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Namaguederaz
December 10th, 2000, 06:43 PM
I was looking at the lesson about modes here, and while looking to the interval structure of each mode, I noticed that if I just memorize were the 2 half-steps are, I can memorize all the modes easily

Example: the phrygian mode interval structure is like that: 1 b2 b3 4 5 b6 b7 8

That's a lot of flats to memorize, but if I just memorize that the phrygian mode have it's half-steps between 1-2 and between 5-6, I can remake the interval structure anytime I have to.

All the modes have only 2 half-steps, the only thing that change is the half-steps location. And if you look closely, the 2 half-steps "walk" to the left when I go from Ionian mode to Locrian mode.

I know I still have to memorize the interval structure for each mode, but with this technique, I can write the modes in a paper without help anytime I want to, and I can memorize this interval structure more easily now...

StoneDragon
December 10th, 2000, 07:33 PM
You got it!

The more ways you can see how those notes line up on the fingerboard, the better.

Mogomra
December 11th, 2000, 04:55 PM
eh? i don't think i understand your terminology/numbering system.

I'm dumb.

MrSamson
December 11th, 2000, 05:57 PM
I am using the approach that I can see the shape of {insert mode other than Ionian} in my head based off of the 6th string...and when I compare that to Ionian mode on guitar...I can then see the interval structure...

Probably not the most efficient method...but it is working for me...since it is all based off the major scale...why not compare it to that LITERALLY...at least that is the approach I am using...

It is slow and combersome...but I am hoping that down the road it pays off...

http://www.zentao.com/ubb/smilies/devil.gif

Namaguederaz
December 11th, 2000, 06:59 PM
To Mogomra

I will give an example:

this is the interval structure of a Major scale, the Ionian mode (w = whole-tone and h=half-tone)
w w h w w w h
I II III IV V VI VII VIII

and this is the interval structure of the Dorian mode (the 2nd mode)
w h w w w h w
I II III IV V VI VII VIII

If you look closely, you will see that the 2 half-tones have just walked 1 step to the left. It will repeat itself for all modes, and you can just memorize the location of the half-tones for each mode.


Hope I have made it clear now!

Namaguederaz
December 11th, 2000, 07:10 PM
Duh

my message got all messed up. Here is the correct alignment of the whole and half steps

Ionian
I w II w III h IV w V w VI w VII h VIII

Dorian
I w II h III w IV w V w VI h VII w VIII

Sorry for the mistake!

drumstix128@aol.com
December 12th, 2000, 01:36 PM
Wow!! I actually understand what your saying!

http://www.zentao.com/ubb/smilies/movingeyes.gif

Mogomra
December 13th, 2000, 12:10 AM
As do i!

mishmannah
December 2nd, 2005, 12:13 PM
All the modes have only 2 half-steps, the only thing that change is the half-steps location. And if you look closely, the 2 half-steps "walk" to the left when I go from Ionian mode to Locrian mode.



Wow, well spotted!!!

Well, I am going to add that to the things I am keeping my mind occupying on when my job hits boring patches...I am sure it's good exercise for the brain!

crusty
December 2nd, 2005, 12:34 PM
I think the best way to understand each mode is to superimpose a chord over top, then memorize how the non-chord tones vary from the major scale:

Ionian = Major 7th
Dorian = Minor 7th
Phrygian = Minor 7th (m2, m6)
Lydian = Major 7th (#4)
Mixolydian = Dominant 7th
Aeolian = Minor 7th (m6)
Locrian = Half diminished 7th (m2, m6)

JonR
December 3rd, 2005, 04:30 AM
Here's a chart which (I think!) illustrates what you're getting at with the half-steps:

HALF STEPS: | | | | | | | | | | | | |
LYDIAN 1 2 3 #4__5 6 7__1
IONIAN 1 2 3__4 5 6 7__1
MIXOLYDIAN 1 2 3__4 5 6_b7 1
DORIAN 1 2_b3 4 5 6_b7 1
AEOLIAN 1 2_b3 4 5_b6 7 1
PHRYGIAN 1_b2 3 4 5_b6 7 1
LOCRIAN 1_b2 3 4_b5 6 7 1This is also known as the "bright-dark" order of the modes.
As you can see, as you go from mode to mode, first the lower semitone moves down, then the upper one, in turn.

Now you just need to remember that L-I-M-D-A-P-L order! :smile:

AcousticShred
December 4th, 2005, 09:01 AM
Thinking of modes in scale formulas is ok...I do it all the time. But I think that shouldn't overshadow the idea of thinking of modes as sounds or moods. It isnt as bad as thinking of modes as positions....but still.....

Crimson_Edge
December 4th, 2005, 09:15 PM
I don't really care too much for knowing the names of modes, I care more about knowing the different patterns in different keys.

WWHWWWH
WHWWWHW
HWWWHWW
WWWHWWH
WWHWWHW
WHWWHWW
HWWHWWW

It's not that great, but eh, gets me what I need when it's needed.

crusty
December 5th, 2005, 06:57 AM
Here's a chart which (I think!) illustrates what you're getting at with the half-steps:

HALF STEPS: | | | | | | | | | | | | |
LYDIAN 1 2 3 #4__5 6 7__1
IONIAN 1 2 3__4 5 6 7__1
MIXOLYDIAN 1 2 3__4 5 6_b7 1
DORIAN 1 2_b3 4 5 6_b7 1
AEOLIAN 1 2_b3 4 5_b6 7 1
PHRYGIAN 1_b2 3 4 5_b6 7 1
LOCRIAN 1_b2 3 4_b5 6 7 1This is also known as the "bright-dark" order of the modes.
As you can see, as you go from mode to mode, first the lower semitone moves down, then the upper one, in turn.

Now you just need to remember that L-I-M-D-A-P-L order! :smile:

Wouldn't it make more sence to order them from dark to bright, starting from locrian and ending with lydian?

StoneDragon
December 5th, 2005, 07:18 AM
Wouldn't it make more sence to order them from dark to bright, starting from locrian and ending with lydian?

In referrence to circle based chord progressions, it probably would make more sense. I think as a teaching aid, however, that it's much easier for a person to start with the bright ones and slowly make their way into the dark ones. By the time you get to Locrian, it still sounds like a scale... just with a lot of color. If you were to start with Locrian, it would be hard to convince anybody that you were playing an actual scale.

crusty
December 5th, 2005, 10:09 AM
In referrence to circle based chord progressions, it probably would make more sense. I think as a teaching aid, however, that it's much easier for a person to start with the bright ones and slowly make their way into the dark ones. By the time you get to Locrian, it still sounds like a scale... just with a lot of color. If you were to start with Locrian, it would be hard to convince anybody that you were playing an actual scale.

Ok, so each version has a valid use. If I was teaching jazz improv I'd probably reverse it, but like you say, keep it the way it is for beginners.