Blog: Locrian, the "Misunderstood" Mode of the Major Scale
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TwilightOdyssey
Darkness on the edge of Tone
Re: Blog: Locrian, the "Misunderstood" Mode of the Major Scale
Liked the article and all the examples/clips. I think it still presupposes a certain level of musical theory before you can really understand what you are saying, but aimed at the intermediate player and above, is definitely a useful introduction to the modes!
Liked the article and all the examples/clips. I think it still presupposes a certain level of musical theory before you can really understand what you are saying, but aimed at the intermediate player and above, is definitely a useful introduction to the modes!
everdrone
New member
Re: Blog: Locrian, the "Misunderstood" Mode of the Major Scale
cool, I have been brushing up on my six minor blues modes, since blues is really big here in Austin. Anyone can memorize one mode and just use that in the two positions, and it does have all the notes. here is my question:
I have memorized the notes of the major/minor scale and the harmonic minor up and down the entire fretboard and not in mode format, but if I memorize the actual modes (sets of notes in places on the fretboard) and then I listen for certain chords, then if I use a certain mode it will choose out the notes for me since some notes are placed differently on the fretboard or are left unresolved into a root note?
this article seems to have answered my question (thank you), but I just want to be sure
edit: I found some info from this website http://www.justinguitar.com/en/SC-104-WhyModes.php
So if you listened well and played all the notes from the C Major scale over the G7 chord, you would have found that the Chord Tones (CT) G, B, D and F all sound great, A and E sound interesting, and C doesn't sound so good (it's the 4th clashing with the 3rd again). SO in this case the note C (which is the root note of the Parent Major Scale) is not a good note to play - and the note F (which did not sound so good over the C Major Chord) is great to play over a G7.
THIS IS WHY WE NEED MODES!
The notes from a C major scale can be played over a Cmaj7 chord and a G7 chord (if you understand basic diatonic theory you should be cool with this concept) but the RELATIONSHIP between the scale notes and the chords change. The quality of the note changes when the chords change.
Another example... the III chord in the key of C is E minor. Play a C note over that and it sounds well horrible!
Learning modes will help you play over chords, instead of thinking about keys. Which is very important when the keys change a lot, which happens a lot in jazz and modern blues.
also here http://www.all-guitar-chords.com/lesson.php?id=6
The reason each chord is linked with each mode is purely for listening purposes. When you hear a C major chord in the key of G, it sounds much better to play the C Lydian scale. This is because that mode's root/starting note is C, as is the chord's root note, so the two sound like they have a closer relationship (isn't that sweet?)
and here: http://www.guitarcommand.com/guitar-modes/
Each mode should be thought of not as a part of a major scale, but as a new scale in its own right, with its own sound and use in improvisation.
How To Learn & Use Guitar Modes
Play each of the scales shown above a few times, and learn how they sound. You should eventually get to know each modal scale as a scale in its own right, rather than just as a major scale with a different starting note.
Modes In Traditional Music
Try inventing some melodies using the Dorian and Mixolydian modal scales. You may notice that they shave a ‘folky’ sound, and in fact many folk melodies are in the Dorian mode (What Shall We Do With The Drunken Sailor, Scarborough Fair, etc.) and the Mixolydian mode is widely used in Celtic music.
Using Guitar Modes
Dorian scales can be used to improvise over IIm chords (e.g. Dm7 in a C major song).
Mixolydian scales can be used to solo over Dominant chords (e.g. B9 in a song in E Major)
Locrian scales can be used to improvise over IIm flat5 chords (e.g. Bmb5 in a song in C minor).
cool, I have been brushing up on my six minor blues modes, since blues is really big here in Austin. Anyone can memorize one mode and just use that in the two positions, and it does have all the notes. here is my question:
I have memorized the notes of the major/minor scale and the harmonic minor up and down the entire fretboard and not in mode format, but if I memorize the actual modes (sets of notes in places on the fretboard) and then I listen for certain chords, then if I use a certain mode it will choose out the notes for me since some notes are placed differently on the fretboard or are left unresolved into a root note?
this article seems to have answered my question (thank you), but I just want to be sure
edit: I found some info from this website http://www.justinguitar.com/en/SC-104-WhyModes.php
So if you listened well and played all the notes from the C Major scale over the G7 chord, you would have found that the Chord Tones (CT) G, B, D and F all sound great, A and E sound interesting, and C doesn't sound so good (it's the 4th clashing with the 3rd again). SO in this case the note C (which is the root note of the Parent Major Scale) is not a good note to play - and the note F (which did not sound so good over the C Major Chord) is great to play over a G7.
THIS IS WHY WE NEED MODES!
The notes from a C major scale can be played over a Cmaj7 chord and a G7 chord (if you understand basic diatonic theory you should be cool with this concept) but the RELATIONSHIP between the scale notes and the chords change. The quality of the note changes when the chords change.
Another example... the III chord in the key of C is E minor. Play a C note over that and it sounds well horrible!
Learning modes will help you play over chords, instead of thinking about keys. Which is very important when the keys change a lot, which happens a lot in jazz and modern blues.
also here http://www.all-guitar-chords.com/lesson.php?id=6
The reason each chord is linked with each mode is purely for listening purposes. When you hear a C major chord in the key of G, it sounds much better to play the C Lydian scale. This is because that mode's root/starting note is C, as is the chord's root note, so the two sound like they have a closer relationship (isn't that sweet?)
and here: http://www.guitarcommand.com/guitar-modes/
Each mode should be thought of not as a part of a major scale, but as a new scale in its own right, with its own sound and use in improvisation.
How To Learn & Use Guitar Modes
Play each of the scales shown above a few times, and learn how they sound. You should eventually get to know each modal scale as a scale in its own right, rather than just as a major scale with a different starting note.
Modes In Traditional Music
Try inventing some melodies using the Dorian and Mixolydian modal scales. You may notice that they shave a ‘folky’ sound, and in fact many folk melodies are in the Dorian mode (What Shall We Do With The Drunken Sailor, Scarborough Fair, etc.) and the Mixolydian mode is widely used in Celtic music.
Using Guitar Modes
Dorian scales can be used to improvise over IIm chords (e.g. Dm7 in a C major song).
Mixolydian scales can be used to solo over Dominant chords (e.g. B9 in a song in E Major)
Locrian scales can be used to improvise over IIm flat5 chords (e.g. Bmb5 in a song in C minor).
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TwilightOdyssey
Darkness on the edge of Tone
Re: Blog: Locrian, the "Misunderstood" Mode of the Major Scale
I do not agree with that thinking.
Dissonant (non diatonic) harmonies can sound beautiful if you are careful how you use them.
Kings X is a great example of a band that uses plenty of dissonant harmonies that do NOT sound 'well horrible'!
I do not agree with that thinking.
Dissonant (non diatonic) harmonies can sound beautiful if you are careful how you use them.
Kings X is a great example of a band that uses plenty of dissonant harmonies that do NOT sound 'well horrible'!
TwilightOdyssey
Darkness on the edge of Tone
Re: Blog: Locrian, the "Misunderstood" Mode of the Major Scale
Oh, that is definitely the case. There's a great (old) video from Vinnie Moore that breaks down the 'feel' of the modes really well. Lemme see if I can find it...
TwilightOdyssey
Darkness on the edge of Tone
Re: Blog: Locrian, the "Misunderstood" Mode of the Major Scale
everdrone
New member
Re: Blog: Locrian, the "Misunderstood" Mode of the Major Scale
thanks for the videos TO, he is definitely a MONSTER player. I am not gonna claim to understand all of it, but I figure with some practice on modes like he tells you, that I will get the hang of it.
even though I know all the notes on the fretboard, I think the first step for me is to memorize each mode by noodling over each one
thanks for the videos TO, he is definitely a MONSTER player. I am not gonna claim to understand all of it, but I figure with some practice on modes like he tells you, that I will get the hang of it.
even though I know all the notes on the fretboard, I think the first step for me is to memorize each mode by noodling over each one
