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Also I had exactly the same experience with the 6 and b6 - slightly awkward notes to place in context but with practice you get it. It absolutely wouldn't have helped to lumber them with big complicated Greek names.
In the end you get used to an almost chromatic approach - perhaps with the exception of the b2, any note in the octave is available for soloing, depending on what effect you're going for and how much dissonance you can tolerate.
I realise this approach is not quite as helpful for composition when you want to say "this piece is in this particular key", but for freeform soloing, I find scale names unhelpful apart from when communicating with other musicians.
As mentioned if you're in the Key of C major, but you make the II chord Dm the home, you're playing in Dorian. I guess it's a way to have the notes in a key, but not be tired to the I chord for home so you can create different flavors of the same key.
The more I'm learning about theory, the more I realise the freedom that exists in it. I used to think theory was about the restrictions of music, but there really are no restrictions just frameworks you can work within, but are not restricted by.
I'm very early in my understanding, but having a teacher for the past couple of months has given me lightbulb moments that would have taken years, if at all.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Led Boots - Jeff Beck
In fact, for years I called that group of intervals the 'Jeff Beck' scale until I found out the Greek name.
Yes exactly! Well, alternative notes rather than extra notes, but yes absolutely! I mean, those scales do have names, so if you're interested in this stuff you can use those names to communicate with like-minded individuals just to short-cut the discussion, and there's a vid somewhere where Gilmour talks about Dorian. But in general, yep, of course you can say "minor but with a raised 6th" if that's easier for you.
I think what I'm trying to do with this thread is collect lots of well-known songs that we as a community personally know well, and group them into their modes, so that the people who are interested but who haven't got the hang of it yet can get some insight.
People who prefer, for a special reason, not to give scales a name, can ignore it.
nice 1
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
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When you're playing in Dorian mode the II of another key is the home of that mode but in that mode it is the I.
I get what you are saying but if you are always relating back to a major scale (or harmonic/melodic minor) then you are slowing yourself down.
It is worth investigating 'pitch axis theory'.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Especially not now...
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
In fact, if I were to notate it, I'd probably write it as though it were in F# minor (ie 3 sharps in the sig), then sharpen every D# as an accidental, rather than put 4 sharps in the sig. But that's because I like to enjoy the dorianish nature of it, and don't want people to think it's somehow in C# minor.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
It is very freeing- obviously you still have avoid notes.
There is something I regularly do which is a dominant 7 based pattern:
---------------------------------------
----------3-6-4-3--------------------
-------4------------4------------------
--3-5-----------------5-3-2---------
---------------------------------------
---------------------------------------
I've presented this as a G dominant idea but two notes are out of the G dominant chord.
The Eb/D# (2nd string, 4th fret.)
The E (4th string, 2nd fret)
You can think of the Eb as a b13 but it also fits into the G Mixolydian b6 which is the 5th mode of the C melodic minor mode.
Yes, it can sound a bit 'out'.
The E might look like it won't work against it but if you are playing a V I progression the b13 of the altered G dominant heading towards the I (in this case C major 7: CEGB).
Although you have two notes in the line that are somewhat at odds with one another you have to think about what each note does in context.
The Eb is there to bring tension against the G Dominant.
The E is there to bring a resolution towards the 1 chord.
If I don't want too much tension against the G Dominant then I'll do this instead:
---------------------------------------
----------3-6-5-3--------------------
-------4------------4------------------
--3-5-----------------5-3-2---------
---------------------------------------
---------------------------------------
Here it is both ways (but in A Mixolydian)- I think the first version sounds much better, but the important thing is how I am thinking about the notes, more than anything.
https://youtu.be/3fcQ_2lAn9o
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
You're thinking about something that's happening tomorrow - lydian.
you're talking to a friend - major
you're talking to a friend after 1 pint of stella - mixolydian
you're talking to a friend after 2 pints of stella - dorian
you're talking to a friend after 3 pints of stella - aeolian
you're talking to a friend after 4 pints of stella - phrygian
you're talking to a friend after 5 pints of stella - locrian
Melodic Minor Modes - half-way between any of those - #4 and b7, b6 and b7, b2 and b7 ... like after pint 5 when you add a tequila chaser.
and that's modes.. they shift the semi-tone clashes around to add emphasis in different places - just like we do in conversations... after beer.