Modes

Russell Adkins · From: Louisiana, USA

Playing different Modes gives you different sounding texture and changes in your music that you dont get with the basic 1,3 and 5 triads that are played in thirds , can triads be played in modal playing , like playing the different modes in thirds 4ths and 6ths over the same root chords ( basic c f g ? If thats possible then the results could be very enteresting sound wise ,i think im on the right track here or am i ?

Russell Adkins · From: Louisiana, USA

i played through all the modes and they all only are resolved when they go back to the parent scale i find it enteresting to say the least however its a bit puzzling but thats ok , I guess its all about finding what pleases the ear , I am going to spend some time with this to see whats what .

Ken Metcalf · From: San Antonio Texas USA

Try this for starters

Substitute : 6 minor for one chord.
2m for 4 chord
3m for 5 chord
Move that around.

Then try it using 9th D string bottom for the above.

From Jody Cameron

Larry Bressington · From: Nebraska

Try modal passages in spurts like â€œsteppin outâ€ but donâ€™t stay out there in modal land. When I do rock or metal runs on the 6 string sometimes if Iâ€™m in A, Iâ€™ll run the F major scale for a couple of bars then resolve back to mixolydian or even Ionian so the tension releases, there has to be resolve and a happy ending to the story, me thinks?
_________________
A.K.A Chappy.

John Alexander · Posted 10 Oct 2017 5:55 pm

Much in-depth information on modes and practically every other musical topic is available (free) on Rick Beato's YouTube site. He's done a video on each of the usual modes, and some I've never heard of before. Here's one on the Dorian mode:

https://www.youtube.com/watch?v=Tsb0oibEEqE

Fred Treece · From: California, USA

Yes you are on the right track. There is a 1-4-5 in every mode, and you can substitute the 3rd and 5th chords for each chord in each mode as well as the relative 6m for any major chord.

Where things get weird is when you substitute major 3rds for minors, and vice-versa. The modal scales take on a completely different effect. Also, adding 4ths, 6ths, 7ths, and 13ths to the chord can get a little squirrelly. It creates music you can't exactly hum along to, but your mind can go tripping on it.

I think in terms of altered chords and scales rather than modes, so my explanation and understanding may be a little off here. If you are only dealing with the 7 modes of a given major key, then the diatonic chord substitutions and the associated scales are in pretty safe territory.

Bobby Nelson · From: North Carolina, USA

Here's another stupid question haha. Not having pedals yet, and not wanting to get really too far off into the non-pedal thing (so-as I have to start all over again when I get the pedal steel), now may be as good a time as ever to ask questions about theory points that have always been a mystery to me. Altered chords? I've seen this term since studying the Joe Pass book when I was 15. What makes them altered? Is anything beyond a regular triad, be it M or m, and altered chord? Or are we talking about inversions? Sorry for dumb questions but, as I have pointed out already, the paper work of theory has never been my strong suit.

Fred Treece · From: California, USA

An altered chord is one in which one or more of the notes in the triad are raised or lowered by a half-step, usually associated with dominant 7th chords:

E7b5 = E, G#, Bb, D (1-3-b5-7)
E7#5 = E, G#, C, D (1-3-#5-7)

b9 and #9 are also common alterations, and often combined with the altered 5. Minor chords can be altered too.

Clear as mud?

Bobby Nelson · From: North Carolina, USA

Thanks Fred, that does clear it up. I always played them but never really knew, until later years what the were called. I always thought they were some form of diminished/augmented or something.

Fred Treece · From: California, USA

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