#1
Here is my basic understanding of using modes, i just wanted to know if im correct or im totally out of my mind.

examples in C:

so..


C drone - Use basically any mode in C so. C ionian, C dorian, C Phrygian, C lydian, C mixolydian, C aeolian, C locrian, C harmonic minor, Pentatonic min & maj + Blues. and any other exotic scales in C.

C5 - all modes with a perfect 5th so. C ionian, C dorian, C Phrygian, C lydian, C mixolydian, C aeolian, C harmonic minor, Pentatonic min & maj + Blues.

Cmaj - all major modes. C ionian, C lydian, C mixolydian, Pentatonic major.

Cminor - all minor modes. C dorian, C Phrygian, C aeolian, C pentatonic minor + blues.

Cmaj7 - C ionian, C lydian, C pentatonic major.

Cm7 - C dorian, C phrygian, C aelion, Pentatonic minor + Blues.

C7 - C mixolydian.

so there is is if i approach chord progressions with this approach am i correct. taking progression chord by chord.

i hope this is correct, Thanks Carl.
#2
yes by those you're correct but you can also use a C major blues scale over the major and over minor. formula would be 1 2 3b 3 5 6

Correct me if i'm wrong
鋼の錬金術師
#6
You have a pragmatic understanding of modes, which I guess is all you really need, but the underlying theory can be found in the theory link in my sig. Of course, other members and I can elaborate on anything, though you must ask a question or specifically point out the statement that confuses you; "I don't get it," posts don't get responses: nothing personal, just MT Regulars' policy.
#7
Hi thank for the responses, Appreciated.

Quote by bangoodcharlote
You have a pragmatic understanding of modes, which I guess is all you really need, but the underlying theory can be found in the theory link in my sig. Of course, other members and I can elaborate on anything, though you must ask a question or specifically point out the statement that confuses you; "I don't get it," posts don't get responses: nothing personal, just MT Regulars' policy.


I do understand the underlying theory i just thought i would post the basic principle of using modes and check i was correct and i havnt just wasted my time. I was hopeing to turn it into some kind of lesson for the lessons section and maybe include information on the modes of the melodic and harmonic minor.
#8
I don't mean this to sound elitist or anything, but do you understand the difference between playing simply "minor" and aeolian? You probably do, but if you make this a lesson, you should state that when playing simply "minor", the harmonic minor can (and usually is) implemented over the V7 chord. In the Aeolian mode you don't use the harmonic minor. A lot of people think that playing Aeolian is the same as playing in a regular minor key, and it is to some extent, but usually in a minor key, the harmonic minor is used either way to create the dominant (major) chord. That's pretty much it, if I'm correct.

Also, don't forget to mention that Locrian is used over a half-diminished chord, m7b5.
#9
Very nice.

Just remember that there are some other cool modes you can use. You've got the major modes down, now I think you should learn about harmonic minor modes and melodic minor modes. I think you'll like them.

Here is a repost of mine stating what I'd do with these modes:

Melodic Minor Scale Modes
------------------------------

Melodic Minor (1, 2, b3, 4, 5, 6, 7): Use over a minor chord thats being used as an i chord in a i-V progression (I hope you know what that means). Lighter than the harmonic minor scale. Still pretty unstable though when compared to the aeolian or dorian.

Dorian b2 (1 b2 b3 4 5 6 b7): Use as a substitute for phrygian over m7b9 chords (its a lot lighter). Also handy if you dont want to change shapes/scales in a quick i-V-ii progression (you may see these progressions is some jazz songs).

Lydian Augmented (1 2 3 #4 #5 6 7): Use over augmented chords. Nice-ish sounding. It's better than using the whole-tone scale (which is what alot of guys would suggest).

Lydian Dominant (1 2 3 #4 5 6 b7): Alot of jazzers would use this instead of the normal mixolydian mode. The #4 leads nicely to the fifth.

Mixolydian b6 (1 2 3 4 5 b6 b7): Use as an alternative to phrygian dominant over dominant chords in those i-V7 progressions.

Aeolian b5 (1 2 b3 4 b5 b6 b7): Use over m7b5 chords. I'd rather use locrian though, its simpler and melodically nicer (IMO).

Super Locrian (1 b2 b3 b4 b5 b6 b7): Also called the altered dominant scale. Use this over dominant chords, as in treat the b4 as a M3, so the formula probably should look like this: 1, b2 #2, 3, b5, b6, b7. It's alot darker and bluesier than ye olde regular mixolydian. Sounds especially nice over X#9 chords (its that chord hendrix uses in purple haze) and altered dominant chords (Xb9b5 or whatever). Probably not the best scale to play over X9 chords. Just dont forget to use a fifth in there as well (even if the formula doesnt include it).

Modes of the Harmonic Minor Scale
------------------------------
Harmonic Minor (1 2 b3 4 5 b6 7): Use over a minor chord thats being used as an i chord in a i-V progression (I hope you know what that means). Sounds nicer than the melodic minor IMO.

Locrian Natural 6 (1 b2 b3 4 b5 6 b7): Alot of guys would suggest using this over a full diminished chord, as the 6 is enharmonic to the bb7. Personally, I like the Ultralocrian mode more.

Ionian Augmented (1 2 3 4 #5 6 7): Use over augmented chords. I like this alot more than I like the lydian augmented, probably wont sound as bright though (try it).

Dorian #4 (1 2 b3 #4 5 6 b7): Darker than your ordinary dorian mode, a little bluesier too (cause of that #4 tritone). Unless your playing over a Xmadd#11, its pretty useless IMO.

Phrygian Dominant (1 b2 3 4 5 b6 b7): My favourite mode to play over dominant chords in i-V progressions. Definantly nicer (IMO) than mixolydian b6. Can also be played over b9 chords.

Lydian #2 (1 #2 3 #4 5 6 7): Use this over augmented sixth chords. An augmented sixth chord is the name given to a bVI chord (to over simplify it, MAJORLY), except the minor seventh in that chord is technically an augmented sixth (for some strange reason). As these chords usually move to the V chord (bVI-V progression), I think this is the only mode that will work well over this sort of progression. Also, play phrygian dominant over the V chord that's played after the bVI chord.
Okay, dont worry about this mode as you'll probably never see an augmented sixth chord (except in romantic and baroque style progressions).

Ultra-Locrian (1 b2 b3 b4 b5 b6 bb7): You know, I quite like this mode, its very dark and confused. It sounds best over full diminished chords. Alot of guys would call this mode useless, and say that you should only play locrian natural sixth over full diminished chords. Try it for yourself.
#10
*applause*

You are one of the few who has started a thread asking about modes with the correct general concept in mind. Remember though, it's not the chord alone that determines the mode, but the general tonal center.
#13
Quote by bangoodcharlote
You guys want to? I'm dead serious.

Except no one would read it, they'd just come to the forum and go "lol guiz whatz a mode?"
#14
Quote by bangoodcharlote
You guys want to? I'm dead serious.
A book, not so sure, but definitely some comprehensive form of literature detailing major questions in MT at least would be awesome. Something like the FAQ but geared more at the kind of mode questions that come up in here and such. I'm not exactly a regular, but there's my opinion.