I've put it her just to keep for copy/paste purposes. Feel free to have a read anyways.
Three Forms of Using Modes
1. The Traditional Form of Modes
The least recognised (on the internet anyway) form of modes is actually
their origins, predating major and minor scales and keys. The most
important thing about modes in this fashion is that they are in a
separate realm of tonality. Whilst there is a tonic/chord that they
resolve to, the pull to them is nowhere near as strong as a song in a
major or minor key. To maintain the ambiguous feel of a mode,
accidentals cannot be used as they'll hint at a stronger resolution, and
the chord structure cannot be too complex, as this will definately pull
the progression back to tonality.
To illustrate this, most people will say "play a one chord vamp, and
solo with the mode over it". The student will then play over it and go
"wow, that sounds crazy". Then they take it home and not understanding
it completely will profess they now know modes and justify it using the
dumbed down CST method, which will be described below.
I actually like to demonstrate it in a different way, when they're
ready. Play an i - ii vamp, just the chords. Where does it resolve to?
Both chords? Neither? A "floaty" feel about the resolution? That's the
tonality of a mode, it's hard to pick.
Now add just one chord to it. i - ii - V. Where does it resolve to now?
The i. Whilst the progression always resolved to the i (it has to), by
adding this extra V, the resolution is much, much stronger. This is the
feel of a major/minor key. The resolution is extremely strong when
compared to a mode.
2. Major/Minor Scales with Accidentals
Over a song in a major or minor key, you will always be playing a major
or minor scale. However you can also use accidentals, giving you access
to all 12 tones. You can derive scales from the modes and play them over
songs in major/minor keys, for example you can use a major 6th in a
minor key, and you'll have a scale which shares the same notes as
dorian. You're actually playing the minor scale with a major 6th, not a
3. Chord Scale Theory (CST)
This is also a method applying modal scales to major/minor scales. The
idea however is to consider each chord as an island, unrelated to the
So say we have a progression in C major, an I - ii - V - C Dm G. Chord
scale theory basically divides modes into major and minor modes. The
major modes are those with a major 3rd. So they would be ionian, lydian
and mixolydian. The minor modes are those with a minor 3rd - aoelian,
phygian and dorian.
As the purpose of CST is to grant the player access to extra
accidentals, instead of simply playing the C major scale over the I -
ii- V progression, the player instead will look at the I, and play a
major mode over it, one that does not share exactly the same notes as
the C major scale. So C ionian is out for the I, instead they will play C
lydian or mixolydian over the I. Over the ii, for the same reason they
will not play D dorian, instead they will play D phrygian or D aoelian.
Over the V they will not play G mixolydian, they will play G ionian or G
This grants access to extra accidentals. It's mainly used by jazz
musicians, where the pieces are extremely complex in terms of chord
progressions, compared to mainstream music.
Although they are deriving the scales from modes like approach number 2,
they are still playing the C major scale, that's where it resolves to.
These 3 methods are all acceptable approaches to modes, as long as each
is understood. You don't necessarily need to practice these in your
playing, but a general understanding of how each works is preferred,
especially why numbers 2 and 3 are merely visualising accidentals,
rather than actual modal playing.
And finally the most popular and least correct approach to modes is:
4. The dumbed down CST approach
You can see how people with very little patience would have created this
one. Somebody showed them that if you played over one chord in approach
number 1, it created a different sound. They then took a brief glance
at CST in number 3 and boom, they have number 4.
In this approach, it's very similar to CST in that each chord is treated
like an island. We'll use that I - ii - V progression again. Whilst in
number 3 above I explained why someone with the CST approach would not
prefer to use ionian over the I, dorian over the ii, and mixolydian over
the V, that's exactly what number 4 does.
So they play C ionian, D dorian and G mixolydian over our progression in
C major. The notes of C major over the key of C major. It's just the C
Additionally users of this method will praise how they achieve all the
different sounds over these chords, and claim that each chord is a new
resolution and that through their soloing they have now shoved the
progression from C major into 3 separate modes. Good stuff.
However, in fact they are just playing the C major scale. Even worse is
that they aren't even employing accidentals, so there's no change in the
sound. They have convinced themselves somehow that the resulting sound
is very, very different to the C major scale, even though it is the C
major scale, and nothing more.
There are a lot of videos on youtube teaching this method. As soon as
the teacher says "i'm gonna teach you the modes in the key of C major" I
turn it off. These people will continuously show up in this forum too,
and profess that number 4 is the only way to play modes. They appear to
be the most closed minded.
So you can understand why we drill pretty much every new person who comes in here who claims to know modes. Most don't.
One of my bands Them As Well needed to replace it's rhythm guitarist, so started up auditions for them. This is a story about one of the auditions as sent to my mate the night after.
The Guitar Hero (Events occur in September 2010)
Today I was auditioning a guitarist for a band who had a gig in 3 weeks.
Basically I needed someone who knew their shit. I've got chord sheets
written out. He was not available for full band practice, so I arranged
with him to check him out, just us two tonight.
Anyways when he
arrives I'm like, "what guitar you got?" and he's "yeah got a Squire,
used to have a Les Paul but I had to sell it", I go "wow that change
from humbuckers to single coil is interesting", he goes "huh? what? I've
got humbuckers in this baby!". Of course when his guitar comes out it's
just stock Squire stuff :P
So I bring out the chord sheets and
he says "I can't read music". I go "that's ok, I can't either, these are
just chord sheets", he says some stuff about learning from youtube,
basically he's "monkey see, monkey do" (his words not mine). His
technique is shit. He can only up-pick and is out of time. It takes
about 15 mins to explain a 4 chord song to him. I don't know whether his
guitar is in tune or not because he always hits the wrong notes. I ask
him "is your guitar in tune?". He goes "well it was in tune when I left
the house". :P
Now, I thought this guy may have the chance of
being good, so I arranged for my bassist to come over. I originally
thought that we'd get 3 easy songs down, then try them out as us 3.
we're "attempting" to jam out the songs, it's not going well. I'm like,
"have a solo dude!" and he cranks out really random notes. If it was a
scale, I'd say it was the "accidental" scale. He seemed to catch on to
the random times when he came in key though. He didn't like being loud,
so it was hard to hear him. Whenever I turned the volume on his amp up,
he'd turn the guitar down. Obviously a sign of someone who is not
confident in themselves, or doesn't really like the sound coming out of
the amp. I'd like to think both.
Near the end (my bassist was suppressing his laughter/hate for me for bringing him out) I suggested we
play a 12 bar blues with me on drums. My point was to make him really
hear himself, and perhaps realise that he wasn't that great. Bass starts
off, I join in with bass, guitar goes on some tangent, a lot faster
than the beat, not really knowing what he was doing. He had a solo with
that song too, it wasn't very fun.
And you know, that's a real
pity. Cause he was a nice guy and really keen. All he needed to do was
play the chords. But he doesn't know chords so fuck that.
This will be the first of a set of blogs based on previous events in my musical experience. Some are basically copy and pasted from old posts on UG. Enjoy!
The Maestro (Events occur in February 2009, post is from this time)
So I get a message on my phone asking if I'm willing to try out for a
band. This is not uncommon, as guitarists that play something other than
metal are becoming harder and harder to come by, and bands are starting
to email guitar schools where I live to see if they have any guitarists
willing. My guitar school always promotes me for anything other than
metal bands, because it's not my thing.
I have a quick chat to the guy, tell him to email me some demos and
chord sheets. To my surprise, the demos are REALLY good. Like awesome.
I've never enjoyed listening to demos the first time like those. I work
up some parts for the songs and get ready for the "audition". Not really
an audition because I was the only guitarist willing to try out; the
songs were extremely complex piano songs, which as we all know aren't
like songs written for the guitar - shifting keys all over the place and
So audition is on Wednesday. On Wednesday morning they call and say it
has to be put back a day. Umm, ok. Thursday morning, another call, they
push it back to Saturday. I don't like where this is going. Saturday we
actually catch up and it has a nice groove, I'm happy and keen to catch
up again soon.
Two days later the singer messages me, we have a very long message
conversation (I was very drunk watching the footy at the time. I nearly
got into a physical fight over Michael Jackson. One of "those" nights).
Basically I explicitly said that all I want is professionalism and
dedication and the singer agreed, he was really keen.
I organised a rehearsal room. One problem. The pianist doesn't have a
keyboard, the bassist doesn't have a bass or a bass amp, and the drummer
doesn't have a drum kit. Whilst this may be acceptable when you're 12,
it's not with me - I'm not in bands just to play around. Because the
music was so great I told the singer I'd organise a drum kit, we'd hire a
PA and stick my bass into that temporarily (which the bassist would
use) and all the singer had to do was organise a keyboard. I told him
that it's very important he get the keyboard. I hired the rehearsal room
for 3pm on the Saturday.
Saturday rolls around. At 2pm (1 hour before the practice) the singer
calls me. He checks whether we're still on, I assure him we are. I ask
whether he has got the keyboard. Nope. He hasn't got one, despite being
given a weeks notice to get one. He assures me that he'll get one by the
time he gets to rehearsal, he's just "leaving his house now". Eh? Bit
early to be leaving mate? Nope, he's about 100 miles out of the city.
Well I'm mates with the guy who owns the rehearsal place so I show up on
time. I don't want to be blacklisted with him, it could affect my other
bands. So I show up and wait. And wait and wait and wait. I wait for an
hour before the singer and drummer arrive. We play for the remaining
hour that the room is booked in. The pianist refuses to play certain
passages of the songs. He says they sound like crap because he doesn't
have his sustain pedal. The pianist is also a drummer, and every song is
stop start whilst the pianist jumps onto the drums showing the drummer
EXACTLY what he wants him to play. I've never seen anything like that
before, I'd get pissed off if someone told me EXACTLY how to play my
guitar parts. In fact, I can feel myself getting pissed off for the
After that's over another practice is scheduled in a week. I put time
aside to go, and the practice is canceled some 2 hours before it
starts. I give the singer a call and say I'm quitting. I tell them that I
made it explicit that I want professionalism, and this is obviously
just a bunch of guys ****ing around. The singer pleads and pleads for me
to reconsider, and although I was inwardly tempted to give it a shot,
my logical side dictated that this situation was not going to change. I
tell him good luck with the future and that he may want to consider
being a solo performer due to his inability to be organised with band
stuff and that he was inconsiderate of other people's time.
I'd wasted enough time with that band. End it early before I really got
pissed off. The singer took it like a little girl though, sending me
messages and calling me for a week like some chick I broke up with
"you're so great!", "I can change!", "it won't work without you" bla bla
So that's the last time I quit a band. If I was going to kick anyone out
of that band it would have been the singer, but he wrote all the music
which was awesome. Quite sad really, that this great music will never be
heard simply due to lack of organisation.
Although quitting smoking has a lot of health benefits associated with it, your body is still going to suffer through the withdrawal symptoms.
The first of these popped up about 5 days in - I gave myself a mouth ulcer. Craving cigarettes for me is like a thirst, that I can taste in my mouth, and I can only fix it by smoking cigarettes. Without it I get a little restless. I guess mixing up the saliva in my mouth to counter the thirst lead to the ulcer. Unfortunately this wasn't the only ulcer I gave myself, two more popped up in the coming days. Annoying stuff. I used ulcer medication to make sure I could eat without it hurting when I ate and swallowed.
My throat then started getting sorer and sorer, which was a pain because I had a gig coming up. The sore throat made it had to sing, and eat again. It's effect on my range was such that it cut off the higher end of my range, which I used for some songs. I was getting nervous the night before my gig, as I wasn't able to sing the songs the way I wanted to. I ended up taking a whole heap of medications and vitamins before the gig, and drinking lemon water through it, and it went well.
Now 4 days after the gig my throat is still sore. According to internet resources this is because little hairs in my throat are growing back. That's what's starting my cough too. Yay for coughing and sore throat because you quit smoking.
I've also started feeling head sick and vague. This is no fun, especially as I try to study for my Masters degree. Hopefully it will be gone in a week or so.
On the bright side;
I don't crave cigarettes anymore. I just feel like crap instead .
My range didn't shift again but it EXTENDED! Woah. It reclaimed my lower notes, whilst keeping the high ones. What does this mean? I have no idea, but today my voice covers a tad over 2 and a half octaves. Nifty! My singing teacher doesn't know what to think, because even though I complain about a sore throat, I have better control over my voice than I have ever had.
Interesting results immediately, I thought it would take longer. This is what's happened so far.
My full voice range has shifted. It's shifted up slightly, by about a tone. I'm able to hit an A as my highest note (5th fret, high e-string). On the other hand the lowest I can hit with conviction is an Eb (half-step below the low E string). This is interesting, I knew that my voice could drop quite dramatically after a big night out, smoking in excess of a pack in one night, but didn't realise that there was a possibility that smoking was having a constant effect on my voice.
I can control my breathing a bit better, enabling me to sustain notes for longer and singing longer passages without breathing. It doesn't feel like I'm breathing deeper than last week, and I'm probably not - it's only a week. But I can let out air in more controlled bursts, allowing me to sing for longer. I've also gained more control over the higher range of my voice.
When I sing, the result is more consistent. Usually it would vary depending on how recently I'd had a cigarette. So say singing 4 mins after a cigarette feels different than singing 30 mins after a cigarette. I'm not saying that there is a change in quality between the two, but that the feeling of singing is more consistent. This makes it easier to practice because it's always the same environment for my voice.
My mouth is not as dry, so no coughing randomly, or weird tickling things (I guess cigarette gunk) in my throat when I sing above a certain note.
This is the first part of what is intended to be a blog about quitting smoking and it's effects on my voice. I'll do a general ramble here and there.
My vocal range at this point (full voice) is from the D below the low E on a guitar, up to the G on the 3rd fret of the high E string. This gives me roughly 2 and a half octave range, bass-baritone range. Although this is my technical range, I do have trouble controlling the higher part of my register, particularly from the E to G at the end of my range. This problem is extremely prominent when repeating a couple of words in that higher range during songs.
Now ideally quitting smoking will give me greater control over those higher notes, which would be handy. It will also help me breathe properly and dry out my throat less.
Oh health benefits and girlfriend too. But lets not lie, the main reason I've attempted to quit is because of the money. Recent legislation passed in Australia has raised the price of the average pack of smokes to $14-$16. I know of no other country which have cigarettes this expensive. It basically means that I am spending $80-$100 on smokes a week, when I could be doing something more productive with that cash.
I practice singing daily, so it will be easy to follow my own progress and it's effects. I have weekly singing lessons, I won't tell her that I've quit and we'll see if she comments on anything inparticular, for better or worse.
Otherwise the aim of this blog is to satisfy my and other's curiousity about smoking and singing. Does it make it better? Worse? Just different? How? I don't know, let's find out.
I'll check back in here and there and post on my thoughts and feelings.