Modal Theory for Guitar Players - Part 1

Introduction The fact that you hold in your hands this suggests he has reached the point of its research and curiosity about the guitar as the next step is modes. It is perhaps because you've read somewhere that Steve Vai love Lydia cancellation or heard the music of Frank Gambale and wondered what was up. Regardless of the reason the documentation we have here must establish that the road to open new ways to express themselves, to get different sounds in their melodies and harmony. First, you should know that this material is not enough to tear you alien traveler at the top and bottom box board, smoke and fire on your fingertips. It will need the same process and the efforts you made your level of chops with the pentatonic, large and small scales, arpeggios and your own blade. What we want to do is give you the information you need, and ways for you to practice and familiarize themselves with the modes of transportation modes, and become accustomed to sounds. Ultimately, the time and put in their motivation to go beyond what you find on these pages. But if you're determined to learn you already knew that. All that promise a quick solution, whether conscious or unconscious, is at least withdraw its legs. The second thing you need to know is that a certain lightness and knowledge is required. If you are flailing in a sea not understand, it is hoped that just because you're not ready to go at this stage of learning, and you must support this hide under your bed and you give a little more time with the basics. You can ignore the theory outright the article. It is up to you what you want to do now with you, but hopefully, if you ignore now, you may still be, it should do a little common sense and help you with other aspects of use modern transport. Let's start with the good news. There are 7 modes of construction on a larger scale, and you already know both of them. The scale is a way for herself, called Ionian, and a smaller scale is another way, so-called Aeolian. As a result, is more than a quarter of the work is done. If you plan to cope with these two scales was not too complicated, so you should get with other equipment. If you are in a state where the experience of playing in large and small scale of 5 positions on the guitar neck, in any key, is not something you are familiar or comfortable with, it goes back under the bed. Although the two modes will be covered that should really worry about the basis at this time. Any halfway decent book to play the guitar, writing songs or, in case you provide information to these two modes under your fingers. For the rest of you, let's go. Before coming means nothing even remotely like playing a scale, you must have a think about the theory to understand that these modes of action. It is not essential for the understanding of it to learn how to learn from models, but knowing that some of the theory will help you when modes can be used, why it sounds different, etc. There are seven modes of transport, designation Ionian, Dorian, Phrygia, Lydia, Mixolydian, wind, and Locri. The reason why there are seven modes is that each mode se basa in a tone that is different from the largest scale and there are 7 in various shades of larger scale. If we take the C major for example, if you do not have to worry about sharps and flats, it should be more clear. As you know May, C major consists of the following notes: CDEFGABC If we believe the greater scale as a sleep mode, then what we are saying is that if we start to the note C, then play seven notes C-scale, we can play C Ionian. The same is true for any large scale. To start with the tone and B game 7 all the nuances that are the most wide-B, B Ionian has played. Another way of thought believes that the functioning of this system is built. All major scales based on the same distance between pairs of tones. Again, take into account the scale of C major, the distance between pairs of letters are as follows: By Mark ....... Tone clearance ............ Gnage C D. distance .... ..... All note (T )........... ie 2 cases) to E. D ......... All note (T ).... That is to say ......( box 2) E F. ......... a half-ton (S )...........( that gnaw 1) F to G. ......... All note (T )..........( ie 2 cases) to A. G ......... All note (T )..........( ie 2 cases) to B. ......... The whole tone (ie, T )..........(, box 2) B, C. ......... a half-ton (S )...........( that gnaw 1) therefore, we can say that the structure of any large scale, or how the Ionian east TTSTTTS We can confirm this. You should check this guitar in his neck to convince you that this is true, but here we will do so in the document. Suppose we want to build the G scale. Knowing that all large scale is built using the formula TTSTTTS, and we would get the G: G tone for the whole tone of a set of AA and BB semitone CC to a set of tone through a DD EE your tone of the whole F # # F-One semitone G-scale production of GABCDEF # do with other major just to confirm that there is no deception. If you did not know that the G scale is an F # on the latter, again under the bed, and this book will find a theory! Ok, so that we can think of Ionian (from now on the main scale will always be called Ionian, which we think of ways to here), which has a particular structure. The next step, we will take the theoretical is to strengthen the other modes in the footnotes to the Ionian, and then see the structures exactly the same way. Turn left C Ionian, and only with the help of notes in this way, you should consider the following. If we take all the notes C Ionian, and that these notes, and began to play CCDEFGAB We C Ionian. Now let's take a look at others, you must remember that when we build in the nuances of C Ionian is the only note that we can use, that is, C, D, E , F, G, A and B. If we take all the notes C Ionian, and that these notes, and began to D DEFGABCD We play D Dorian. If we take all the notes C Ionian, and that these notes, and began to E, E EFGABCDE We play Phrygia. If we take all the notes C Ionian, and that these notes, and began to F, F FGABCDEF We play Lydia. If we take all the notes C Ionian, and that these notes, and began to G, G GABCDEFG We play Mixolydian. If we take all the notes C Ionian, and that these notes, and that, at first, abcdefg We play an Aeolian, also known as the smallest scale, you know. If we take all the notes C Ionian, and that these notes, and began to B, B BCDEFGAB We play Locri. If you know that Ionian mode, you go first so that scales that are in this production is not the same as those of the Ionian forms of knowledge. For example, we have built G Mixolydian not an F #, G Ionian and Lydia F did we not have a built-in the same Bb, which makes the F Ionian. Do these differences means that they have noticed one of the most important aspects of fashion. The reason for example, Mixolydian G does not ring as G Ionian is because the relationship between the notes have changed the pattern of tones and semitones between notes have changed, and as such, note the scale is different. These changes in the relationship are those who give their modes of sounds and know why it can be used in some cases and not in others. But rather than later. You can now begin to compare some of their pleas. For example, you can play a D Ionian, and then play D Dorian and compare the sounds. You know that Dorian sounds a little more small . A portion of the work you need to find time to do is begin to listen to these differences, but when we got to play a part of this package is that it makes you anyway, so that you can not vote at a glance. The next thing we want to do is see the structures of different modes of transport, which in turn uses as a basis for our example, C Ionian. For each of 7 modes built in C, starting with C Ionian, and another built in tones that make up the Ionian C (C, D, E, F, G, A, B). From the tone ..... ..... Name mode Mode notes ... Structure C ,..................... C Ionian .... CDEFGABC .... ...... TTSTTTSD ,..................... D Dorian DEFGABCD ........ ..... . TSTTTSTE ,..................... E Phrygia ...... EFGABCDE ...... STTTSTTF ,......... Lydia F ............ ........ FGABCDEF ...... TTTSTTSG ,................... G Mixolydian .. .... ...... GABCDEFG A TTSTTSTA ,..................... Wind ....... Abcdefg .. .... TSTTSTTB ,..................... A Locri ....... BCDEFGAB ...... STTSTTT As you can see, probably each mode has its own unique tone and half-tones between the notes of the scale. This means that if you learn, for example, that Locri want to build a distance of letters in accordance with the formula STTSTTT can play Locri how to start a key to take the survey, then the construction of the scale based on this formula. A final way we can find ways to show very clearly how each so different from their own path Ionian. Again, based on the C Ionian, the number of notes in the range of C Ionian, which is below. CDEFGAB 1 2 3 4 5 6 7 Now we'll see patterns based on the C Ionian, and shows how each. D Dorian D. .. E. .. F. .. G. .. A. .. B. .. C 1 ... 2 ... B3 .. 4 ... 5 ... 6 ... B7 This means that Dorian D differs from D Ionian the third year of the seventh year the magnitude and scope is flattened. Thus, while the D Ionian the scale has an F and C # #, D Dorian has an F and C. 'll see each other modes in the same way. E Phrygia E. .. F. .. G. .. A. .. B. .. C. .. D 1 ... B2 .. B3 .. 4 ... 5 ... B6 .. B7 Lydia F F. .. G. .. A. .. B. .. C. .. D. .. E 1 ... 2 ... # 3 .. 4 ... 5 ... 6 ... 7 G Mixolydian A. .. G. .. B. .. C. .. D. .. E. .. F 1 ... 2 ... 3 ... 4 ... 5 ... 6. .. A wind B7 A. .. B. .. C. .. D. .. E. .. F. .. G 1 ... 2 ... B3 .. 4 ... 5 ... B6 .. B7 B Locri B. .. C. .. D. .. E. .. F. .. G. .. A 1 ... B2 .. B3 .. 4 ... B5 .. .. B6 B7 The list above shows how each of these modes are different from the way Ionian from the same root node. For example, a different wind Ionian the third, sixth and seventh grade in the Ionian way of being razed. Once again, you can learn different methods differ from each other and so Ionian change the way you play the Ionian to take them into account. Now, you probably have a little pain in the head this whole theory. It is important at this stage that you made it to memory and to all those who have worked with. Give a little time, and when you've had a chance to get some game modes, you can choose what you like, or that match their style, and then only your head around them. That is the main objective of the theoretical part. Bits will creep, or a distortion seems when you look at the agreements for each mode, but in fact, as long as you have a basic understanding of music should not be more problematic than what has already been d '. Wait. Comments welcome. Guitarist and therapist: http://members.lycos.co.uk/newtballon/ http://members.lycos.co.uk/newtballon/, http://www.hypnotherapies.co.uk http://www. hypnotherapies.co.uk, but not necessarily in that order, not only neither.