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Posts Tagged ‘Modes’

How to Use Modes in Jazz Improvisation

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To form the modes, first we must have an understanding of the the major scale. If we number the notes 1 to 8, we can change the order we play them in by starting on a different note instead of 1. I can play the following combinations:

- 12345678
- 23456782
- 34567823
- 45678234
- 56782345
- 67823456
- 78234567

Basically I started the scale on 1 and returned to 1, then I started it on 2 and returned to 2, then on 3 and returned to 3 etc. In this way, all of the pitches had a chance to be the first note in the scale. If you look closely at the notes, you will see 7 different places we can start the scale, because there are 7 different pitches in the scale.

These different starting points are called MODES. There are 7 different modes, because there are 7 different notes in the major scale. Each of these modes has a name:

Mode 1= Ionian
Mode 2 = Dorian
Mode 3 = Phrygian
Mode 4 = Lydian
Mode 5 = Mixolydian
Mode 6 = Aeolian
Mode 7 = Locrian

If I compare this to a C major scale and play from C to C, I would call this MODE 1, or Ionian. Most people know this mode as major. If I start the scale on D, the second note, and play from D to D using the same notes as C major I will be playing MODE 2, or the Dorian mode. Start on the 3rd note (E) and go from E to E still using the same notes as C major, I’m playing Phrygian mode. You can repeat the process through all of the seven modes.

Since there are 12 major scales and each major scale has seven different modes we now have 84 different scales to worry about! The good news is that there are really only 12 major scales, and 84 different places to start them. By now you are probably thinking “why do I even need to know 7 different modes if the notes are all the same”? It is true that the notes are the same, but the difference is the chord.

By: Pete Swiderski

How to Use the Diminished Scale in Jazz Improvisation

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The diminished sound has long been a favorite of jazz players. A diminished scale has a very predictable and repeatable pattern. It is spelled half step/whole step/half/whole/half/whole etc. There are 12 dim scales that start with a 1/2 step, but you can imagine that with a pattern that is so repetitious, eventually you will start repeating yourself.

In reality there are only three. The following are the same: G Bb Db E. If I start anyone of these diminished scales I will notice that they are the same notes, just starting in different places (much like playing in modes). The next scales that are the same are: A C Eb F#. The last set that is the same is: B D F Ab. If a player learns G, A and B diminished scales, in reality they have learned all 12 scales. The trick is to play the correct one.

If a composer wants the diminished scale to be played, the symbol is G7b9. In a case like this, I would use the G dim. Scale. Note that I could also use the Bb, Db or E diminished scale since they are all identical.

The symbol G7b9 does not fully describe all of the notes that are in the chord symbol. In addition to having a b9, it also contains a #9 and a #4. You will also notice that it does not contain the natural 9. Keep in mind that the chord symbol is not necessarily the name of the scale I will use e.g. G7b9 doesn’t mean I play a G7b9 scale, but I use a diminished scale. So, if I see D7b9 I can play a D diminished scale starting with a 1/2 step.

The normal way to form a chord for any given scale is to take the 1 3 5 7 9 of the scale. With diminished scales it is slightly different. The basic chord for any diminished scale is formed in the following way: base the chord on the regular dominant 7th scale and spell it as 1 3 5 b7 b9.

Remember that the chord has a b7 because it is a dominant 7th. At this time we need to discover the other 12 diminished scales. ALL of our dim scales so far start with a 1/2 step. The other 12 start with a Whole step. As you may have figured out this brings our total number of them to 24; there are 12 that start with a whole step, and 12 that start with a half step. You may also have figured that there are still only three diminished scales. The chord symbol for a diminished scale starting with a whole step is G followed by a small circle. This is called fully diminished. The basic chord is 1 b3 b5 6 8. Notice that it is a stack of minor third intervals. This chord is NOT a dominant.

Now if I know a G diminished that starts with a 1/2 step, I really have learned the following scales: G, Bb, Db and E (all of these starting with a 1/2 step) and Ab, B, D and F (all of these starting with a whole step). I learn one and I know eight; eight for the price of 1! Now for the application of the diminished.. Any time I have a dominant 7th resolving up a 4th (down a 5th) to the one chord, I can replace the dominant with the diminished. For example: D-7 G7 Cmaj, becomes D-7 G7b9 Cmaj.

By: Pete Swiderski

Major Jazz Guitar Scales

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There seems to be an endless array of scales to learn for jazz
guitar. What are the major jazz guitar scales to learn, if we can
define the major jazz guitar scales that are commonly used, we’d
reduce our workload significantly.

Jazz scales are used by improvisers to convey complex harmonies
common in Jazz. The jazz guitarist must start with the basic
scales, too often the guitarists dives headlong into the more
advanced scales without having a good working knowledge of the
basic scales used in rock, country, bluegrass etc., these scales
are as follows:

* minor pentatonic

* blues scale

* major pentatonic

Once the guitarist can play these scales in every key the next
scale to learn would be the major diatonic scale and it’s
associated modes based on the major scale.

How the modes work:

If we were looking at a piano keyboard we would notice that
without the black keys there are 8 octaves of the C major scale.
If you run your finger left to right along the white keys you
will be playing , the scale of C major even though you happen to
start on a note other than C. This musical fact is the essence of
the modes. A scale can be played from any of it’s notes to any
other of it’s without moving into another key. Actually if you
were to play the scale of C major from F to F an octave higher
you would be playing a nodal scale based on the key of C and the
scale would be called F Lydian.

In every major scale there 7 modes; one for each degree.

Learn the following table -

Play a major scale from note 1 to note 1 above = IONIAN MODE

Play a major scale from note 2 to note 2 above = DORIAN MODE

Play a major scale from note 3 to note 3 above = PHRYGIAN MODE

Play a major scale from note 4 to note 4 above = LYDIAN MODE

Play a major scale from note 5 to note 5 above = MIXO-LYDIAN MODE

Play a major scale from note 6 to note 6 above = AEOLIAN MODE

Play a major scale from note 7 to note 7 above = LOCRIAN MODE

Play a major scale from note 8 to note 8 above = note 1 to 1

All examples above are shown in the key of C major however the
advancing guitarist should practice the modes in every key. The
same formula works for each key:

note 1 to 1 always = IONIAN

note 2 to 2 always = DORIAN

note 3 to 3 always = PHRYGIAN

note 4 to 4 always = LYDIAN

note 5 to 5 always = MIXO-LYDIAN

note 6 to 6 always = AEOLIAN

note 7 to 7 always = LOCRIAN

note 8 to 8 always = note 1 to 1

Each modes unique sequence of intervals creates a mode’s unique
musical (quality) or flavor.

The main thing to keep in mind is that it’s not how many scales
you know but rather how many to “own”, by that I mean how much
you control you have over your scales both intellectually as well
as physically.

The next major jazz guitar scale of importance to learn would be
the harmonic minor scale. Like the modes of major scale the
Harmonic minor scale also has modes built on the different
degrees of the scale.

Here are the names of the modes of the Harmonic minor scale:
the following examples are all derived from the C harmonic minor
scale.

C Harmonic Minor : C-D-Eb-F-G-Ab-B-C

2- D Locrian #6: D-Eb-F-G-Ab-B-C-D

3- Eb Harmonic Major: Eb-F-G-Ab-B-C-D-Eb

4- F Spanish Phrygian: F-G-Ab-B-C-D-Eb-F

5- G Double Harmonic Major: G-Ab-B-C-D-Eb-F-G

6- Ab Lydian b3: Ab-B-C-D-Eb-F-G-Ab

7- B Diminished : B-C-D-Eb-F-G-Ab-B

The real jazz minor scale is the next major jazz guitar scale to
learn. The real jazz minor scale is the jazz variation of the
classical melodic minor scale. An easy way to remember this scale
would be to think of it as a major scale with a flatted third
note.

The real jazz minor scale with it’s various modes. Again, the
real jazz minor scale is presented in the key of C real jazz
minor.

C melodic minor :C-D-Eb-F-G-A-B-C

2- D phrygian (w natural 6th) : D-Eb-F-G-A-B-C-D

3- Eb lydian augmented: Eb-F-G-A-B-C-D-Eb

4- F lydian dominant: F-G-A-B-C-D-Eb-F

5- G mixolydian (w b6th): G-A-B-C-D-Eb-F-G

6- A aeolian (w b5): A-B-C-D-Eb-F-G-A

7- B altered dominant: B-C-D-Eb-F-G-A-B

I would also include the whole tone scale in our list of major
jazz guitar scales to learn.

The note of the C whole tone scale are as follows:

C-D-E-F#-G#-A#-C

There’s a lot of study and practice to gain control of the scales
described so far, particularly to know each scale or mode on all
keys, for many guitarists these are the major jazz guitar scales
to know.

By: Mike P Hayes