I'm pretty sure I've gotten the hang of the modal concept, and can here the difference in each scale variation, different tonics and such. but am confused when it comes to the application of the modes. Lets say I was soloing in the key of G. Would it be best to utilize the parallel modes (G lydian, G phyrgian, etc.) or the relative modes of the G scale (A dorian, B phyrigian, etc.).?
Tthe parallel variations seem to sound much more distinct when just played standing alone, but since, for example, the G dorian mode consists of a b3, does this then change the key of the scale to Gm, making the scale inconsistant with the G progression?
Thanks
Matt
"Contrary to popular belief, Clapton is NOT God. The prospect that he is God probably had a large hand in driving him to drugs and booze. Thanks everyone."
-Guitar World :lol:
If you were soloing in the key of G, you'd use modes relative to the key of G (G ionian, A dorian, B phrygian, etc). If you're only playing in one key though, it's much MUCH easier to think of it in terms of G major over everything. That doesn't mean you can't use modes every now and then. They work best if you (1) use modes that contain the chord tones which let you use the extra notes for flavour and (2) keep the next chord in mind. For instance, don't use D lydian over a D major chord if the next chord is a G major. You'd probably want to use something with a b7 (it's a "dominant" change) and maybe even a natural 4 (a G instead of the lydian's G# in this case).
It really does boil down to using your ear though. What sounds good to you might sound terrible to someone else, but if "someone else" doesn't like it they can make their own damn music. Likewise, if it sucks to you, don't waste your time with it.
My best advice to you is to take the word "mode", along with all the other fancy words like "supercalafradulonian" and the like, put it in a little box, and think in terms of one scale covering the whole fretboard, not this-onian in the key of Z#minor, but "this set of intervals repeated over the fretboard" so instead of having a google different modes, you have repeating scale patterns that dont change when you want to play two different barre chords. It's called fretboard command. I guarentee you that it's infinately more useful than overcomplicated modal changes every ywo seconds when the key hasn't moved.
I'd second (third) argus' and psychonik's advice.
Modes in this context bring nothing extra to the table that 'key' doesn't cover much better.
--
Helgi Briem
hbriem AT gmail DOT com
does this then change the key of the scale to Gm
when considering modes, EVERYTHING is in comparison to the major scale..
G Aeolian (Gm) is just another mode around any relative major scale..
its like saying but wouldnt Phrygian be closer to Locrian than Dorian..
it doesnt really make sense, there is a major scale, and modes, and the minor scale is just one of those, so its not really a comparison thing..
though it is a very easy and common mistake to make.
Helgi, it was your concept in the first place, so I technically second you, I just got around to posting first. lol.
G is your Ionian Mode in The Key of G. So unless you want to change key or play out of Key You would play G ionian. When the mode changes or the chord changes and you stay in key Your Major scale will express itself as one of the other modes. For example you go to the IV chord which is C in this case and you stay in your G Major Scale For that moment in time you are actually playing C lydian. The same will apply to the other modes you don't have to do anything other than stay in Key but it is good to know these modes so you can target the best sounding notes such as the chord notes. And your will see and hear the mode sounds.
