Tip: Exploring Modes
We started learning about modes last time. Let’s pick up the trail again, and explore some fundamental questions about modes.
First, we noticed how playing a scale a certain way can be just like expressing the same feeling of a chord. We played the C major scale starting from note A and ending on A, and got the feeling of an Am7 chord.
But how do we use modes? When do we use them? And how do we practice them?
You can use modes when you don’t have a playalong partner like a bassist or recording, and you need to hear a certain chord. You’re tired of playing the same old chords, so you do what horn players do: they play arpeggios or play modes.
Here’s an example:
First, the chords:
|-----------|-1----1----|-1----1----|-----------| |-1----1----|-3----3----|-0----0----|-1----1----| |-0----0----|-2----2----|-0----0----|-0----0----| |-2----2----|-0----0----|-----------|-2----2----| |-3----3----|-----------|-----------|-3----3----| |-----------|-----------|-----------|-----------|
Now, the modes to achieve the same basic feeling as the chords. These are all eighth notes, but bars 2 and 4 have eighth note rests on the last eighth note.
E E E E E E E E E E E E E E E E |-----------------|--------------------| |-----------------|-3------------------| |-----------2-4-5-|---4-5--------------| |-----2-3-5-------|-------5---3-2------| |-3-5-------------|----------------5---| |-----------------|--------------------| E E E E E E E E E E E E E E E E |-------------1-5-|-3--------------------| |---------3-5-----|---5------------------| |---2-4-5---------|-----5-4--------------| |-5---------------|----------5-----------| |-----------------|------------5--3------| |-----------------|----------------------|
To hear more clearly how these modes work, play the chord associated with each measure, both before and after you play the measure. Example, play the C major chord before and after bar 1.
Thanks for reading.
Copyright © 2007 Darrin Koltow
This first appeared in the Guitar Noise News – December 15, 2005 newsletter. Reprinted with permission.
Philip
November 20th, 2007 @ 1:46 pm
Hi just found this site. Connection was thro walking bass Jazz ….Peter Simms.
My first contact here .
Woudl like to ask some questions on theory: eg we have sequence 1 4 5 interspersed with 2 3 4 6 7 . 2 as standard is given Bminor but then in the practical example we suddenly go to ii = D9. How does that happen ? Sounds good though ?
Very much an amateur. Just bought true fire “graduated solos” All of me, is an aim and there it is but without explanation of chordal progression.
If I had a great wish to come true I would like to meet other “learner blues guitarists” who are as I am trying to make the jump to jazz . In a group setting. I am local to the south london area .
The view is a tune you really want to learn ( for me “all of me”) but whatever, From that aim we discuss the structure of those tunes and refer back to experts where we can resolve difficultys in ” why that chord ” What exactly does the variations from Lionel Grigson mean?
I am a not very good but looking to learn . Anyone else ? Local south London