Modes demystified (if you're mystified that is...)

[jeremy_green]

I always think part of the problem with the discussion of modes is that there is a difference to me of playing "modes" as opposed to something being "modal". To me I dont like calling them "modes" really at all - unless it becomes the application is modal. I try to refer to them as fingerings or scale patterns etc. The minute you utter the word "Mode" you open up the whole can of confusion.

 

My early bastardized understanding (if you can call it that) of modes was the idea that I could "Treat a chord as if it was from a different key" so I would "change keys" in my mind temporarily. This is kind of correct but is a difficult way to think through it.

 

Here is the crux of it to me:

 

- Many discussions of modes pertain to scale forms - fingerings.

So many people think of them only that way. Like magical "NEW" sources to sound cool. Or some kind of advanced guitarist techniques they are missing out on.

 

- Then "Modal" discussions occur which pertain much more to the underlying chords.

 

FOR ME - I never figured out how to USE "modes" in performance until I began to think of them more as the latter - "modal" or tied more to the underlying chords. Until I realized that part they remained just semi mysterious finger patterns.

 

So Sean's video to me teaches well part one of this understanding - but doesnt address the second part. He said it was to be a multi-part explanation ... and maybe it would have been more helpful to say that right up front. But his description was clear and in my opinion helpful. In the sense that it helps you not think "Damn how am I going to remember all these different scales!!" because you already know them.

 

You are right though confusion abounds. I do hear your angle on it. Except that the pedal tone idea to me doesnt cut it. Yes it helps you hear it but it isnt really a practical scenario. How often in a song is there truly a homogenous chord sequence. The underlying harmony creates a feeling of major or minor etc - ness if you will. So in my experiences with it it still remains somewhat unusable UNTIL you understand how the chords define the modality.

 

Sayin?

[TrickyBoy]

Let me observe some facts: - Modes are overwhelmingly taught starting from their origin as scales-with-the-same-notes - Modes are overwhelmingly a subject of confusion. Isn't just possible that these are related?

 

 

No. I would say that they are an overwhelming subject of confusion because most people learn their modes in a cursory sense, but never take the time to understand their application. Like most things on guitar, it's a multi-step learning process. The first step is the easy part (learning to play the different modes). The second part (really understanding modes and their applications) is the hard work. Most people gloss over the second part, making modes nothing more that a trick in their bag. Because of this, when theoretical conversations about modes come up, the majority of people are lost in the weeds.

 

Sorry me disagreeing with you hurt your feelings.

[Jed]

I'm a little late to the party, so I'll respond with a mash-up of quotes from others with my responses.

And I have spent a lot more time looking at and assessing lessons than many.

Again, with respect - on what basis is you expertise relative to assessing lessons defined? How can you assess a lesson or compare one lesson to another while you are still in the process of learning the subject material? I submit you are not assessing lessons but rather assessing how well a particular teacher communicates with you specifically. This has nothing to do with the quality of a teacher for any given subject matter.

I would love to discuss these issues with you in real time. Do you have a Skype account or AIM? If so let's PM.

cheers,

[Jed]

I would say that they (modes) are an overwhelming subject of confusion because most people learn their modes in a cursory sense, but never take the time to understand their application. Like most things on guitar, it's a multi-step learning process. The first step is the easy part (learning to play the different modes). The second part (really understanding modes and their applications) is the hard work. Most people gloss over the second part, making modes nothing more that a trick in their bag. Because of this, when theoretical conversations about modes come up, the majority of people are lost in the weeds.

 

 

I couldn't agree more strongly.

 

As an aside, I have a mild (and no doubt unhealthy) crush on your lead singer. Fortunately, I live far away and am far too lazy to become a proper stalker. She must remind me of a former girlfriend. Cute as a button that girl!

 

cheers,

[TrickyBoy]

Don't learn modes and when you here someone tank about modes think of them as a chord scale instead.

 

 

EUREKA! This is how I've always thought of them, but I never know how to describe it. A chord scale - that's perfect!

[Jed]

EUREKA! This is how I've always thought of them, but I never know how to describe it. A chord scale - that's perfect!

 

 

So let's run with this:

 

Ionian is the chord scale for the Imaj7 / Imaj9 sound / function

Dorian is the chord scale for the IIm7 / IIm9 sound / function

Phygian is the chord scale for the IIIm7 sound / function (no 9th)

Lydian is the chord scale for the IVmaj7 / IVmaj9 sound / function

 

on and on and on.

 

This way each chord function equates to one mode. It leads to some interesting things especially when you want to anticipate a modulation.