Dorian Mode
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sloop_john_b
- Rick-a-holic
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captsandwich
- Intermediate Member
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A band I used to be in, singer/songwriter/rhythm guitarist had less music knowledge than myself (yes, it is possible). Conversations went like this- Him: Can you play the middle part different?
Me: How so?
Him: I dunno, prettier?
Me: No.
Me: How so?
Him: I dunno, prettier?
Me: No.
Lemme graze into your veldt/ lemme stomple your albino/lemme nibble on your buds/ I'm your Love Rhino
Both ways are cool. I think that it is neat when someone can explain what another gets from his gut. The rare one is the person who can have both working for them to the max. There are not a whole lot of Leonardos around. It always amused me when our drummer used to go ‘how do you count that?” and I’d respond “I don’t, I just kind of feel it.”
The only thing we can perceive are our perceptions - George Berkeley
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jeff_ulmer
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captsandwich
- Intermediate Member
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firstbassman
- Advanced Member
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- Joined: Thu Dec 15, 2005 6:00 am
OK, here is my (extremely) SIMPLIFIED rundown on Modes. My teacher (and some of you) may shoot me for this but I hope it helps someone at least get started on the right track.
First, I think part of the problem is the (silly) use of all those Greek names. Forget ‘em (for now).
The next problem is that people get stuck right away in the formula for the modes. Forget it. Formulas are for math and science.
Just think back to when you were first learning how to play. And you learned what a “key” was and what the “tonic” was and what “1” was and that all your solos should be centered around the “one” and that every solo and every song resolves to the one (root, tonic, etc.). Remember that?
OK, let’s use the key of C for an example (as almost everyone does). What if I was noodling around by myself on just the notes in the key of C. Would you really know that I was in the key of C (Major)? Probably not. What if I was noodling around (soloing) with only the notes in the key of C but I was emphasizing the note D? I made D my “home.” But I’m still only using the notes in the key of C. And what if the chords being played under the solo were emphasizing D(min). Guess what? I’d be in the No. 2 (II) mode. (Dorian.) If I was emphasizing E, I’d be in the III. Etc.
The Grateful Dead did that all the time in their jams. Made for some great music.
That’s it. End of lesson one. Told you it was simple. OK, I said “simplified.”
First, I think part of the problem is the (silly) use of all those Greek names. Forget ‘em (for now).
The next problem is that people get stuck right away in the formula for the modes. Forget it. Formulas are for math and science.
Just think back to when you were first learning how to play. And you learned what a “key” was and what the “tonic” was and what “1” was and that all your solos should be centered around the “one” and that every solo and every song resolves to the one (root, tonic, etc.). Remember that?
OK, let’s use the key of C for an example (as almost everyone does). What if I was noodling around by myself on just the notes in the key of C. Would you really know that I was in the key of C (Major)? Probably not. What if I was noodling around (soloing) with only the notes in the key of C but I was emphasizing the note D? I made D my “home.” But I’m still only using the notes in the key of C. And what if the chords being played under the solo were emphasizing D(min). Guess what? I’d be in the No. 2 (II) mode. (Dorian.) If I was emphasizing E, I’d be in the III. Etc.
The Grateful Dead did that all the time in their jams. Made for some great music.
That’s it. End of lesson one. Told you it was simple. OK, I said “simplified.”