#1
I've had very little luck in getting much information about the modes of the minor scales. I wanna add a twist to my playing and maybe add some slightly eastern feels without overplaying the harmonic and melodic minors. Any 'out there' modes from any scales would be a great asset right now as im at my wits end!

Thanks
The one legged chickens from outer space made me do it!
#5
Cos i've covered the major scale and all its modes, the natural, melodic and harmonic minors and the phrygian dominant. Whole Half and Half Whole diminished...

I NEED INFORMATION!!!
The one legged chickens from outer space made me do it!
#6
Quote by Maggot4eva
Cos i've covered the major scale and all its modes, the natural, melodic and harmonic minors and the phrygian dominant. Whole Half and Half Whole diminished...

I NEED INFORMATION!!!


You really don't need to learn any more scales or modes, that'll be plenty.
#7
Quote by Eirien
You really don't need to learn any more scales or modes, that'll be plenty.


thats just it its not enough. The whole half diminished i like, but i've been resorting to taking scales and 'mutilating' them like the way you might go up a run in natural minor but come back down in harmonic..(but with more notes changed and added)
The one legged chickens from outer space made me do it!
#8
Well, if you mess with a scale and it sounds good, use it. Music wasn't built around the various scales; the scales were constructed to explain what was happening in the music.
#9
Quote by Maggot4eva
thats just it its not enough. The whole half diminished i like, but i've been resorting to taking scales and 'mutilating' them like the way you might go up a run in natural minor but come back down in harmonic..(but with more notes changed and added)


so what's the problem with doing that? all it is is playing accidentals. It doesn't matter if you play a note that's not in the scale your using as long as it sounds good to you.
#10
but its still not satisfying enough to my ear to play accidentals in a scale, cos once i put an accidental in my ear tends to wander and then i end up in another completley unrelated key :|
The one legged chickens from outer space made me do it!
#11
Quote by Maggot4eva
but its still not satisfying enough to my ear to play accidentals in a scale, cos once i put an accidental in my ear tends to wander and then i end up in another completley unrelated key :|


Maybe you should work on training your ear to hear the accidental as not part of the key, so that your ear will not wander and you can stay in key, while using accidentals.

Most other scales can be learned, but are fairly useless for most purposes.
#12
Melodic Minor: 1-2-b3-4-5-6-7 (try it over minor triad, m6 chord, or m(maj7) chord)
Dorian b2: 1-b2-b3-4-5-6-b7 (try it over a minor triad, susb9 chord, or m7 chord)
Lydian Augmented: 1-2-3-#4-#5-6-7 (try it over an augmented triad, or maj7+ chord)
Lydian Dominant: 1-2-3-#4-5-6-b7 (try it over a major triad or a 7 chord, or 7#11 chord)
Mixolydian b6: 1-2-3-4-5-b6-b7 (try it over a major triad or 7 chord)
Locrian natural 2: 1-2-b3-4-b5-b6-b7 (try it over a diminished triad, or m7b5)
Altered scale: 1-b2-#2-3-b5-#5-b7 (try it over a 7alt chord)

Harmonic Minor: 1-2-b3-4-5-b6-7 (try it over a minor triad, or m(maj7) chord)
Locrian natural 6: 1-b2-b3-4-b5-6-b7 (try it over a diminished triad or m7b5 chord)
Augmented: 1-2-3-4-#5-6-7 (try it over an augmented triad or maj7+ chord)
Dorian #4: 1-2-b3-#4-5-6-b7 (try it over a minor triad, m7 chord)
Phrygian Dominant: 1-b2-3-4-5-b6-b7 (try it over a major triad, 7 chord, or susb9 chord)
Lydian #2: 1-#2-3-#4-5-6-7 (try it over a major triad or maj7 chord or maj7#11 chord)
mode 7: 1-b2-#2-3-b5-#5-bb7 (no idea what the name of it is, and it's not very useful)

Some of these are a bit difficult to make 'work', but it's worth the effort to have these under your belt. I would also recommend that you look into triad superimposition (laying one triad on top of another) to create hexatonic (6-tone) scales.

You have 12 major triads, 12 minor triads, 12 augmented triads, and 12 diminished triads at your disposal, so get superimposing right this instant. You've got over 2000 possibilities and change just from this method.

Also, don't ever think that you've gotten all that can be got from the major scale.
#13
Keep in mind also that the mode names for a natural minor scale are the same as the major scale, just in a different order because of the different intervallic relationships. So for example, in A minor you'd have:

A Aeolian
B Locrian
C Ionian
D Dorian
E Phrygian
F Lydian
G Mixolydian
#14
Quote by titopuente

mode 7: 1-b2-#2-3-b5-#5-bb7 (no idea what the name of it is, and it's not very useful)


I have always thought of that as mixolydian #1... Obviously in C then it would be written C#, D, E, F, G, A, Bb, which doesn't make sense. The #1 is more like writing "flatten all notes except tonic in relation to what they should normally be.

An alternative name could Altered Diminished, as when written (1, b2, b3, b4, b5, b6,bb7), it has a fully diminished seventh as its triad. It does not make sense to rename the b3 as #2, or the b4 as 3 for this scale, because it is not based on the dominant chord (which requires a major third), but rather the diminished chord which requires the minor third