My question to you Don, is even thinking E phrygian how do you get it to sound resolved on E? Because thinking it is one thing, but if you play b2 like its something, but the tonality wants to resolve to C, all you're doing is accenting an F over C, unless you can make it sound like it's resolved on C.
You are absolutely correct, that you can play it over a vamp, or a pedal tone, as long as it never changes. But it takes A LOT more to compose music that is modal.
To add to the confusion Like we didnt have enough of it) there are really 3 ways of looking at modes :
Traditional Modal where a Mode is used over a static tonic. There is no harmony or sound except for the instance of modes as they are played over the Drone.
Diatonic Modal: where there is Harmony within the mode, using a static Vamp where the modal chord functioned as the I chord, or else composed entirely of chords derived from that mode. C Major7#11 for example.
Modern Modes: The most difficult because its a mix of chords in a key connected to the mode, and chords that are NOT connected to the mode. The most obvious question that the average user would be "OK so how can I mix the two then?" The weight of the knowledge required for a strong and intelligent application of this, is beyond the scope of any article that I can write, and it is a very good reason why I teach Modes LAST of all, because the prerequisite knowledge is pretty thick.
So when you ask about Modes, the answer is there are many ways that modes can be applied, but the first one, Traditional is the most "Sure fire" way. Vamps that are understood by the guitarist are the other. Finally, playing a different mode for each chord is another approach. These are the most accessible approaches for a majority of players.
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