Thats what I was thinking, there had to be different situations. As most online were just showing the usual C major. So, what you’re saying is writing down the modes is basically a waste of time because of how often they can change? Probably be best off just deciding which notes need to change to meet the center tone as appose to writing down every different variation.
I guess where I really am lost is how do I know when to make the change to the mode. Because in the video PG makes two note changes at the 3rd and 7th and well (dorian), I cant seem to understand exactly why this is the case, or if that is always the case.
THe wiki page shows a pretty good chart, but I’m still finding issues knowing how to follow that chart. All I keep reading is it goes off the tonal center, but where am I looking to find this tonal center? It is the original riff I have? And what am I looking for when I make the change.
I guess where I really am lost is how do I know when to make the change to the mode. Because in the video PG makes two note changes at the 3rd and 7th and well (dorian), I cant seem to understand exactly why this is the case, or if that is always the case.
THe wiki page shows a pretty good chart, but I’m still finding issues knowing how to follow that chart. All I keep reading is it goes off the tonal center, but where am I looking to find this tonal center? It is the original riff I have? And what am I looking for when I make the change.
G
Guest
Guest
You change the scale to make it relative to the chord being played. So if you have a C major triad, you could very well use the C ionian mode to play over this chord. This is because C major consists of C E G (1 3 5). The C ionian scale has the triad built within it. You have C D E F G A B (1 2 3 4 5 6 7). Musically this makes sense.
If on the other hand you needed to improvise over a C minor triad – C Eb G (1 b3 5), you would need to change the scales formula for the very reason that the E is now an Eb. In other words it would clash. So to suit the chord, you would need to alter the scale. You could for example use C dorian which consists of C D Eb F G A Bb (or 1 2 b3 4 5 6 b7). And this is because C minor triad is within this mode, and it works.
Scales and modes formula must match its chord or progression.
It’s definitely worth learning the notes of the fretboard if you dont already know. And the theory behind what makes a chord and a scale a chord and a scale is really good to know.
If on the other hand you needed to improvise over a C minor triad – C Eb G (1 b3 5), you would need to change the scales formula for the very reason that the E is now an Eb. In other words it would clash. So to suit the chord, you would need to alter the scale. You could for example use C dorian which consists of C D Eb F G A Bb (or 1 2 b3 4 5 6 b7). And this is because C minor triad is within this mode, and it works.
Scales and modes formula must match its chord or progression.
It’s definitely worth learning the notes of the fretboard if you dont already know. And the theory behind what makes a chord and a scale a chord and a scale is really good to know.
My guitar teacher things it’s a waste of time but I don’t think so really. Knowing the modes can allow you to create some interesting modal chnages over each chord(I’m that sufficient with really big theory picture but in my mind it should be doable) for example dependig on your progression if you have for example a D|C|BM|C chord progression it is in general in D mixolydian but over the Bm and D chord you can also use the D major scale using color tones you wouldn’t have in D mixolydian(for example the d major seventh) which can be nice at times so knowing where you can find all those notes can be usefull but in my opinion knowing all the names is not nescesarily a must(I would recommend it though) To find all these different possibilities it is really recommended to know arrpegios and which notes make up which chords.
Finding the tone center can be done by using the circle of fifths
Finding the tone center can be done by using the circle of fifths
Ben, I think you explained it pretty well there. Infact, I went back and watched the overview video and PG does get into it, but with so much info going on sometimes you miss things like that. But, either way.. I think its starting to make sense. Definitely something that I’ll keep coming back to. Ive had no issues so far getting through most content, this is the first bit that stumped me.
I think i’ll take the time and write an example, bring itback and you guys can tell me how close I was to getting it right. I’ll post a write up of it later today.
I think i’ll take the time and write an example, bring itback and you guys can tell me how close I was to getting it right. I’ll post a write up of it later today.
You have;
Ionian (Major) 1 2 3 4 5 6 7
Dorian 1 2 b3 4 5 6 b7
Phyrgian 1 b2 b3 4 5 b6 b7
Lydian 1 2 3 #4 5 6 7
Mixolydian 1 3 4 5 6 b7
Aeolian (Natural minor) 1 2 b3 4 5 b6 b7
Locrian 1 b2 b3 4 b5 b6 b7
Keep in mind that my numbers are for D standard, not E standard.
Ionian: 1 2 3 4 5 6 7 8
= G:5 7 9 10 12 14 16 17
Dorian 1 2 b3 4 5 6 b7 8
= G:5 7 8 10 12 14 15 17
Phyrgian 1 b2 b3 4 5 b6 b7 8
= G: 5 6 8 10 12 13 15 17
Lydian 1 2 3 #4 5 6 7 8
= G:5 7 9 11 12 14 16 17
Mixolydian 1 2 3 4 5 6 b7 8
= G: 5 7 9 10 12 14 15 17
Aeolian (Natural minor) 1 2 b3 4 5 b6 b7 8
= G: 5 7 8 10 12 13 15 17
Locrian 1 b2 b3 4 b5 b6 b7 8
= G: 5 6 8 10 11 13 15 17
So basically its an equation for every scale. I am not sure how I didn’t figure that out the first time.
Ionian (Major) 1 2 3 4 5 6 7
Dorian 1 2 b3 4 5 6 b7
Phyrgian 1 b2 b3 4 5 b6 b7
Lydian 1 2 3 #4 5 6 7
Mixolydian 1 3 4 5 6 b7
Aeolian (Natural minor) 1 2 b3 4 5 b6 b7
Locrian 1 b2 b3 4 b5 b6 b7
Keep in mind that my numbers are for D standard, not E standard.
Ionian: 1 2 3 4 5 6 7 8
= G:5 7 9 10 12 14 16 17
Dorian 1 2 b3 4 5 6 b7 8
= G:5 7 8 10 12 14 15 17
Phyrgian 1 b2 b3 4 5 b6 b7 8
= G: 5 6 8 10 12 13 15 17
Lydian 1 2 3 #4 5 6 7 8
= G:5 7 9 11 12 14 16 17
Mixolydian 1 2 3 4 5 6 b7 8
= G: 5 7 9 10 12 14 15 17
Aeolian (Natural minor) 1 2 b3 4 5 b6 b7 8
= G: 5 7 8 10 12 13 15 17
Locrian 1 b2 b3 4 b5 b6 b7 8
= G: 5 6 8 10 11 13 15 17
So basically its an equation for every scale. I am not sure how I didn’t figure that out the first time.
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