i dont have the names memorized, but i know the scales, so i know the patternsMWR wrote:Wow I have my work cut out for me. I think I'll stick to learning the basic modes first. Do you have all these patterns memorized? That would be quite impressive.fatjack wrote:harmonic:MWR wrote:So what would the mode names be for harmonic minor.
Harmonic Minor
Locrian (natural 6) <<< there is no character for natural
Ionian Augmented
Overtone Minor (or Dorian #4)
Phrygian Major
Lydian #2
Altered Dominant (full-dim)
melodic:
Melodic Minor (Jazz Minor)
Phrygian (natural 6) or Dorian b2
Lydian Augmented
Overtone (or Lydian Dominant)
Aeolian Major
Locrian (natural 2)
Super Locrian
as you can see they use similar names, but they have a whole bunch of alterations that make them nothing like the major scale modes
Oh and don't mess with SUPER LOCRIAN!!! It's far superior to all other Locrians.
Nancies Key
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fatjack
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I'm Josh: sometimes known as Steve
you really shouldn't get stuck on patterns anyway. it will sound like the correct mode when applied to the chord progression. for example: if you play a I-IV-V in the key of D and you run the scale it will sound like D-major (ionian). if you play a ii-IV-ii it will sound like an E-dorian. if you know the major scale then you know all of the modes of the scale. it all depends on where you start.
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gravedigger
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fatjack
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dbernard wrote:you really shouldn't get stuck on patterns anyway. it will sound like the correct mode when applied to the chord progression. for example: if you play a I-IV-V in the key of D and you run the scale it will sound like D-major (ionian). if you play a ii-IV-ii it will sound like an E-dorian. if you know the major scale then you know all of the modes of the scale. it all depends on where you start.
YES!!!!!!!!!!! SOMEONE WHO LOOKS AT MODES FROM THE SAME APPROACH I DO!!!!
one pattern: the major scale = all seven modes
i love you dbernard
I'm Josh: sometimes known as Steve
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gravedigger
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I've heard advocates of your way and advocates of learning every mode as a seperate entity. If you have a really outstanding knowledge of the fretboard and can name all the notes than your way would definately be more effecient. Learning patterns would be more suitable for begginners because you can hear the tonality of each scale better and it forces you to slow down and think about the notes your playing. A perfect example is relative majors and minors. Same notes but very much a different scale. Ok I'm done now. Thats a very, very good point though.fatjack wrote:dbernard wrote:you really shouldn't get stuck on patterns anyway. it will sound like the correct mode when applied to the chord progression. for example: if you play a I-IV-V in the key of D and you run the scale it will sound like D-major (ionian). if you play a ii-IV-ii it will sound like an E-dorian. if you know the major scale then you know all of the modes of the scale. it all depends on where you start.
YES!!!!!!!!!!! SOMEONE WHO LOOKS AT MODES FROM THE SAME APPROACH I DO!!!!
one pattern: the major scale = all seven modes
i love you dbernard
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gravedigger
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