#1
the songs in B minor. i have a verse and an idea for the chorus. its a bluesy song but i want to make the chorus more happy/hopeful to relate to the lyrics. So i was thinking of using the mixolydian mode to guide me in creating the chorus, heres the help i need: i have a solo in Bm pent. and it fits with the verse but i wanna mix the chorus to mixolydian and am questioning do i use Bm mixolydian or the F# mixolydian because it is the fifth tone of Bm?
Last edited by TUMFP at Jan 5, 2007,
#2
if i'm not mistaken B mixolydian would be different from B minor, if you use the 5th degree of B minor you get

F# G A B C# D E
#3
this is some juicy stuff... whats the chord progression for the chorus?
since i've never actually used modes in my thinking of creating a part of a song, i dont know exactly, but i have a strong feeling that if you want the 'feeling' that certain modes give you, you'll want to use the B myxolydian scale. if you use a myxolydian mode from the key of Bm, like the F# like you said, it would just contain the same notes as the Bm scale, and wouldn't have that feel you want. but im also having a really bad theory day, so whatever.
Last edited by Glen'sHeroicAct at Jan 5, 2007,
#4
it is different i want to incorporate the different emotion associated with mixolydian into the chorus and keep the Bm in the verse because its more bluesy and i use Bm Pent. to create it....i dont have a prog. for the chorus but the verse is....Bm9add2 - C#m7sus5sus4 - A



 9     9  5
 -     -   -
 11   9   7
 11   9   6 
 10   -    5
 -     -    -



kool i reread your answer...thank you ill see what i can do about this
#5
You'd actually use A mixolydian, if you want it to be in the same key as Bm. look at it like this:

Bm is the relative minor of D major. It is the 6th "mode". All modes in D major are:

D ionian
E dorian
F# phrygian
G lydian
A mixolydian <- that would be the one you're looking for.
B aolian (minor)
C# locrian

Or, you could change keys so you'd be playing in B Major.
O.S.I.


Part of the 7-string Legion

Check out my profile
and my 7-string Ernie Ball MM JP-7 build


#6
i would recommend that IF you are going to use mixolydian, use it in D, that way you can use it properly with B minor. The only difference between the major scale and its "mixolydian" alternate is that the mixolydian uses a minored 7th degree, D is the relative major of B minor and this will add to the consonance, the only structural difference between D mixolydian and B minor will be the flattening of the 2nd from C# to C
#7
Quote by 6DgOfInTb
You'd actually use A mixolydian, if you want it to be in the same key as Bm. look at it like this:

Bm is the relative minor of D major. It is the 6th "mode". All modes in D major are:

D ionian
E dorian
F# phrygian
G lydian
A mixolydian <- that would be the one you're looking for.
B aolian (minor)
C# locrian

Or, you could change keys so you'd be playing in B Major.


OR you could go with this, i personally prefer moving to a keys relative major as to my ears it sounds better but you could definately also go with A mixo. as listed here
#8
B Mixolydian-A complete key change. You are no longer in anything remotely close to B minor as you are in B major.

F# Mixo-This is not how you form modes in a minor scale. In a minor scale, the 5-chord is minor. You can modulate to F#, that's fine, but F# Mixo is not obviously related to B minor.

A Mixo-This is the Mixo mode od B minor since A is the 5th of D and D is the relative major of B minor...whatever. If you truely go into A mixolydian, it is also a *complete key change; you are now in the key of A major. This method will change the feel of the song without imposing any drastic sound changes on the listener as A mixolydian contains the same chords as B minor.

*You may not want to write in a new key signature. It is acceptable to think of it as a feel change or emphasizing a new chord rather than an all-out key change.
#9
Quote by TUMFP
it is different i want to incorporate the different emotion associated with mixolydian into the chorus and keep the Bm in the verse because its more bluesy and i use Bm Pent. to create it....i dont have a prog. for the chorus but the verse is....Bm9add2 - C#m7sus5sus4 - A



9 9 5
- - -
11 9 7
11 9 6
10 - 5
- - -



kool i reread your answer...thank you ill see what i can do about this


sorry for double post..
i thought it would be easier this way.


 9    -C* 7
 -   
 11  -F#  3
 11  -C#  7
 10  -G   4 (11)
 -   

how is that a Bm9? (you dont have to say add2, because the 2 is the same as a 9)
you might call that a rootless Dmaj7add11


9 C# 1
 -
9 E   m3
9 B   m7
-
-


Thats just a C#m7


5 A    1
-
7 D    4
6 G#   7
5 D    4
-

That would probably be called an Amaj7sus4


Now, i noticed that all of the notes used in those chords are:
C# E B F# G A D G#
almost all of those notes are in the key of A. In fact, in your first chord, if you changed the G note on the A string to a G#, that would be your IV chord in your progression, and everything would be in key. look at this:

A major scale is:
A B C# D E F# G#
A B C# D E F# G G# <- would be your notes, if you sharped the G in your first chord.

Now, a major chord progression is:
I ii iii IV V vi vii(diminished)
(capital letters being major, lowercase being minor)

Then, your basic chords are Dmaj, Cm, and Amaj.

A  b  c#  D  E  f#  g#(dim)
I  ii iii IV V  vi  vii

Right there, you have your IV-V-I progression, a very basic progression, with altered notes to make it sound intersting and original.
I wanted to show you that so you know what to call it, because it seemed that your chord names were all crazy.

i hope i helped
any questions, i'll be back in a couple minutes.
(note what bangoodcharlotte said, its a very good point.)
O.S.I.


Part of the 7-string Legion

Check out my profile
and my 7-string Ernie Ball MM JP-7 build


Last edited by 6DgOfInTb at Jan 5, 2007,
#10
ya my chord names are way off...but i got help from a book coming with that but i did get different notes in the chords though...



9    C#
-
11   C#
11   F#
10   A
-

9    C#
-
9    B
9    E
-
-

5    A
-
7    A
6    C#
5    E
-



and these are all in the key of Bm. im having trouble seeing how you did it. as for the mixing modes, i think i might try that later its seeming more complicated than i thought.
#11
ok talk about f-ed up....the chords REALLY are...

e - - -
b 10 - 5
g 11 9 6
d 11 9 7
a - - -
E 9 9 5


i originally put the chords upside down....im so sorry guys to have waste your efforts. damn, i really am...sorry guys
Last edited by TUMFP at Jan 5, 2007,
#12
heh..thats okay, now you can write a song with the other chords :-p
it was sorta a lesson for me as well.
O.S.I.


Part of the 7-string Legion

Check out my profile
and my 7-string Ernie Ball MM JP-7 build


#13
Quote by TUMFP
ya my chord names are way off...but i got help from a book coming with that but i did get different notes in the chords though...



9 C#
-
11 C# <-- 12th fret is G, 11th would be f#.
11 F#
10 A
-

9 C#
-
9 B <--1 octave higher than 7th fret on A, which is 1 octave higher than open E
9 E <-- 1 octave higher than 7th on E, which is a B
-
-

5 A
-
7 A <--1 octave higher than Open D
6 C# <--G# is 4th on E. this is 1 octave higher.
5 E <--same as open D
-
It all makes sense though, since you wrote it upside down, what you had is right.


and these are all in the key of Bm. im having trouble seeing how you did it. as for the mixing modes, i think i might try that later its seeming more complicated than i thought.


wrote it with your stuff ^
O.S.I.


Part of the 7-string Legion

Check out my profile
and my 7-string Ernie Ball MM JP-7 build


#15
heh no problem

any other questions about theory, you can PM me. It helps me learn and understand it better the more i teach it
O.S.I.


Part of the 7-string Legion

Check out my profile
and my 7-string Ernie Ball MM JP-7 build


#17
6Dg ill let you know and thank you. BanGoodCharlotte this is not the first time ive thanked you becuz youve helped me, so thank you, the boards are lucky to have ya