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Re: Modes

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Posted by johnfingers (from: ) on November 29, 2004 at 16:22:28:

In Reply to: Modes posted by Donald on November 29, 2004 at 09:04:42:

The only confusion seems to be what key to call each mode. I think there needs to be a clearer convention on this.
(notes:) e f# g a b c# d e is the Dorian Mode taken from a Dmajor "mother key", I would think most musos would know what that means, but the question remains what key are we in? Well it's some kind of E, and since the third note is one and a half tones from the first it is some kind of E minor . Anything with the third note at that distance from the first is minor, and anything with the third note two full tones from the first is major. So I think the clearest name for the key of the above scale is:

E minor ( Dorian Mode)

or if you really want to spell it out:

E minor ( Dorian Mode-from D major)

We generally learn our modes in C and then work them out in other keys.

Risking labouring the point,
A mode formed by starting on the second note of a major scale will always be Dorian.
A mode formed by starting on the third note of a major scale will always be Phrygian. etc

The trick with modes is making the new key note sound like "home". There is usually a little sequence or a temporary change to the scale to point to the new "home". Using the above Dorian example, lines finishing with (chords) Dm C Dm
will make the Dm chord sound like the piece could finish there. The key note of a piece will always make it sound finished. ( which doesn't mean you MUST finish on the key note)
In E Phrygian (which by the way is minor) based on C major, we have (notes) e f g a b c d e
The chords available are the same chords available to C major ; that is:
Em F G Am Bdim C Dm but finishing on Em can sound indefinite. In flamenco etc., E major , which is not strictly in the mode, is substituted for Em especially at the end of lines, to give a bolder finish. So we have 3 major chords in a row;

G F E ( sounds Flamencoesque already ) We would use C major pattern ( no #'s) for lead runs except when the E major chord crops up, in which case we might finish a line on a g# note ( E major includes g#, Em includes g )

One more example: Lets say we want the Mixolydian mode in E . That mode starts on the 5th note of a major pattern, so counting back, we know that A must be the "mother" key. A has c# f# and g#, so we get:
e f# g# a b c# d e
(The only difference from E major is the position of the 7th note. In E major we would have a d#)
This mode has a bluesy sound because it includes E7 (rather than Emaj7) as a chord available on the "home" note. It would not really include a B7, which has a d# note in it, but to get a convincing feeling of E being "home" you would often play B7 (rather than Bmaj7) before E.
When a blues harmonica player picks up an A harp to play in E, they are playing in the Mixolydian mode.
So modes are moods, and the feel of each one is more important than its name. Practicing against a low drone note on the new "home" can help.

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: The only confusion seems to be what key to call each mode. I think there needs to be a clearer convention on this. : (notes:) e f# g a b c# d e is the Dorian Mode taken from a Dmajor "mother key", I would think most musos would know what that means, but the question remains what key are we in? Well it's some kind of E, and since the third note is one and a half tones from the first it is some kind of E minor . Anything with the third note at that distance from the first is minor, and anything with the third note two full tones from the first is major. So I think the clearest name for the key of the above scale is: : E minor ( Dorian Mode) : or if you really want to spell it out: : E minor ( Dorian Mode-from D major) : We generally learn our modes in C and then work them out in other keys. : Risking labouring the point, : A mode formed by starting on the second note of a major scale will always be Dorian. : A mode formed by starting on the third note of a major scale will always be Phrygian. etc : The trick with modes is making the new key note sound like "home". There is usually a little sequence or a temporary change to the scale to point to the new "home". Using the above Dorian example, lines finishing with (chords) Dm C Dm : will make the Dm chord sound like the piece could finish there. The key note of a piece will always make it sound finished. ( which doesn't mean you MUST finish on the key note) : In E Phrygian (which by the way is minor) based on C major, we have (notes) e f g a b c d e : The chords available are the same chords available to C major ; that is: : Em F G Am Bdim C Dm but finishing on Em can sound indefinite. In flamenco etc., E major , which is not strictly in the mode, is substituted for Em especially at the end of lines, to give a bolder finish. So we have 3 major chords in a row; : G F E ( sounds Flamencoesque already ) We would use C major pattern ( no #'s) for lead runs except when the E major chord crops up, in which case we might finish a line on a g# note ( E major includes g#, Em includes g ) : One more example: Lets say we want the Mixolydian mode in E . That mode starts on the 5th note of a major pattern, so counting back, we know that A must be the "mother" key. A has c# f# and g#, so we get: : e f# g# a b c# d e : (The only difference from E major is the position of the 7th note. In E major we would have a d#) : This mode has a bluesy sound because it includes E7 (rather than Emaj7) as a chord available on the "home" note. It would not really include a B7, which has a d# note in it, but to get a convincing feeling of E being "home" you would often play B7 (rather than Bmaj7) before E. : When a blues harmonica player picks up an A harp to play in E, they are playing in the Mixolydian mode. : So modes are moods, and the feel of each one is more important than its name. Practicing against a low drone note on the new "home" can help.

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