes represent the seven notes in this scale as well. Lets say this scale is C Maj. The notes would be C - D - E - F - G - A - B - C. These all for the cords the song can be made off. But understanding modes also brings the dimension of which cords to use with these. C Major does not just consist of major notes/cords. Lets look into this :
The Modes and the Major/Minor Values:
1. Ionian - Major
2. Dorian - Minor
3. Phrygian - Minor
4. Lydian - Major
5. Mixolidian - Major
6. Aeolian - Minor
7. Locrian - Diminised.
This is a very important consept to grasp. If you write a song in C Major with a chord progression of 1,4,5 you would use the notes C, F, G which means the notes would be : C Major, F Major and G Major. Lets say the progression was 1, 3 , 5 , 6. The notes would be C, E , G and A which would make it C Major, E Minor, G Major and A Minor. The last example would be a progression 1, 5 , 7 which would make it C , G , B and that would be C Major, G Major and B Diminished.
This is not a strict rule, as with all music, if it sounds good it is good. But this will help you understand another side of modes.
Sounds like a good plan.
Francis, I'd like to include that in my eBook. Mind if I re-write it slightly and then credit you at the end?
I think you've covered the concept quite nicely but I'd like to put it in English 😛
(For those of us that don't understand Boerenese)
*ducks and rolls out of the line of fire*
NB Seriously, though, nice explanation!
Nice quick handy guide - thanks Norio 🙂
You're very welcome 🙂
I must admit, I made it for myself because I HATE having to try and hold a book open AND play guitar, or type on my keyboard while my guitar dangles from my neck, bashing everything in sight as I try remember what mode works well where 😛
So I thought that it would be great to have something I could print and plaster on my walls and so, voila, here we are 😉
By the way, welcome to the forum, Marc! You were one of the first guys to join up and one of the last to pipe up 😛
I look forward to hearing some of your views on music and guitar in general.
For anyone who doesn't know, Marc used to gig quite a bit, I think he's even released a CD in SA and, right now, he's a copywriter so he could really help us all with his insights by virtue of his writing.
Anyhoo -- good to see the forum picking up momentum ;D
Its fine, but then dont wright it poranese hey you pora 🙂 Glad you gonna use it.
Hey Norio and co.
Sorry it's taken me SOOOOOO long to actually get on here and have a proper look around, my pc has just gone bye bye, so I'm waiting for it to be fixed (All my backing tracks too ☹ )
The site looks GREAT, and I like your guide to modal theory.
Have you put a proviso up that the student would do better to study the relationship between Modes once they have learnt where they are and how they work? ie - how to put them together to make some 'musical sense'?
Looking good man 🙂
Thanks Meir 🙂
Great reference Norio. Keep it up
Just a typo I think - you say Locrian works with Maj7b5.
Should be Minor7b5 (also known as "Half diminished)
It's also important to know the "avoid" notes of the modes. "Avoid" usually means "avoid ending a phrase/solo on that note", as opposed to leaving it out. For instance the 4th of the Ionian (major) scale clashes with a major chord and needs to be resolved. E.g. playing the note "F" over a C major chord creates tension as it is a semitone away from "E" the 3rd of the chord.
Musicians should be aware of which notes of the scale "belong" to the related chord (chord tones), which notes add "colour" to the chord (tensions), and which notes clash with the chord.
C major scale - C D E F G A B
in relation to a C major7 chord -
Chord tones: C E G B (Root 3rd, 5th, maj7th)
Tensions: D A (9th, 13th or 6th)
Avoid note: F (4th)
Lydian Mode has no avoid notes:
C Lydian - C D E F# G A B
Chord tones: C E G B (Root 3rd, 5th, maj7th)
Tensions: D F# A (9, #11, 13)
Obviously it's more important to hear which notes "fit", and which don't, but sometimes the rules provide a shortcut. 😉
Great stuff, Graeme 🙂
Would you like to co-write that part of the eBook for me? Just the reference as you've done below would be great!
Let me know.
Damn, that's like remembering maths and science formula's. I'll stick to the simple solo's for now :-\
I'd be happy to contribute - you may have to be patient though as my gig/work load is quite heavy at present.
Cool man, no problem.
When you're done, email it to me in MS Word format and include the site you'd like me to link back to in return.