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"Now remember, things look bad and it looks like you're not gonna make it, then you gotta get mean. I mean plumb, mad-dog mean. 'Cause if you lose your head and you give up then you neither live nor win. That's just the way it is. ":JOSEY WALES -
Hey this is great, thanks guys. Shredmonster, your description makes much sense to me, as the few lessons I have had regarding modes started with C major scale. The Vinnie Moore Youtube helped too.
Question,
If I have it correct and we are looking at modes in the C maj scale...
C would be Ionian and major, D would be Dorian and minor, E would be phrygian and minor, F would be Lydian and major... etc on down the line, Correct?
What I think you are saying is the intervals in between the notes you are playing in each case makes them major or minor (if I am correct above), not to mention how they sound as well? That is really my question I suppose, what is making it major or minor? It's starting to take form in my mind.
Feel free to correct me, and especially my possibly newb terminology! I have been trying to piece this together over the last year and its slowly making sense, I was surprised I actually had some idea what you guys were talking about, this from a previously zero theory guy!Last edited by FlyingSkull; 09-23-2009, 01:37 PM."We were sitting on the bus one day and there were 5 of us hanging out. There was only one beer left in the cooler and we actually all took a little cup and split it. It was a pathetic day in a rock and roll when five grown men have to be sitting there sharing a beer. "
Zakk WyldeComment
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What makes it Major or Minor is the 3rd. If it has a flattened third it is minor.Originally posted by FlyingSkull View PostOriginally posted by horns666Comment
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Yeah the distance between the root and the third make it either major or minor.
Play each "mode" or root note up to the next octave - A to the next A or D to the next D an octave up.
Each mode can be described as it's own individual scale based upon which ROOT NOTE that mode is based on. So taking the root and working up to the next octave you start getting intervals - the 3rds, 4ths, 7ths etc... of each mode fall into different intervals from the root of that mode than the other modes which is why each mode sounds different.
A to A - playing the octave using the notes from C major scale - the intervals of those notes from the ROOT A note will fall into different places than say playing D to D.
This is the essence of modes and why they sound different.
They are major and minor like JS says cause of where the third falls from the root note of that particular mode.
People that say theory is bullshit fail to understand what they are missing. Say what you will I say they are lazy and ignorant. All the greats know at least basic theory.
Once you get modes down you go onto other things like mixing in notes from other scales and flat 5ths and doing chromatic runs and it opens up the whole guitar.
This is why the great players have their own unique sounds as well as styles - they gravitate towards certain intervals that give them their unique twist on scales.PLAY TILL U DIE !!!
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It's easy. All the modes are is a major scale with the tonal center shifted. It's only ONE scale - the major scale. Don't think of the modes as 7 different scales, there is only ONE fingering pattern containing the intervals(distance between the notes).
Once you know the intervals of the major scale all you do is play from the different scale degrees within the scale to change the tonality in comparison to the chord progression or background chord.
For example Cmajor = G mixolydian = A minor(aeolian mode).
It sounds confusing, but once you start applying this concept to background chords and progressions it becomes clearer. You can also make many new chord progressions using the modes and modulate between them but that is much more complex than just using the modes for soloing.Comment
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^^--- Thanks!
That's exactly what I was looking for.-------------------------
Blank yo!Comment
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