[quote name='Doddy' timestamp='1356226630' post='1908241']
I don't. I generally think about the chords when I'm walking. More accurately,I've spent a lot of time
studying and practicing chord tones that I'm don't have to think about them when I'm on the bandstand.
[/quote][quote name='BassBus' timestamp='1356260219' post='1908416']
This was my point. It involves a lot of thinking time if you have to decide what mode you use if chords change once or twice in every bar. On a tune like So What there are only really two chords in the whole thing. To keep things interesting then, yes, use the modes. There is plenty of time to think about what you are going to do. Otherwise, as Doddy says, work with chord tones.
[/quote]
That's what i was getting at really. I studied theory and modes loads at college and uni to the point where they are redundant almost. I was quite obsessive at first, coming up with systems of use and learning.Like a relative mode system (i'm not saying i invented it, but i invented it for myself as no one taught it me). For instance, where you use relative major and minor scale shapes to go up the neck i.e Emin, Gmaj, E min, Gmaj etc, I'd do the same with modes i.e E dorian, G Lydian etc. I realise loads of people probably do this but when i was 18 i thought i was a right clever bugger.
I guess my point is, that all the battering of theory and modes leads you to a point, where for me it's just basic notes against chords, back to simplicity. Now i just kind of see the notes when each chord comes up relating it to what as been and what is coming, as bilbo said.