I think I have a basic understanding of what a mode is and how to play them. However, I think I'm still pretty confused over the application. Here are some questions that I had:
1) Does each mode have a specific "mood" that it sets? For example, major scales have a happy sound, minor has a sad sound, pentatonic has bluesy/rock sound. So, can modes be classified into such characteristics? Can you say something like, for instance, the Dorian mode always has a melancholy sound?
2) How do you choose what mode to play? Would only certain modes work in a given chord progression? For example, if I were playing a C -> F -> G chord progression in the key of C, am I free to choose from the C dorian, C phrygian, etc scales to solo over it?
3) Looking at it from the other direction, if I decided I wanted to use the C Dorian scale, what chord progression would I use for this? My initial thought would be to use the chords in the C Major scale, starting with a C major chord. But that doesn't seem to work quite right since the notes in the C Dorian scale do not match the notes in the C Major scale. So then I would think I would need to use the chords constructed from the scale that the C Dorian is based off of, which is Bflat major scale, in which case, I would start with a C minor chord. Which one is right?
Thanks for any help! I feel like I'm getting close to finally understanding some of this theory stuff!
Modes are evil.
Step away from the kool-aide.
"The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side." -- HST
Yes - each mode has a specific 'mood' when heard in a modal context, in exactly the same way that major songs sound different to minor songs. Those are the best example of the distinct sound of modes, (Ionian and Aeolian in that case). The other modes also have their own character. It's too strong though, to say that 'major' is happy, etc. (It's not hard to find a sad song in a major key.) So you can't say Dorian is always melancholy - you can only say it sounds 'Dorian'.
How do you choose which mode to play?
If you're playing a piece of music or a song written by someone else, the choice isn't yours to make. You play what the composer wants.
If you're improvising, then you're adding your own creative input based around the framework of the song.
You could play the mode which agrees with the mode of the music's chords and key - or you can play different modes that will add chromatic flavours to the music. Mixing modes like that, though, compromises the original modal 'mood' mentioned earlier.
If someone is playing C F G in the key of C, yes you are free to improvise using other modes, but it's your responsibility, as a musician, to be aware of exactly what will happen if you do.
If you play C dorian over that progression you're adding the foreign notes Eb and Bb, both of which have 'bluesy' potential, (being the b3 and b7). But they also have a strong potential for discordant clashes with E and B of the underlying chord progression.
From the other direction - "which chord progressions to use under a chosen mode", you can use those implied by the modal melody you've written or improvised. If you improvise a melody in G mixolydian, (GABCDEFG) your chord playing partner won't have much chance to use the usual D7 (V7) chord that always appears in the key of G major. Instead, Dm7 (v7) will be their safest bet. (I'm not implying that safest is best, though, especially in the hands of a great musician :D )
So you can't say Dorian is always melancholy - you can only say it sounds 'Dorian'.
But what's a characteristic of the "Dorian" sound? I just finished playing the Scottish jig Hills of Glenorchy, in E dorian. I wouldn't call it melancholy, but it seems darker and more serious to me than some other folk-dance tunes I've been working on in D (Ionian.) Is that just something we can associate with minor keys (to generalize)?
P.S. LOL @ Neztok.
"Everybody got to elevate from the norm."
But what's a characteristic of the "Dorian" sound?
Dorian sounds very similar to minor but raising the 6th (without raising the 7th) adds a sparkle that the minor lacks.
Interesting description; thanks. :)
"Everybody got to elevate from the norm."
Fretsource: Cool, thanks for that explanation! Definitely clears up a lot of my questions. So, with enough practice, should I be able to immediately figure out what modes I can use to improvise over a given chord progression? Like when you mentioned that Eb and Bb are foreign notes for that chord progression, is that something that you would immediately realize? Or do you have to sit down and analyze the notes in the chord and the notes in the mode?
Yep - if you want to know which notes are chromatic to the key when improvising using modes, then sure you have to know the notes of every mode in every key.
Bear in mind, though, that the majority of the world's great guitarists don't pay any attention to modes. If their experience and musical sense tell them they need a Bb or Eb or whatever at any time, they just take them. No questions asked.
So, there's no need to "think yourself into a mode" just so that you can justify using chromatic notes.
"Badges? We don't need no stinking badges!" :lol:
(a relevant quote from Blazing Saddles for anyone who thinks I've flipped)
Looking at it from the other direction, if I decided I wanted to use the C Dorian scale, what chord progression would I use for this?
ok - C Dorian is a mode in the key of Bb Major - let us know if you don't understand this statement because it's important.
So, you're looking at chords in the key of Bb - Bb, Cm Dm, Eb, F, Gm, Adim - again, let us know if you don't understand how we get these
Modes are popular with the Jazzies. A common jazz chord sequence is ii-V-I. In Bb, this would be Cm, F7, Bb. Some notes will sound ok, others will sound horrible - you need to check out which ones for yourself.
So far as mood is concerned - Ionian, Lydian and Myxolidian are major modes and sound upbeat and positive. Dorian, Phrygian and Aeolian are minor modes and sound melancholy. Locrian is really an invented mode for completeness's sake, and it sits with the minor modes. Overall, modes are probably the most misunderstood concept in music theory. You should check out the Medieval Music sites for a proper understanding of where they belong in modern music theory.
Application? There are places where they will fit and there are places where they won't and you'll have to work out which is which and how to fix it. Let us know what doesn't work with what and we'll see what we can do.
Best,
A :-)
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Thanks Alan and Fretsource for the explanations! Makes a lot more sense now.
It does seem like after some point, all this theory stuff starts to over-complicate things when it comes to improvising. Being a newbie, I think the minor pentatonic or the blues scale seems like a great tool for improvising because it has a specific sound and also cuts out a lot of notes, so it's much harder to hit a bad sounding note. But once you throw in major/minor scales plus modes, it seems to get to a point where you're really not eliminating that many notes... almost seems like it'd just be easier to use the whole fretboard instead.
