After viewing I am understanding that whatever chord you are playing for instance Gb minor7 I can play a Gb Dorian scale and make it my own. So if I want to use another mode I just need to make sure the notes that are within the chord are the same as the notes within whatever mode I am playing unless I decide to use altered notes?
Also when it comes to understanding how to play a Locrain nat 6 in the key of C, I just need to play the Harmonic minor scale starting on the 2nd degree of C. Meaning I’m playing a C harmonic minor, but I can also say in playing a D Locrain Nat 6?
I have been playing since I am 5 I am 39 Been Playing in Church most of my life. This is really the key that opens the Door to everything melodIc. But I think many will become Victims of the work, that looks like it is too much to learn, But this is able to blow them out of the water to another level like WOW. Thanks, Bro
@Sean, I’ve got a question on this at the 53:40 mark. Luckily for me, my ear knows what can/cannot be done but with this explanation, the explanation you give seems like it’s suggesting that you can play the Eb Ionian mode over the Ebmaj7 but that doesn’t work (at least to my ear – think because of that 4th degree) while the Bb-ionian/G-aeolian does (and also Eb lydian because of the #4). So, re: the Bb-Ionian and the G-Aeolian, is it because the song is in Gmin (Bb)?? Like i said, my ear knows what to do but trying to understand the explanation from a theoretical perspective.
Hey Clifford, I think you are focusing too much on the Key the song is in rather than the chord being played. You should be focused on the chord. If you are playing an EbMaj7 then the EbIonian works with that. I would totally disregard the key when doing improv
Sean, I have watched this before and really couldn’t get it. I couldn’t understand how the improvisation process worked. However upon further study – mainly theory, and watching this again , it makes sense to me now and I am excited about the direction which this will take me. Thank you.
A couple of things: firstly, I used to see modes very much as a jazz concept. However I can see why you suggest improvising with specific modes from the major scale for gospel music. At the moment, my brain however still has to ‘pretend’ that it is playing within the ‘parent’ key when playing particular modes, probably with the exception of the aeolian scale. However, your explanation makes a lot of sense.
Secondly is recognising where those exceptional melodies come from when listening to gospel music. I was unaware that the ‘amen’ from total praise is from the Mixolydian b6. This will help with transposing. Thanks again..
Great information! Explained very well!
Appreciate that man, I think if it differently. One of our first courses!
After viewing I am understanding that whatever chord you are playing for instance Gb minor7 I can play a Gb Dorian scale and make it my own. So if I want to use another mode I just need to make sure the notes that are within the chord are the same as the notes within whatever mode I am playing unless I decide to use altered notes?
This is the gist of it yes… I would definitely ask this question on a Live Session tho to get a fuller answer
Also when it comes to understanding how to play a Locrain nat 6 in the key of C, I just need to play the Harmonic minor scale starting on the 2nd degree of C. Meaning I’m playing a C harmonic minor, but I can also say in playing a D Locrain Nat 6?
I have been playing since I am 5 I am 39 Been Playing in Church most of my life. This is really the key that opens the Door to everything melodIc. But I think many will become Victims of the work, that looks like it is too much to learn, But this is able to blow them out of the water to another level like WOW. Thanks, Bro
Appreciate man, thanks!!
@Sean, I’ve got a question on this at the 53:40 mark. Luckily for me, my ear knows what can/cannot be done but with this explanation, the explanation you give seems like it’s suggesting that you can play the Eb Ionian mode over the Ebmaj7 but that doesn’t work (at least to my ear – think because of that 4th degree) while the Bb-ionian/G-aeolian does (and also Eb lydian because of the #4). So, re: the Bb-Ionian and the G-Aeolian, is it because the song is in Gmin (Bb)?? Like i said, my ear knows what to do but trying to understand the explanation from a theoretical perspective.
Hey Clifford, I think you are focusing too much on the Key the song is in rather than the chord being played. You should be focused on the chord. If you are playing an EbMaj7 then the EbIonian works with that. I would totally disregard the key when doing improv
Tessitura is an amazing app to use for interactive scales and modes as well
Sean, I have watched this before and really couldn’t get it. I couldn’t understand how the improvisation process worked. However upon further study – mainly theory, and watching this again , it makes sense to me now and I am excited about the direction which this will take me. Thank you.
ok, cool!! What are some of the key ideas that helped your thought process on this?
A couple of things: firstly, I used to see modes very much as a jazz concept. However I can see why you suggest improvising with specific modes from the major scale for gospel music. At the moment, my brain however still has to ‘pretend’ that it is playing within the ‘parent’ key when playing particular modes, probably with the exception of the aeolian scale. However, your explanation makes a lot of sense.
Secondly is recognising where those exceptional melodies come from when listening to gospel music. I was unaware that the ‘amen’ from total praise is from the Mixolydian b6. This will help with transposing. Thanks again..
Great lesson, thank you