Members d0zerz Posted November 26, 2003 Members Posted November 26, 2003 Ok, I'm aware how blatantly this is beating the dead mode horse (with the sticky post and all). But I've read it over and over and I'm still confused I was trying to figure out how to play G mixolodian and I'm doing this: the 5th of Gmaj is D right? so....I play the Dmaj scale or Gmaj scale starting at D? the thing that confused me is where it says that mixolodian is: 1 2 3 4 5 6 b7. Dmaj and Gmaj are respectively: D E F# G A B C# G A B C D E F# right? so does that mean that G mixolodian is the Dmajor scale with a flattened 7th? and when playing it, do you resolve to D as the tonic even though the chord progression you're playing it over is G, or G as the tonic to get the sound the mode intends? wait a second...of course you would resolve to the D right? otherwise you're just playing Gmaj scale... so...the modes are just the scale played starting on different notes? hmm...I think i've had a realization in typing this. give me one blink for "sounds good", two for "wrong again"
Members thliu Posted November 26, 2003 Members Posted November 26, 2003 If you want to play G mixolydian, you need to play the C major scale.
Members thliu Posted November 26, 2003 Members Posted November 26, 2003 I guess I'll give a bit more detail. You need to think of this in two ways. 1. Like my last post, think of this like C major. G is the fifth of C. 2. Think of G mixolydian in terms of G itself, not C. That means knowing the intervals. When someone says mixolydian, I immediately think, "that's a major scale with a flat 7 instead of a natural 7." So that means play a G major scale, but flat the F# to an F. That makes G mixolydian.
Members Paul J. Edwards Posted November 26, 2003 Members Posted November 26, 2003 Originally posted by d0zerz so...the modes are just the scale played starting on different notes? You got it!
Members thamiam Posted November 26, 2003 Members Posted November 26, 2003 Originally posted by Paul J. Edwards You got it! You got half of it! The other half is the approach stated above, where a mode indicates that certain notes are raised or lowered. G Mixolydian is the G Major scale with a flatted 7th.G Mixolydian is the C Major scale starting on the 5th (G). These concepts are inseperable. If you think of it one way and not the other, you are missing the essence of the concept of "mode".
Members Paul J. Edwards Posted November 26, 2003 Members Posted November 26, 2003 Originally posted by d0zerz so you have to kinda start thinking "what scale has its xth note as the root note of the key I'm playing in if i'm trying to play the xth mode" ...then play that scale starting at the tonic of the key you're playing in. This will result in a scale with the same combination of flats as if you were to memorize the list of modes and their associated flats? Example: the second mode (aeolian?) in B would be the Amaj scale starting at B since the second note of the Amaj scale is B. I know I could just memorize the flats and their positions but I'd rather understand it so I can "generate" them in a pinch. I'll probobly end up memorizing them anyway (at least a couple) since I'll probobly not be able to "generate" them quick enough in an improvising situation. thanks for all your help Your second mode would be Dorian. And your main goal is to get the sound of them in your ears and under your fingers.I also agree with thamian. You should understand where the half and whole steps are. Best way to remember them is to group them into major and minor tonalities with a few alterations.Still the sound of them is what matters.
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