rlainhart
09-06-2008, 08:05 AM
Here's the improvisation technique that I mentioned in the "Are Mode Useless" thread that I'd like to show you - I hope you try it out for yourselves. Some of you will know this particular mode and progression already, but many will not, I think.
OK, the mode itself is the 4th mode of the melodic minor scale, sometimes called the Bartok scale. The melodic minor scale in C is C, D, Eb, F, G, A, B, C - basically a major scale with a flatted third. The 4th mode of that scale, starting on F, is F, G, A, B, C, D, Eb, F. You can also think of this as a major scale with a raised 4th and a flatted 7th, or as a Lydian scale with a flatted 7th.
Next, let's take that Bartok scale and transpose it to three different roots - C, E, and Ab (G#). You'll notice that these roots are a major third apart. So, those three scales would be:
C, D, E, F#, G, A Bb, C
E, F#, G#, A#, B, C#, D, E
Ab, Bb, C, D, Eb, F, Gb, Ab (in G#, the enharmonic equivalent, the 4th degree will be C##, which I don't feel like writing out, so we'll keep it as Ab.)
Now, improvise with those three scales in succession. Here's the way I do it - start with a simple pattern or block chord in the left hand that articulates the basic dominant tonality. In C, if your hand can do it, this might be C-Bb-E, with the E a 10th above the C. If you can't reach it (I can't), try C-E-Bb, all within one octave. As I said, you can play this as a simple block chord, or as an arpeggio, or any combination. It might be easiest just to play the block chord on strong beats, or even just simply play the chord on the downbeats in 4/4 to establish the rhythm. Play it fairly slowly, around 60 bpm.
Then, while you're doing that, improvise on the C Bartok scale - C, D, E, F#, G, A, Bb, C. Start by just playing the scale, then break it up in all the different ways Jordan has articulated so well in his improv lessons. Be sure to focus on the F# and the Bb, as these are what gives this mode its special flavor. Try that for 4 or 8 bars, then move to either the E or Ab versions - keep the same basic pattern or block chord in the left hand, and improvise using the Bartok scale on the root of the new key.
From there, after another 4 or 8 bars, move to the next scale. If you modulated up to E from C, go to Ab. If you modulated down to Ab from C, go to E. Then, after you've improvised on that for another 4 or 8 bars, modulate again to C. In every case, you're always modulating up or down by a major third, and if you continue modulating by major thirds, you'll end up at C again. From there, just continue the cycle indefinitely. Instant Debussy!
One thing I like to do when changing keys is to focus the improvisation on the common tones between the scales. When modulating from C to E, you'll notice that D, E, F#, and A#/Bb are common to both scales, so you can, for example, target your improv so that you end a line on the F# at the point you hit change from C to E. Using the common tones is a good way maintain a sense of continuity in your lines, and makes the modulation to the new key a little smoother. Note the common tones between C and Ab and Ab and E as well.
The point of all this, other than the fact that I love the sound, is that these tonalities would be impossible without the use of the 4th melodic minor mode. You can stay strictly within this mode and come up with something beautiful that you'd never do otherwise, simply by virtue of the sound of this mode. That, to me, is the real value of modes - creating tonalities outside the normal major/minor that still have a sound harmonic basis. If you're feeling adventurous, you can create all kinds of new tonalities with modes and "modes of modes" like this.
Modes aren't useless.
OK, the mode itself is the 4th mode of the melodic minor scale, sometimes called the Bartok scale. The melodic minor scale in C is C, D, Eb, F, G, A, B, C - basically a major scale with a flatted third. The 4th mode of that scale, starting on F, is F, G, A, B, C, D, Eb, F. You can also think of this as a major scale with a raised 4th and a flatted 7th, or as a Lydian scale with a flatted 7th.
Next, let's take that Bartok scale and transpose it to three different roots - C, E, and Ab (G#). You'll notice that these roots are a major third apart. So, those three scales would be:
C, D, E, F#, G, A Bb, C
E, F#, G#, A#, B, C#, D, E
Ab, Bb, C, D, Eb, F, Gb, Ab (in G#, the enharmonic equivalent, the 4th degree will be C##, which I don't feel like writing out, so we'll keep it as Ab.)
Now, improvise with those three scales in succession. Here's the way I do it - start with a simple pattern or block chord in the left hand that articulates the basic dominant tonality. In C, if your hand can do it, this might be C-Bb-E, with the E a 10th above the C. If you can't reach it (I can't), try C-E-Bb, all within one octave. As I said, you can play this as a simple block chord, or as an arpeggio, or any combination. It might be easiest just to play the block chord on strong beats, or even just simply play the chord on the downbeats in 4/4 to establish the rhythm. Play it fairly slowly, around 60 bpm.
Then, while you're doing that, improvise on the C Bartok scale - C, D, E, F#, G, A, Bb, C. Start by just playing the scale, then break it up in all the different ways Jordan has articulated so well in his improv lessons. Be sure to focus on the F# and the Bb, as these are what gives this mode its special flavor. Try that for 4 or 8 bars, then move to either the E or Ab versions - keep the same basic pattern or block chord in the left hand, and improvise using the Bartok scale on the root of the new key.
From there, after another 4 or 8 bars, move to the next scale. If you modulated up to E from C, go to Ab. If you modulated down to Ab from C, go to E. Then, after you've improvised on that for another 4 or 8 bars, modulate again to C. In every case, you're always modulating up or down by a major third, and if you continue modulating by major thirds, you'll end up at C again. From there, just continue the cycle indefinitely. Instant Debussy!
One thing I like to do when changing keys is to focus the improvisation on the common tones between the scales. When modulating from C to E, you'll notice that D, E, F#, and A#/Bb are common to both scales, so you can, for example, target your improv so that you end a line on the F# at the point you hit change from C to E. Using the common tones is a good way maintain a sense of continuity in your lines, and makes the modulation to the new key a little smoother. Note the common tones between C and Ab and Ab and E as well.
The point of all this, other than the fact that I love the sound, is that these tonalities would be impossible without the use of the 4th melodic minor mode. You can stay strictly within this mode and come up with something beautiful that you'd never do otherwise, simply by virtue of the sound of this mode. That, to me, is the real value of modes - creating tonalities outside the normal major/minor that still have a sound harmonic basis. If you're feeling adventurous, you can create all kinds of new tonalities with modes and "modes of modes" like this.
Modes aren't useless.