PapillonIrl

Good thread. I don't think in terms of modes, or rather, I'm not aware of doing so. I usually think in terms of intervals relating to the current chord, leading into the next chord, and where the vocal line is going. I still don't quite understand the way modes are described relating to the same chord, i.e. C in an earlier example. It is much easier for me to understand when just intervals (in relation to the root of the chord you are playing over) are described. For example (please correct me if I have this wrong): Major Modes: Ionian: 1 2 3 4 5 6 7 Mixolydian: 1 2 3 4 5 6 b7 Lydian: 1 2 3 #4 5 6 7 Minor Modes: Dorian: 1 2 b3 4 5 6 b7 Aolian: 1 2 b3 4 5 b6 b7 Phrygian: 1 b2 b3 4 5 6b b7 Locrian: 1 b2 b3 4 b5 b6 b7 In practice, I tend to flatten or augment intervals in a major or minor scale based more on a knowledge of the chords voiced than my knowledge of modes. This is probably because my knowledge of modes is not accessible quick enough in most tempos for the application of it to sound fluid. Surely this knowledge is a stepping stone to a deeper ear>brain>hands connection that takes over when playing @ 200 bpm ? Cheers, Nathan

Just received a Bergantino 2X10 from Terry. Great communication throughout the deal. Cab was packed in original box. Went to the trouble to find a great shipping price (I'm in Ireland). Highly recommended seller. Nathan