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Maybe this will open up the can of worms, but I thought I'd mention this. People often think about the major scale when they hear the word Mode. I don't. I recommend you don't either.
Think of each mode as their own scale. They really are. Each has a different formula, and that creates the unique sound.
The Lydian mode is the 4th mode of the major scale, and I'm playing A Lydian. Now, of which major scale is A the 4th note? The answer is E:
The notes of this scale are E F# G# A B C# D#. Same is A Lydian.
Now here is what I'm telling you. Forget about that stuff. I NEVER, EVER think about what major scale the mode is from. It's not important! I actually had to think hard about it to figure out it was E major.
The way to think about it is the INTERVALS. As I said in my lesson, there is only one note that changes, compared to A major. The 4th note is raised, and that creates a whole new situation. I also learn all the triads in a mode.
There is not enough time to start thinking about what major scale the mode is coming from, if you wanted to do that in a middle of a solo. Instead, you must know which are the intervals of the mode, and how does it relate to the chord you are playing over.
It's easier than you think. For example, if the band is playing A Major, I can play either A Major or A Lydian, because both are major scales, and there isn't anything in the chord that conflicts. All I have to do is play a raised 4th instead of the usual 4th (D# instead of D). That's it! I can create some cool melodies doing so.
It takes a while to be able to do these things without thinking too much, but it's certainly doable.
Try this: Play a backing track that stays in A major, or just have the note A ringing out. Then play A Major first, for a while. Next, see where D is? Move it up to D#, otherwise play the same notes. It's a whole new sound, but only one note has changed!
Give it a try and let me know how you make out. I'll provide the A Major backing track I used in the video soon.
Posted : December 24, 2017 10:15
... For example, if the band is playing A Major, I can play either A Major or A Lydian, because both are major scales, and there isn't anything in the chord that conflicts. All I have to do is play a raised 4th instead of the usual 4th (D# instead of D).
I understand the lack of viewing a mode as derived from the Major Scale, and focusing on the mode intervals, literally, at hand. And with regard to your quote, there is no conflict other than some tension since the mode is derived from the key scale of the tune, correct?
Posted : December 24, 2017 11:22
Topic starter
Yes that is correct. The only thing that could affect the mode you use over a chord is if the chord has any extensions or color that would conflict, such as sus4, in which case the natural 4th would tell you to not use Lydian. Same with a vamp going from A to D back and forth. The D would screw it up. Any D in a chord will let you know to not use A Lydian.
Posted : December 24, 2017 12:04
Clayton reacted
GOT IT, sheesh, now I have to sit down and apply, rinse and repeat, a lot!
Posted : December 24, 2017 13:56
So are there some famous examples out there where we could hear this theory applied? 😉
Posted : December 24, 2017 15:05
Topic starter
Simpsons!
See
Posted : December 25, 2017 01:34