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Lasgne:
I started playing jazz ( or maybe better said, trying to play jazz guitar) a few years ago after playing bass for 30 years...well bass is all roots, passing tones and arps..not really modes...totally different than guitar.
So I got some books and they all started with "this mode over that chord"..derivative approach vs parallel apprach and on and on...well, it got me nowhere to be honest...too much thinking going on..
I found that learning the five scale shapes for a major scale (from Jimmy Bruno's site) and tonal center approach much more accessable and easier...there are plenty of posts for each on this forum...and got further in my playing in 3 months than a year and a bunch of books of "this mode over that chord"...
Join Jimmy's site for $20 month, with a little practice you can probably play over some easy jazz standards in a few months..it took me 3 weeks to learn all my major. minor and dominant scales..his teaching method really works..
BTW, I am not affiliated at all with Jimmy or his site....and you have to find your own path as we all do...but maybe it will help..
Enjoy the journey!!
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10-07-2010 07:21 PM
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Originally Posted by Reg
Here's a copy of another post, where I tried to explain Modal Basics.
I'm not sure we all understand model concepts... lets talk basics... Key of "C", I'll start with 2nd degree or "D", since I think that's where this thread started.
D dorian, we all know the scale... When we decide to call this collection of notes a mode, rather than a scale, we imply a different harmonic controlling system. For now, we'll keep this modal concept simple... Diatonic. The I chord is always tonic and the most important chord in our new modal world and each of the rest of the chords built on each scale degree of D dorian... is a chord on it's own... All modes have a characteristic pitch, (as we all know), in our D dorian example this pitch would be the 6th degree or "B". So in our D dorian modal world, there are chords with this characteristic pitch and those without.
D-7 tonic chord
E-7 has characteristic chord tone
Fmaj7 no characteristic chord tone
G7 Has C.C.T. but has Tri-tone and will strongly imply Cmaj.
A-7 No C.C.T.
B-7b5 Has C.C.T. but also has Tri-tone and will also strongly imply Cmaj.
Cmaj7 Has C.C.T.
In modal music, I'm talking about Jazz, not church modes or rhythmic modes of 13th century, not 19th and 20th century tonal modal idiom desires to imitate tonal language of 16th century sacred music, folksong having modal features or composers reactions against traditional classical harmony... jazz usage.... were trying to imply or force a chord to be tonic in nature, be the harmonic center of our tonal world. There are many functional forces which force intervals and pitches to stay put or resolve to more stable harmonic collections... If you want more info. check out "Acoustics", the science which deals with the physical aspects of music, Bartholomew's "Acoustics of Music", or Lowerys, "A Guide to Musical Acoustics".
In our example of D dorian, the G7 and the B-7b5 chords have the all powerful Tri-tone which very strongly implies the key of C maj. So if we were trying to imply D dorian we would stay away from those two chords, or be careful how we use them. We would imply our mode, D dorian by calling chords with our characteristic pitch, ( B ), our cadence chords, example of cadence would be...
E-7 to D-7 II-7 to I-7
Cmaj7 to D-7 VIImaj7 to I-7
This is only the starting point of what is implied by calling something modal and is much more useful if you take the time to write out all the examples on your own, rather than be told... but if anyone wants more constructive or working details or help in understanding all the modes, every scale can have modal implication, I'll gladly try... Best Reg ( watch for Jazz Police)
yes, the jazz police will want to know how many chords you are using in your modal tune before they pull you over. the more the better. and it wouldn't hurt to try to swing a little. But if you use a guitar - with distortion no less - you will be tasered on principle alone!
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Well, yesterday I read Fatjeff in another thread that Jimmy's gonna "shut down" his institute, and also heard Jimmy's communicate in referece to that posted by another forumer in the same thread. Are you refering to his institute or does he have another website where he teaches? Originally Posted by bass2man
Y'know, I already discovered the CAGED system by myself years ago without knowing that that was called CAGED system. It's not that I'm against this system at all. No, really! But I think that I have to learn other things beyond the CAGED system. Besides I don't think that such a jazz guitarist like Jimmy Bruno is constantly thinking of this system. It's intended for beginners to make them able move to other levels.
What I learned in this thread is very interesting to me and by now I wanna go on learning this all. It's like life: everyone follows the path that convinces him/her more. The CAGED system? Ok, I already learned it. Rock music? I already learned it. Modes in the melodic way? I just already internalized them. Intervals? I already internalized them. The tonalities? I can say them all without thinking too much now. Same for the modes. The circle of fifths? I know it, also. Too much thinking? Maybe! Just learning and learning and learning. No problem. What I know is that my father who has always been a classical pianist since he was a teen now can't follow my explanations on music theory. Means something, I think.
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Funny, I didn't read you were replying to Lasagne. Originally Posted by bass2man
I've been rereading my post above and depending on how you read it can sound a bit arrogant. Please, don't get me wrong. That wasn't my intention at all, and besides I thought you were giving advice to me and not to Lasagne or anyone else.
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I joined it a couple of days after posting this thread Originally Posted by bass2man
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