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Thread: Practice the 7 modes with backing tracks

  1. #1
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    Practice the 7 modes with backing tracks

    Hi guys

    Just thought I'd share these two sets of backing tracks I've found helpful when practicing the 7 modes of the major scale.

    There are two whole albums

    Groovin' Through The Modes, which has all the modes of the C Major Scale.

    and

    Groovin' Through The Modes, vol. 2, which has all the 7 Modes, starting from the note C. That way you can really start to see how each mode is different - in terms of construction and in terms of sound!

    I hope you'll enjoy these..

    Cheers

  2. #2
    Registered User SkinnyDevil's Avatar
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    Cool!!!
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    David M. McLean
    Skinny Devil Music Lab
    www.skinnydevil.com

    "...embrace your fear..."

  3. #3
    Registered User JonR's Avatar
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    Quote Originally Posted by meritonemusic View Post
    Hi guys

    Just thought I'd share these two sets of backing tracks I've found helpful when practicing the 7 modes of the major scale.

    There are two whole albums

    Groovin' Through The Modes, which has all the modes of the C Major Scale.

    and

    Groovin' Through The Modes, vol. 2, which has all the 7 Modes, starting from the note C. That way you can really start to see how each mode is different - in terms of construction and in terms of sound!

    I hope you'll enjoy these..

    Cheers
    That's generally good stuff, very useful, but IMO you hit problems in some modes when you use two equally weighted chords.
    I particularly noticed it in the lydian and mixolydian ones, where you have two majors a whole step apart (with occasional diatonic extensions). In the middle of either mode, one could be mistaken for thinking it's the other one - hold on, which of these two chords IS "I"?

    If you keep track from the beginning, of course, it's OK. But it would be easier if in the weaker modes (lydian and phrygian anyway) the key chord had more prominence.

    I was expecting the locrian not to work for this reason, but you managed it by maintaining the same bass note - that would be a good idea on lydian too, at least. (Ie, F and G/F, or C and D/C.)

    But I like the general feel of the BTs, very appealing to play over - and (as long as we keep track of "I" ) they demonstrate the sounds well. I like the fact you weren't tempted to go with the mood of each mode, and give the BTs different tempos or other effects! The fact that every one sounds the same, apart from its modal identity, is very useful.
    Last edited by JonR; 06-14-2012 at 09:27 AM.

  4. #4
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    Quote Originally Posted by JonR View Post
    That's generally good stuff, very useful, but IMO you hit problems in some modes when you use two equally weighted chords.
    I particularly noticed it in the lydian and mixolydian ones, where you have two majors a whole step apart (with occasional diatonic extensions). In the middle of either mode, one could be mistaken for thinking it's the other one - hold on, which of these two chords IS "I"?

    If you keep track from the beginning, of course, it's OK. But it would be easier if in the weaker modes (lydian and phrygian anyway) the key chord had more prominence.

    I was expecting the locrian not to work for this reason, but you managed it by maintaining the same bass note - that would be a good idea on lydian too, at least. (Ie, F and G/F, or C and D/C.)

    But I like the general feel of the BTs, very appealing to play over - and (as long as we keep track of "I" ) they demonstrate the sounds well. I like the fact you weren't tempted to go with the mood of each mode, and give the BTs different tempos or other effects! The fact that every one sounds the same, apart from its modal identity, is very useful.
    Thanks very much mate! Have a listen to the Lydian tracks again, I think you will find that the bass note stays static most of the time - in effect producing those very changes you've suggested there....

    Thanks again for your comments.. in general, I'd have to agree it's a fine line playing with the 'weight' of the chords!

  5. #5
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    There's also these new modal practice backing tracks -

    All 7 major modes deriving from the G major scale

    G ionian, A dorian, B phrygian, C lydian, D mixolydian, E aeolian and F# locrian mode:

    G major modes practice jam track

    and ALL the 7 major modes, starting from a g note

    G ionian, G dorian, G phrygian, G lydian, G mixolydian, G aeolian, and G locrian mode

    Modal practice backing track - all 7 modes from G

    Hope you guys find these as useful as I have...

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