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Author Topic: Mode Theory  (Read 959 times)

Offline cardfandan

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Mode Theory
« on: August 31, 2006, 01:28:17 PM »
OK -some folks asked about this so I will give a brief introduction to modal theory. This is only an introduction, to truly learn it you need to find a teacher or a book and practice it like crazy! Modal theory is not a substitute for classic theory, just a different way to look at theory. It is best for a bassist to learn both methods.

If you are interested in learning more than I present here, I strongly suggest that you pick up a book called The Complete Bass Grimoire which presents 100's of pages of more modal theory than any one of us will probably ever learn. You can get a copy at Amazon.com http://www.amazon.com/Bass-Grimoire-Complete-Adam-Kadmon/dp/0825821819/sr=8-1/qid=1157045777/ref=pd_bbs_1/102-2866750-3078531?ie=UTF8


OK: There are a few basic things that you need to know for modal theory. You need to know the names of the notes and you need to know a basic major scale. For our purposes we are going to use C maj because it's nice and easy. There are no sharps or flats in a C maj scale. If you don't know the differnence between a sharp and a flat then ask you local pianist and he/she can explain it to you.

A C major scale contains the following notes. C-D-E-F-G-A-B-C ... There are eight pitches in that scale, but only twelve tones. If you play that scale on a bass then it should look like this...

G-------l----1----l--------l----3---l----4----l--------l
D-------l----1----l---2---l---------l---4-----l--------l
A-------l----------l----2--l--------l----4----l---------l
E-------l----------l--------l--------l---------l---------l

The lines in the tablature equal frets. The numbers indicate the left hand finger used to play the note. Thus on the A string the first number 2 is a C note played with the second finger on the third space of the A string.

Is everyone still with me?

OK

The tablature above is the correct shape for a basic major scale played in the order of 1 through 8. If you move that entire shape up by one fret space then you will be playing a Db major scale (don't worry about why it's Db and not C#). If you move it up again then it's a D major scale.

Once you've learned this then congratulations are in order! You will have learned the shape for a one-octave major scale played in first mode.


Now, lets play the same scale (a C major scale again), but let's start on the D. This means that we will be playing the following eight notes: D-E-F-G-A-B-C-D ... It's still a C major scale, but we start from the second note of the scale.

Now the tablature looks like this:

G-------l----------l--------l----1---l----2----l--------l----4-----l---------l
D-------l----------l--------l---------l---1-----l--------l----3-----l---------l
A-------l----------l--------l---------l----1----l--------l-----3----l----4---l
E-------l----------l--------l---------l----------l--------l----------l---------l


The tablature above is the correct shape for a basic major scale played in the order of 2 through 9. The number 1 represents a D note played with the first finger on the A string. You can move this same shape up and down the neck as well. Once you learn this shape then you have learned the shape of a one-octave major scale played in second mode.

Now, do it again but play from 3 through 10 and 4 through 11 and 5 through 12 and so on until you are starting from the 7th note and playing through to the 14th note of the scale.

There are eight notes in a C major scale, but two of them are the same (you start on a C and you end on a C an octave above where you started from) -so that means that there are seven different places to start and end a scale. Each new starting point begins a new mode.

The seven basic modes are named below:
1. Ionian
2. Dorian
3. Phrygian
4. Lydian
5. Myxolydian
6. Aeolian
7. Locrian

Learn the shape of all seven modes. Now move that shape around. Now learn the shape of all seven modes in two octave scales. Now three and four octave modes (for those of you with 5 or 6 string basses).

That is the beginning of learning modal theory...

Exodus 34:14

Offline cardfandan

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Re: Mode Theory
« Reply #1 on: August 31, 2006, 01:32:17 PM »

A C major scale contains the following notes. C-D-E-F-G-A-B-C ... There are eight pitches in that scale, but only twelve tones. If you play that scale on a bass then it should look like this...

Oops! That should say that there are eight notes in that scale, but only 7 tones. The are twelve tones in all of Western music, but only seven tones in a major scale.
Exodus 34:14

Offline cardfandan

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Re: Mode Theory
« Reply #2 on: August 31, 2006, 02:58:44 PM »
Thomas has a much more detailed explaination of this over in the theory thread. If I had known that it was there I would have referred everyone to that thread for an explaination of modes rather than write a new thread.

You can view Thomas' theory lesson at the link below...

http://www.learngospelmusic.com/forums/index.php?topic=30916.100
Exodus 34:14

Offline Torch7

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Re: Mode Theory
« Reply #3 on: August 31, 2006, 03:44:16 PM »
May have just had a lightbulb moment.

IF a song is in the Key of C
C D E F G A B C
 and the song progresses from C to A

while in "C" I can chose the tones from the IONIAN Mode or the Major Scale...
But when i get to "A"  with A being the root, I must move the pattern and groove over the AEOLIAN Mode because otherwise the tones won't fit with A which would be minor.

Offline B3Wannabe

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Re: Mode Theory
« Reply #4 on: September 01, 2006, 11:36:37 AM »
You can play C over A. It's the same thing, if you're playing modes. The notes don't change. What matters is the importance of the root note. If you're playing jazz, you can stray away from the root more often than you can in gospel.

Playing C Ionian over A Aeolian is almost like playing part of a Amin or Amin7 chord, depending on which note you use. When you're playing in modes, it's pretty wide open. You can move around almost freely. I posted some stuff for keyboard in the Theory forum. The same theory that applies to keyboard applies to bass.
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