Hey Cpt. Matt (or any other guitarist), I have a question

NoQuattro · Post by **NoQuattro** » Mon Aug 31, 2009 2:47 pm

I'm looking to break out of the pentatonic rut with some nice three note per string runs. I have a question about modes. I would like to know what "feel" each mode has and if it applies more readily to a Major or Minor situation. What I mean is this: If I am playing in Em pentatonic, I find that the E Aeolian mode translates nicely into that key.

Of the all various modes: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian, which (let's use the example of the key Em), seem to sound best with that key? I'm assuming it will be Aeolian, Dorian, and Phrygian. Then that leaves Ionian, Lydian, and Mixolydian. These seem to work best in major keys. Locrian is kind of the oddball.

Am I on the right path here? I'm trying to spice my playing up a bit, as I've exploited the pentatonic scale so much that I would like to branch out a bit and start using my little finger as well. You can only play straight blues licks for so long, it gets a little boring.

wareagle · Post by **wareagle** » Mon Aug 31, 2009 4:19 pm

NoQuattro · Post by **NoQuattro** » Sat Sep 05, 2009 3:32 pm

That's a mouthful! But certainly some good information, thank you for taking the time to type that out.

wareagle · Post by **wareagle** » Sat Sep 05, 2009 3:47 pm

rice_pudding · Post by **rice_pudding** » Sat Sep 05, 2009 6:06 pm

I don't really use modes in a traditional sense, that is the reserve of Jazz/fusion IMO, it takes real thought, to an extent there is no such thing as improvisation even jazzers would concede this, barring the odd super genius.

The easiest way to use modes is to switch to the parralel key rather than relative. this is a sure way to spice up playing, and you can intergrate it with what you allready know.
Most people think of modes as relative like this;
ionian(maj)-g
dorian(min)-a
phrygian(min)-b
lydian(maj)-c
mixolydian(maj)-d
aeolian(min)-e
locrian(dim)-f#
Each mode has a different tonal centre.

But think of things as parralel so everything is around the same tonal key;
C ionian
C dorian
C phrygian etc.

If you play like this you can worry more about melody and less about harmony. M.Schenker does this all the time, he begins using a minor pentatonic and then he will flavour it up using the extra notes (maj2nd and Maj6th) to mix things up. In fact you could say most of his early material is more dorian than minor. the end result is a great not quite major/not quite minor sound.

Best way to start take your favourite pentatonic shape and add on the extra notes.

I would add more but im outa time sorry

Rob