#1
how do I get into the other modes besides the major scale (ionian)?

for example, if I played the C box of CAGED, how would I modify it to get into the other modes?
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#2
The modes ARE the major scale, just with a different tonal centre. They use the same interval pattern, they just start on a different note and are played over a different chord. Basically, if you learn the major scale inside out you'll pick up modes pretty quickly. If you don't then they'll make pretty much no sense until you do.
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#3
well, the major scale is a bit lame really...

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Well, also, work out the major scale but up one position, and you have another position of the major scale, but also the 1st position of the 2nd mode of the major scale, which happens to be dorian...if that makes sense...
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#4
Seeing as the major scale IS all the modes, not to mention being the reference point for pretty much everything else, I'd argue against it's lameness...
If you play the major scale "up one position" then you're just playing the major scale a semitone higher
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#5
yeah that's what i dont get...the moving it up one position part =/
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#6
Go to the musician talk forum and there is a sticky called the MT sticky. Tons of modes in there.
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#7
depends what the bass note is. If you play an A major scale with an F# bass note it will sound minor because in relation to the F#, the A major scale has a minor 3rd.
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#8
The Major scale isnt lame, it just isn't as used to death at the pentatonics cause it takes more knowledge and technique :P

AFAIK, to change modes you just start on the root of the mode you're beginning with, then end it on the root of the next mode, then kick into it. I'm only just learning theory, so I'm not 100%, but I'm pretty sure you can link em together just by ending on a note in the next mode, providing you don't change the key.
#9
Modes are relatively important to how they are used. The modes are: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian*, Locrian. Each mode starts on a different note of the scale: Ionian=1st, Dorian=2nd, etc. All the eay to Locrian, which starts on the 7th note of the scale.
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*Aeolian mode is just another name for the minor scale. Think of it this way:

Major scale pattern= WW1/2WWW1/2

If you start on the 6th note, Aeolian mode, you would play through the scale and back up to the 5th note: W1/2WW1/2WW

Look familiar? It's the pattern for minor scales.
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That was a basic overview of modes that I had stored away somehere on Word. Let's use your example for a minute.

C major: CDEFGAB

Dorian of C major: DEFGABC

Notice the difference between that and the D major scale. The D major scale is EF#GABC#. This is because when you play D major, you use the regular major scale pattern WW1/2WWW1/2. Dorian mode follows the pattern W1/2WWW1/2W because it starts on the second note of the scale.

So that's the basics of modes. If you want to get into detail, go to the Musician Talk forum and go to the sticky about scales.
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#11
I was going to say the exact same thing until i saw his post hahaha
#12
Quote by /Enimus Prime in another thread

STANDARD RESPONSE TO MODES THREADS FOLLOWS:

Okay, a mode of the major scale contains the same notes as the major scale, but the root is a different note. This is just explaining where modes come from, but I don't think of them like this when actually using them.
D Ionian (major) is D E F# G A B C#
E Dorian (second mode) is E F# G A B C# D
A mixolydian (fifth mode) is A B C# D E F# G
They contain the same notes but start on different root notes.

So, they contain the same notes but they are definately different scales. I think of modes as alterations to the major scale.
Ionian (Major) 1 2 3 4 5 6 7
Dorian 1 2 b3 4 5 6 b7
Phrygian 1 b2 b3 4 5 b6 b7
Lydian 1 2 3 #4 5 6 7
Mixolydian 1 2 3 4 5 6 b7
Aeolian (Natural Minor) 1 2 b3 4 5 b6 b7
Locrian 1 b2 b3 4 b5 b6 b7

So, for F Phrygian you start with the F major scale, F G A Bb C D E
Then flatten the 2 3 6 and 7 to get 1 b2 b3 4 5 b6 b7
And you end up with the notes F Gb Ab Bb C Db Eb.

Now, when playing modes over chords, look at the intervals making up the chord and the intervals making up the mode. If they match up, they will sound good together.
Say a Cm chord comes up, thats 1 b3 5. Look at the modes and you see that Dorian, Phrygian and Aeolian all contain those intervals.
So you could play C Dorian, C Phrygian or C Aeolian, which one you chose will give a different feel.
Now if an Amaj7 comes along, thats 1 3 5 7. Compare that to the modes and you see that you can play A Ionian or A Lydian, againg giving different feels.
What about a Bbm7b5? You see that the only mode with 1 b3 b5 b7 is Locrian, so you can play Bb Locrian
With an E7 (1 3 5 b7) you find that only Mixolydian fits, so you can play E mixolydian

JohnlJones Jazz-Theory Bit:
With that E7 you could play E Phrygian, with the b3 funtioning as a #2, to outline an altered dominant chord.
E7 - 1 3 4 b7
E Phrygian 1 b2 b3 4 5 b6 b7
This gives the intervals 1 b2 #2 3 4 5 b6 b7 which is a _11b9#9b13 chord.

Remember none of this is law, it's just a guide so don't be afraid to experiment.
Hope this helps

The way to use modes and get their different sounds is to think of the intervals it is made up of. Phrygian has a b2, a dark, dissononant interval. Lydian has a #4, which sounds... I dunno how to describe it but it sounds cool. Mixolydian is like the major scale but has a b7, making it bluesy and dominant.

Just drone the low E string, keep it ringing (clean setting works best). Then on the remaining five stings, play E Phrygian, E lydian, E Aeloian, E Ionian etc. and emphasise the unique intervals in each. Really listen to each scales' characteristics. Try making a melody from each mode while droning the E string.

Once you have done this, watch this video:
http://www.youtube.com/watch?v=LWHKeC4IEgA
http://www.youtube.com/watch?v=BoGQ9yHOyZQ


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