 |
 |
Hello Everybody! The aim of this column is to practice the theoretical knowledge that we have got, and we'll understand the usage of the amount of crazy numbers and names that we have learned!
Today, we'll talk about Improvising, specifically about modes, and how to use it in different harmonies. But before it, let's make a review about what are "Modes":
First, Can you define what is a Scale?
A Scale is a sequence of notes which form a specific progression of intervals between the Root and its Octave. This interval progression will generate the characteristic "color" of each Scale.
The most important Scale in occidental music is the Major Scale. Almost everything comes from it , including Modes.
Modes are in some way, inversions of the Major Scale, it means, if you play the C major scale (C D E F G A B) with the Root C, you're playing C Ionian, that is the Major Scale.
If you play exactly the same notes, but starting from the root D, the interval progression changes, and you start to play D Dorian (D E F G A B C), that can be understood as a Minor Scale with a Major Sixth.
Starting from E, with the same notes of C major, we got E Phrygian (E F G A B C D), that is a Minor Scale with a Minor Second.
Starting from F, we have F Lydian (F G A B C D E), that is a Major Scale with a Augmented Fourth.
With G being our Root, we got G Myxolydian (G A B C D E F), that will be a Major Scale with a Minor Seventh.
Starting from A, we have A aeolian (A B C D E F G) that is our minor scale.
And the last, Starting on B, we have B Locrian, (B C D E F G A), that is a Minor Scale with a Minor Second and a Diminished Fifth.
|
I
|
M
|
Ionian
|
R
|
2
|
3
|
4
|
5
|
6
|
7
|
C7M
|
|
II
|
m
|
Dorian
|
R
|
2
|
b3
|
4
|
5
|
6
|
b7
|
Dm7
|
|
III
|
m
|
Phrygian
|
R
|
b2
|
b3
|
4
|
5
|
6b
|
b7
|
Em7
|
|
IV
|
M
|
Lydian
|
R
|
2
|
3
|
#4
|
5
|
6
|
7
|
F7M
|
|
V
|
M
|
Mixolydian
|
R
|
2
|
3
|
4
|
5
|
6
|
b7
|
G7
|
|
VI
|
m
|
Eolian
|
R
|
2
|
3b
|
4
|
5
|
b6
|
b7
|
Am7
|
|
VII
|
m(b5)
|
Locrian
|
R
|
b2
|
b3
|
4
|
b5
|
b6
|
b7
|
Bm7(b5)
|
Applying Modes on chords
|
Major Seventh C7M |
When we find a chord as C7M in one determined harmony, we can think about it as I or IV degree of a Major Scale, I degree of C major, or IV degree of G major. [C7M] - Dm7 - Em7 - F7M - G7 - Am7 - Bm7(b5) I Degree of C major = C Ionian ( T 2 3 4 5 6 7 ) G7M - Am7 - Bm7 - [ C7M ] - D7 - Em7 - F#m7(b5) IV Degree of G major = C Lydian ( T 2 3 #4 5 6 7) |
|
Dominant Seventh C7 |
The Dominant Seventh chord will be the V degree of a determined key. For example, C7 belongs to F major. F7M - Gm7 - Am7 - Bb7M - [ C7 ] - Dm7 - Em7(b5) V Degree of F major = C Mixolydian ( T 2 3 4 5 6 b7) |
|
Minor Seventh Cm7 |
Over a Minor Seventh chord, we can use three modes. Thinking about this chord as VI, II or III of the Major Scale. Eb7M - Fm7 - Gm7 - Ab7M - Bb7 - [Cm7] - Dm7(b5) VI Degree of Eb major = C Eolian ( T 2 b3 4 5 b6 b7) Bb7M - [ Cm7] - Dm7 - Eb7M - F7 - Gm7 - Am7(b5) II Degree of Bb major = C Dorian ( T 2 b3 4 5 6 b7) Ab7M - Bbm7 - [ Cm7 ] - Db7M - Eb7 - Fm7 - Gm7(b5) III Degree of Ab major = C Phrygian (T b2 b3 4 5 b6 b7) |
|
Half Diminished Cm7(b5) |
We can only think in a Half Diminished chord as being the VII degree of a Major Scale. Db7M - Ebm7 - Fm7 - Gb7M - Ab7 - Bbm7 - [Cm7(b5)] VII Degree of Db major = C Locrian ( T b2 b3 4 5 b6 b7) |
But how to use it all!? Ok, First of all ,for this lesson, I've prepared a vamp in Cmaj7.A vamp is a kind of song based in only one chord. So, what should we do!? As I said before we can think in a major seventh chord as the I or IV of a specific scale, in this case, it will be C major (Ionian), and the IV will be C Lydian, which comes from G Major scale.
C Ionian Is:
R 2 3 4 5 6 7
C Lydian Is:
R 2 3 #4 5 6 7
So, on a Cmaj7 "vamp", you can use C Ionian and C Lydian. Each of them will give us an unique "color".the augmented fourth of the Lydian mode will sound like Satch's "Flying In A Blue Dream", and the perfect fourth (considered an avoided note in a Major seventh chord) will give us the almost "obvious" sound of the major scale.
On that improvisation that I recorded, only the lydian mode was used.The difference between the two modes is really easy to notice.
This month, your homework will be as follow: improvise on the backing track, using the lydian mode, and using the ionian mode, try to play phrases and discover how to make the mode sound the way you like. Next lesson we will practice some techniques to apply to that song.
Good Luck,
Ian Lucena
:::.Backing Track
:::.Hold the Wave dude