how do you think about/practice modes?

(3 posts)

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  1. cruxtable
    Member

    hey all. i'm in the process of ironing out some weak spots in my soloing, which in my case will mean practicing and working on applying some scales and modes that don't come out easily in my playing in all positions - such as locrian, phrygian, some modes of melodic minor, diminished scales..... it's a strange thing, even though i already know the scales - major, melodic minor, etc - when it comes to certain chords while soloing, it is harder for me to find the right notes in certain places around the neck. for example, where i am on the guitar i can pretty much always get around a minor chord with melodic minor chord pretty well, or a 7#11 chord with lydian dominant, but a lot of times i have trouble finding the altered scale when I'm not starting on or near the root of the chord (1,b9,#9 and 3 are pretty easy to find). and don't get my started on applying the diminished scale - an easy scale in theory, but while soloing it's hard for me to pick out the right scale when i'm in the middle of a line, save for playing the diminished 7 arpeggio starting on the root. what's your guys' thought process on modes or practice ideas?

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  2. JorgeRubiales
    Member

    Practice in patterns. For example, practicing C major would be (in 8th notes for example).

    1. CDE DEF FGA GAB....
    2. CDF DEG EFA FGB...
    3. CEG DFA EGB FAC...
    etc.

    You can come up with patterns of four, five, six notes...is a great way to get into a scale.

  3. aramaya
    Member

    From the Root you get b9, 9, #9. From the 5th you get 11, #11,(5),b13,13.

    diminshed scale is then easy to apply: C7b9,#9,#11,13.
    and not that different from lydian dominant: C7, 9,#11,13
    and then easily becomes the Altered scale: C7b9,#9,#11,b13

    I find harmony far more efficient than scales. It is immediate to play the b13 when you know that it is a 1/2step above the 5th. No parent scale bullshit where you are thinking too much. If you want a sound, you play it (ie Cmaj7#5,#9,#11,13)

    then the modal name is a point of reference for a harmonic sound. Phrygian= -7 b9,11,b13


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