Guitar & Musician Forums

There are no stupid questions, only stupid answers. Lots of things in music are relative, and take a while to understand.
The best way to understand these thing is to ask. If I tell you C major is the same as G mixolydian, you might get it. But if you ask the same question my explanation will make more sense.
If you can ask the right question, you'll get an answer that helps you to improve,

Well, since no one has asked anything, I'll tell you one of the good questions:
"Why can you play a minor pentatonic (or the blues scale) over a major chord? (The minor pent is a minor scale (it has the minor 3, the b3), and so it should go with a minor chord, right?)
If anyone wants to answer this, or get an explanation ...
It's good to work it out yourself, but I'll be back in a week or two and see if this has piqued anyone's curiosity.

Because the maj3 to min3 is a nice outside passing note that creates and resolves tension on a chord tone, so while not entirely diatonic, it sounds "pleasing". If you "sit" on that note however you'll hear the tension and it will sound wrong or off.

Instructor

I will also post a question : What to do so you can always improve technique and ear so you never discouraged and you feel that you improve.

I know the correct is practice, but the thing is how to practice ?

I devote at least 15 20 minutes to developing my technique and sometimes 15 to ear training in each practice sessions. I also like to play with backing tracks to improve my phrasing.

I must admit i don't practice song writing to much, i know my flaws and i know that i have to discipline my self in order to that.

How do you practice so you can have that sense of improvement ?

Paul

sben wrote:C major is the same as G mixolydian

why is it ? or better still, why bother with G mixolydian

WTF!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

very informative ..wtf.....what...so whats the difference...im am trying to sort this
modes thing out ...if thats the best you can come up with..dont bother posting..i have been
asking for help on this issue in several threads ...and nobody has bothered to answer

everbodies stuck up there own arses trying to outdo one another on theory
but who gives a f***

It is hard thing to write about in a way that people can understand without adding to confusion.

I spent years trying to understand modes in the hope that it would increase my ability to play. And even though there is still a load I don't understand fully, I am really glad that I have done what I have so far.

It is great to lay a basic drone or vamp down and be able to choose what mode to play which really does add flavour to the sound that you would not otherwise get without this semi understanding.

I personally do not want to learn theory to outdo anyone but I sure hope it makes me a better player, or better still, a better composer!

It can be really really confusing and easy to think "what on earth are they going on about"! I certainly see that!

thanks for the mp3's
the thing thats confusing me is i thought all the notes ( scale ) in the different modes were the same
ie in the key of C
ionian= C D E F G A B
dorian= D E F G A B C etc etc

theres got to be more to it than this...what am i missing ( apart from the obvious )

ps would like to apologise to redno5 for the poorly worded post

polyal wrote:ionian= C D E F G A B
dorian= D E F G A B C etc etc

This is right but you are quoting C Ionian and D Dorian. If you were quoting C Ionian and C Dorian there would be a difference in notes.

In my examples I have kept it to all one tonic - E in this case.

And it is all about emphasis. Playing D Dorian does not sound like playing C Ionian as long as the emphasis is on the D not the C, This is where the modal tonality shines through - though more so with a backing!