ML94 Posted February 16, 2013 Share Posted February 16, 2013 Hi I wanted to know if there are any excercies you guys do to incorporate Modes whilst soloing or coming up with licks and so on. I've got an excercise which is playing the tonic and then all the modes that follow off of that. E.g C major, D Dorian and so on. To me this is quite linear but it does show me the places on the neck where I can play different sounding solos based on different modes. I think the question I'm asking is anyone here know of any other excercises that incorporate the modes that sink in over time ? Also how on earth do you remember which ones have a flat(this) or sharp (that) Or is that just getting my head down and working it out again and again and again .... Cheers Guys Quote Link to comment Share on other sites More sharing options...
Guest bassman7755 Posted February 16, 2013 Share Posted February 16, 2013 (edited) Take a look at this [url="http://scottsbasslessons.com/welcome-to-the-shed"]http://scottsbassles...ome-to-the-shed[/url] watch it all the way through - he starts off doing the exercise you are doing and then explains why its the wrong way to practice modes, and then shows you the right way . [quote] Also how on earth do you remember which ones have a flat(this) or sharp (that) [/quote] Use the major and natural minor (aolian) scales as reference points, learn these first and then learn the others as variations of these. Mixolydian is a major scale with a flat-7th. Lydian mode is a major scale with a sharp-4th. Dorian mode is the natural minor with a 6th instead of flat 6th degree. Phygrian mode is a natural minor with a flat 2nd degree. Edited February 16, 2013 by bassman7755 Quote Link to comment Share on other sites More sharing options...
Coilte Posted February 16, 2013 Share Posted February 16, 2013 Scott Devine has a good modes lesson here : [url="http://scottsbasslessons.com/welcome-to-the-shed"]http://scottsbasslessons.com/welcome-to-the-shed[/url] Quote Link to comment Share on other sites More sharing options...
lobematt Posted February 19, 2013 Share Posted February 19, 2013 [quote name='bassman7755' timestamp='1361026315' post='1979980'] Take a look at this [url="http://scottsbasslessons.com/welcome-to-the-shed"]http://scottsbassles...ome-to-the-shed[/url] watch it all the way through - he starts off doing the exercise you are doing and then explains why its the wrong way to practice modes, and then shows you the right way . Use the major and natural minor (aolian) scales as reference points, learn these first and then learn the others as variations of these. Mixolydian is a major scale with a flat-7th. Lydian mode is a major scale with a sharp-4th. Dorian mode is the natural minor with a 6th instead of flat 6th degree. Phygrian mode is a natural minor with a flat 2nd degree. [/quote] Yeah I went about it this way. I'm trying to memorise all the melodic minor modes at the minute and it's helping me put it into context to try and think about the chord the mode relates to as well. Example - Dorian = minor 7 Phrygian = sus b9 Lydian = Maj #11 etc... Quote Link to comment Share on other sites More sharing options...
Wylie Posted March 5, 2013 Share Posted March 5, 2013 (edited) As a suggestion: When I am playing 'Blue Bossa' and it changes key to Db, I will play over Eb Dorian and then maybe shift up to F Phrygian to see what in those modes I can use in that part of the tune (and in that key)--all, some, or a combination of available notes. Doing this (in a deliberately limited way) allows me to use the modes creatively in lots of tunes without strictly going mode to mode to mode, and can sound quite good when I alternate it with playing over chords. Edited March 5, 2013 by Wylie Quote Link to comment Share on other sites More sharing options...
Myke Posted March 6, 2013 Share Posted March 6, 2013 (edited) If i'm soloing over, say, Cmajor (Keeping it simple, for me) I just play any of the modes not for the specific chord tones, just for where I know the notes are on the neck. Not sure if this is the right way to do things but tbh I'm not even sure there is a 'right' way Just thought to add, I never really solo properly Edited March 6, 2013 by Myke Quote Link to comment Share on other sites More sharing options...
jakenewmanbass Posted March 6, 2013 Share Posted March 6, 2013 My feeling about any harmonic devices is to learn what notes really make the sound of the related chord or scale, it's too easy to noodle just knowing notes work because you've worked out the theory. To get really musical with harmonic devices you really need to know the quality of the tones at your disposal so you can think about imparting real ideas even, dare I say it, emotions. without proper use of what a sound means it all just sounds like noodling to me. Quote Link to comment Share on other sites More sharing options...
Wylie Posted March 6, 2013 Share Posted March 6, 2013 [quote name='jakenewmanbass' timestamp='1362592698' post='2001864'] My feeling about any harmonic devices is to learn what notes really make the sound of the related chord or scale, it's too easy to noodle just knowing notes work because you've worked out the theory. To get really musical with harmonic devices you really need to know the quality of the tones at your disposal so you can think about imparting real ideas even, dare I say it, emotions. without proper use of what a sound means it all just sounds like noodling to me. [/quote] I didn't mean to suggest above that it's all numbers or that you can simply slot scale notes into your playing. Endless noodling is certainly possible, but studying and using modal scales (or any scales) helps you find not just the right notes, or the notes that work, but the notes that will help develop your style of playing, or your approach to a tune--what I would call the emotional aspect. I can find what works emotionally in a tune, but that is quite often related to the scale and chord tones, and combinations of these. Without a framework, the emotional side of my playing can be just that: emotive. Quote Link to comment Share on other sites More sharing options...
jakenewmanbass Posted March 7, 2013 Share Posted March 7, 2013 (edited) [quote name='Wylie' timestamp='1362595446' post='2001926'] I didn't mean to suggest above that it's all numbers or that you can simply slot scale notes into your playing. Endless noodling is certainly possible, but studying and using modal scales (or any scales) helps you find not just the right notes, or the notes that work, but the notes that will help develop your style of playing, or your approach to a tune--what I would call the emotional aspect. I can find what works emotionally in a tune, but that is quite often related to the scale and chord tones, and combinations of these. Without a framework, the emotional side of my playing can be just that: emotive. [/quote] I was also not suggesting that you were an advocate of noodling It's just one of the things I've struggled with myself and been witness to with colleagues and students of mine alike, for my own part I don't start to feel like I really know a sound until I can come up with (and sing) melodic ideas that use a harmonic device or structure. So I hope it didn't seem like I was criticising the other comments, I simply meant that real internal knowledge of a sound, seems to me to produce the nicest playing. When you come across players that are steeped in a sound and have a vivid musical imagination then it really can be lovely. edit It occurs to me that I should add that experimentation and becoming familiar with a chord or scale is a crucial part of the process. Edited March 7, 2013 by jakenewmanbass Quote Link to comment Share on other sites More sharing options...
Wylie Posted March 7, 2013 Share Posted March 7, 2013 [quote name='jakenewmanbass' timestamp='1362649048' post='2002573'] I was also not suggesting that you were an advocate of noodling It's just one of the things I've struggled with myself and been witness to with colleagues and students of mine alike, for my own part I don't start to feel like I really know a sound until I can come up with (and sing) melodic ideas that use a harmonic device or structure. So I hope it didn't seem like I was criticising the other comments, I simply meant that real internal knowledge of a sound, seems to me to produce the nicest playing. When you come across players that are steeped in a sound and have a vivid musical imagination then it really can be lovely. edit It occurs to me that I should add that experimentation and becoming familiar with a chord or scale is a crucial part of the process. [/quote] Thanks for this, Jake. Upon further reflection last night, your post made more sense to me, though I haven't quite got it sorted out. It did make me think, and question what I was thinking. For me, the discovery of the emotional core of whatever I am playing only comes through when I have pretty thoroughly mastered (and I used the term very advisedly) the mechanics of it. At that point I am somewhat free to let go of that aspect and get into something ... other. That's about as far as I can articulate it. Not great! Thanks again. W. Quote Link to comment Share on other sites More sharing options...
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