For each scale, there are seven different modes, 1 begin major and 1 minor. What's the difference the seven modes and what is their purpose?
It's difficult to explain. Take an example. The C major scale The A minor scale You're playing the same notes but the structure in terms of intervals is what gives us the difference in the sound of these two scales. It's the same with all the modes. Each one of them has a certain sound which we try to extract....and usually fail miserably to do.
How do we write songs in a particular mode if all the modes have the same notes? How can we tell which mode a song in is?
Modes are different tonal orientation to the same scale. With the familiarity of a single key, by shifting modes, you can get different sounds and different feel. Like in a C Major Scale, the C Ionian, G Mixolydian have a somewhat brighter feel and where as a B Locrian has a real Brooding Feel. The other modes like Dorian, Phryggian, Lydian and Aeolian have somewhat common feel which can be made to sound bright as well as brooding. Plus knowing modes also opens a wider opportunity for soloing. Lets say that you are playing in the key of C Major and you chord is CMaj7 = C E G B and if you notice E G B form E Minor, so you can use the following scales instead of a blind C Major Scale.. 1. C Major Scale 2. C Mixolydian Scale 3. E Aeolian This is in addition to the E Phryggian, G Mixolydian and B Locrian possibilities. So modes if used properly can open you to a wider option making more notes in the fretboard available for you. For the strict pentatonic user, there's not choice..
To expand on what is said, the same conclusion can also be reached differently using basic chord and scale theory. Any major 7th chord can be the 1st or the 4th of a key. A Cmaj7 chord would be a 1st in the key of C and a 4th in the key of G. Hence you can play the corresponding modes in the scale of G as well. It also helps if you can look at chords in relation with each other. For example, a Cmaj7 chord is the same as an Em7 chord played with a C bass. A Bm7b5 (or B half diminished) is the same as a Dm6....etc.
tho the notes r the same its the intervals tht make th diff so if u play C Ionian (CDEFGAB) the G sounds pleasant (in relation to C) but if u play F Lydian (FGABCDE) the same G now sounds unpleasant (in relation to F) the "feel" of any note depends on its distance frm the 1st note - the sounds of the 12 intervals r like Code: 1-1 open consonance 1-2 sharp dissonance 1-3 mild dissonance 1-4 soft consonance 1-5 soft consonance 1-6 consonance/dissonance 1-7 neutral/restless 1-8 open consonance 1-9 soft consonance 1-10 soft consonance 1-11 mild dissonance 1-12 sharp dissonance 1-13 open consonance
So basically, when playing in a certain mode, the licks and riffs are based on the root note, i.e. the root of the mode. Right? So if you're playing in one mode, you have to play notes which are consonant with the root. When do you switch modes? When there is a change in the chord played by the back-up?
I just tried playing with a back-up guitar. I find that if I start of each bar of the solo with the root of the chord and keep going back to that root, it sounds good. Is that how you improvise using different modes or should you also use modes from outside the key?
Instead of the root notes, try any of the chord tones. It will still sound good. Like C Major = C E G. Start with G and finish with a G it will still sound good and same with E.
Another thing....avoid hitting the root note very often. It's a very modern, hep way to play using the root note very sparingly. It sort of hits harder that way.
when playing in a certain mode u play ANY of the notes from that mode no - dont restrict ur musical possibilities - u can play ANY note - if u listen to metal etc. lots of music is deliberately discordant to create a certain effect - i had given tht example only to answer ur query "How do we write songs in a particular mode if all the modes have the same notes?" there is no rule - btw i assume u r refering to switching within the same key - e.g. from C Ionian to C Lydian bcos switching modes in different keys - like C Ionian to G Lydian - u r essentially changing the root note in the middle of the song - its called modulation & its ok but only if u know wot ur doin
It's also much easier this way, 'cos you dont need to be worried about where the root note is. Just know a scale pattern and go with it. :beer: :beer: :beer:
Not as hard as I tried to understand what you meant here :beer: :beer: :beer: and still couldn't understand :shock: :annoyed: :annoyed:
meh, I thought you were mocking what I said....but I now see you could just actually have been saying something funny. psh, my bad. Internet sarcasm is hard to understand
