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Old 01-18-2013, 06:45 PM   #41
AlanHB
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Quote:
Originally Posted by chronowarp
I don't know if you've noticed yet, but there's a stigma attached to the word "mode" on this board. Like, I swear, there must be some mass notification that alerts Aeolian_Wolf, Hail, MDC, jazz_rock_theory, and AlanHB anytime the word "mode" is used in the Musician Talk subforum.

As much as I think the term is largely irrelevant in most instances, I don't harbor the same hatred for it.


You would harbour the same hatred if you had lived the same thread a million times over. Otherwise what youre describing is the regulars of the forum being regular.
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Old 01-19-2013, 03:20 AM   #42
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Well if you take into account that I've been actively posting on all kinds of guitar forums since like 2003...I'd say I've been knee deep in it for a long time. It's not like the mode shit is more persistent here than anywhere else on the internet. It's a plague, and it's everywhere.
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Old 01-19-2013, 07:35 AM   #43
Hail
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i don't understand how you can't be hostile

especially as long as that shit ruined my understanding of music. i didn't see music as art until within the last year, and it's an atrocity that something so spiritually moving can be reduced to numbers and letters to people who've never experienced emotions from it
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Old 01-19-2013, 07:53 AM   #44
Deadds
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Quote:
Originally Posted by Angusman60
You are absolutely correct. This method is academic and sometimes cumbersome. It is the way people learn jazz in the university environment. Nonetheless, it is a utilization on modes, which, is the original reason for starting this thread.


With your vast knowledge you should already be aware of how limited this approach can be to someone who is learning music theory.

Going back to my example:

G7b9b13

You: G Mixo b2 b6
Me : C major Ab Eb

You: Play this pattern, move these notes down 1 fret.
Me : C major Ab Eb

The Modal Approach ignores fundamental information and keeps the beggining player in the dark regarding what notes they just played, since they just played a pattern with some fret changes.

I felt the same way you did a while back, but i realized The Modal approach only benefits those with an ingrained knowledge of music theory.

Telling someone that knows very little of music theory to play THIS shape for THAT chord with THESE changes to THAT shape will not help the beginning player and theorist.

Quote:
Originally Posted by Angusman60
Indeed. I think this topic has gone way above this forum's understanding.


No. You just can see the fallacy in your arguments.

Last edited by Deadds : 01-19-2013 at 07:55 AM.
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Old 01-19-2013, 08:09 AM   #45
mdc
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They obviously didn't teach you the value of the humble triad, either.

G7b9b13

oh, well hello there my little Abm triad.








































































Transcribe Larry Carlton solos. Triad superimposition.

Last edited by mdc : 01-19-2013 at 08:10 AM.
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Old 01-19-2013, 09:28 AM   #46
Deadds
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Quote:
Originally Posted by mdc
They obviously didn't teach you the value of the humble triad, either.

G7b9b13

oh, well hello there my little Abm triad.


Ab Cb Eb

unless you meant AbMajor?

Ab C Eb

Triad Superimposition = Playing The Chord's Upper Extensions and Alterations.

Another big name to something so simple.
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Old 01-19-2013, 10:26 AM   #47
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Hey guys just play from the soul mannnnnnn
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