CAN YOU SUM UP A MODE IS IT THESE NOTES

D, E, F, G, A, B, C, D' = Dorian
E, F, G, A, B, C, D, E' = Phrygrian
F, G, A, B, C, D, E, F' = Lydian
G, A, B, C, D, E, F, G' = Mixolydian
A, B, C, D, E, F, G, A' = Aeloian
B, C, D, E, F, G, A, B' = Locrian

beth wrote:

CAN YOU SUM UP A MODE IS IT THESE NOTES

D, E, F, G, A, B, C, D' = Dorian
E, F, G, A, B, C, D, E' = Phrygrian
F, G, A, B, C, D, E, F' = Lydian
G, A, B, C, D, E, F, G' = Mixolydian
A, B, C, D, E, F, G, A' = Aeloian
B, C, D, E, F, G, A, B' = Locrian

...yes, the NOTES for each of the "Key of C" MODES are those shown.

...why the "weasel"-wording instead of a simple, "yes"???

...because, those NOTES came from the IONIAN "scale" for the "Key of C," and different notes will be used when a different "key" is used to start the MODES from -- for example, here are the IONIAN SCALE and MODE notes and CHORDS for the "Key of G," which has a "Key Signature" of ONE SHARP (1#):



...notice that in order to "make" the Key-of-G VII-degree note conform to the same I-thru-VII DEGREE / IONIAN scale sequence as applied to the Key-of-C, the last note in the G-scale ( "F" ) had to be "sharped" in order to make it "fit" the VII-degree note positon; and it was only done once, hence the derivation and note (F#) of the "Key Signature" of ONE SHARP (1#)...and F# is thus used throughout to represent the VII-degree.

...also, notice the Locrian mode is F#minor, not F...because, it is derived from VII-degree note which, in the Key of G, is F#.

It might be sinking in i wish ... if I use D it would have 2# and A  would be 3# so on do you also refer to it like Key Signature" of two/three SHARP?

To recap the notes in just the Ionian scale are not modes the are the notes/degrees

If im making a chord how do i use the  locrian scale if i use this formula  i iii v, is it  F#, A , C  OR  F# ,A# and C#  am i jumping a head here or backwards

beth wrote:

It might be sinking in i wish ... if I use D it would have 2# and A  would be 3# so on do you also refer to it like Key Signature" of two/three SHARP?

...correct, the "Cycle of Fifths" chart shows us that the Key of D has a "Key Signature" of "##" (e.g.: shown on the ledger staff) and the Key of A has a "Key Signature" of "###."

beth wrote:

To recap the notes in just the Ionian scale are not modes the are the notes/degrees?

...think of the IONIAN scale as the 'pleasing' NOTES on a SINGLE string. and the MODES as "what happens if" you had a second string but played the SAME notes as the first string, but NOT starting on the ROOT...in other words: IONIAN scale is associated with both the "Key Name" (e.g.: "Key of C," of D, etc.) and Key Signature (number of sharps and flats) while the MODES are associated with "...ALL the 'other' combinations of notes using the SAME notes, but different order and starting (ROOT) note...and, lastly, the HARMONIZED chords are the simultaneous playing of three (or more) notes from the MODES created from the "mother" IONIAN scale.

beth wrote:

If im making a chord how do i use the  locrian scale if i use this formula  i iii v, is it  F#, A , C  OR  F# ,A# and C#  am i jumping a head here or backwards

...if you're referring to the "Key of G" table above, UPPERcase I would be GMajor chord (not Gm), lowercase III (iii) would be Bm and UPPERcase V would be DMajor (not Dm):

I = Ionian = Major
ii = Dorian = minor
iii = Phrygian = minor
IV = Lydian = Major
V = Mixolydian = Major
vi = Aeolian = minor
vii = Locrian = diminished

...and the LOCRIAN mode (also called "diminished scale") would be the seven notes: F#, G, A, B, C, D, E being played 'over' a GMajor chord in the Key of G. The triad F#diminished chord would be notes F#, A, C (yellow boxes).

...adding a third "3rd-interval" to a TRIAD creates a TETRA (4-note) chord (R, 3, 5, X7): for TRIADS, only the yellow boxes (plus red ROOT) are used; for TERTA chords, both yellow and green boxes are used.

...and the LOCRIAN mode (also called "diminished scale") would be the seven notes: F#, G, A, B, C, D, E being played 'over' a GMajor chord in the Key of G. The triad F#diminished chord would be notes F#, A, C (yellow boxes).
beth wrote:
If im making a chord how do i use the  locrian scale if i use this formula  i iii v, is it  F#, A , C  OR  F# ,A# and C#  am i jumping a head here or backwards
ARE THEY  NOT THE SAME?

adding a third "3rd-interval" to a TRIAD creates a TETRA (4-note) chord (R, 3, 5, X7): for TRIADS, only the yellow boxes (plus red ROOT) are used; for TERTA chords, both yellow and green boxes are used.

OK OVER MY HEAD AGAIN a red root?

REVIEW:

...the pink column/boxes indicate the ROOT note for each ROW; each row represents the MODE based upon that ROOT note.

...the pink box (ROOT) and the two yellow boxes in each row indicate the ROOT, III and V degrees for the CHORD created from the MODE notes, using these "rules":

* when the yellow box is directly UNDER the III column, it's a MAJOR chord, e.g.: it's a MAJOR III-degree.
* when the yellow box is LEFT one box from the III column, it's a MINOR chord, e.g.: it's a MINOR III-degree (IIIm or iii or m3 or min).
* when the yellow box is directly UNDER the V column, it's a PERFECT 5th interval.
* when the yellow box is LEFT one box from the V column, it's a DIMINISHED 5th interval.

...a DIMINISHED "triad" chord (R, m3, b5) contains a MINOR III-degree and a DIMINISHED 5th.

...why all the "mumble-jumble" about the DIM triad? because, with 4-note chords there are TWO different diminished chords possible (to be explained later).

...I misunderstood your question about i iii v because lowecase Roman numerals indicate MINOR and so I assumed you were asking about chords, not the notes I, III, V (or R, 3, 5)...sorry.

notes I, III, V (or R, 3, 5)...are they not the same / The "simplist" chord is a TRIAD meaning 3-notes (ROOT, III, V  = C, E, G in the Key of C).

...remember, all of the scale/mode NOTES are the same, but which three notes (R, 3, 5) are being used to form the triad CHORD
or should i have used I III V AND NOT i iii v

cool the picture is getting bigger and brighter to i hope i understand the boxes
thankyou

beth wrote:

or should i have used I III V AND NOT i iii v

...the error was mine, normally the degree notes are UPPERcase Roman numerals or Arabic numbers (e.g.: I = 1, II = 2, etc.) and lowercase numerals are used to differentiate between MAJOR (UPPERcase) and MINOR (lowercase) CHORDS...so I mistakenly "assumed" (my wrong, not yours) you'd switched from NOTES to CHORDS.

...I personally prefer just using Arabic numbers, but music theory and tradition (unfortunately) continues to associate ROMAN numerals with the DEGREES...and only switches over to Arabic numbers for "naming chords"...it's confusing.

...here are some examples for you to play on your guitar, examples of interval "sounds"

C-to-C = UNISON, same note & pitch on two different strings (not the same as an octave, however).
C-to-D = major 2nd (M2)
C-to-E = major 3rd (M3)
C-to-F = perfect 4th (P4)
C-to-G = perfect 5th (P5)
C-to-A = major 6th (M6)
C-to-B = major 7th (M7)
C-to-C' = perfect 8th (P8 or Octave')

...from this listing you can "see" how the abbreviations M6 and M7 came about for Major 6 degree and Major 7 degree. Also, the "perfect" 4th and 5th refer to how well these two notes (and chords!) "work/sound" with the ROOT note and chord and, also, "why" these two chords are placed on adjacent sides of the ROOT note at the top of the Circle of 5ths (ROOT is TOP center position), because, of ALL the harmonized chords, they "sound" best and thus are "closest" (physically and musically) to the ROOT chord...chords further down the Circle being "least" harmonious...for example, the VII-chord is furthest from ROOT (e.g.: triad Bdim or tetrachord Bm7-5) sounds almost "jangly" next to the ROOT chord (C in this example).

...so, are you comfortable with the terms and concepts of SCALE, MODE, CHORD and MAJOR and MINOR notes and chords?

how well these two notes (and chords!) "work/sound" with the ROOT note and chord and, also, "..      just one thing you use chord and notes...   A note to me is one as in the C note a chord is 3notes together at lest   in the above what are you refering to as a chord ?the rest is ok with me

WHICH IS FUNNY because on a guitar it is C E C  makes up a C chord 1st fret b string 2nd fret d string and 3rd fret A string ) What is that I III V OF?

beth wrote:

A note to me is one as in the C note a chord is 3notes  together at lest   in the above what are you refering to as a chord ?

...actually, I was refering to BOTH notes and chords (ironically)! The NOTE "combinations" of Root and 4th and Root and 5th sound "best" together (hence the Greek designation of "prefect"), and the samething holds true with their CHORDS!

Why? Well, think about it for a moment--if three notes comprise a chord, and two of those three notes ALREADY sound "good" together...odds are the CHORDS containing those NOTES are gonna sound good too!

Hence, look at the NOTES in the three CHORDS C, F and G:

C-chord (I) = ROOT(C), 3rd(E), 5th(G)  <---R and 5th sound good
F-chord (IV) = ROOT(F), 3rd(A), 5th(C)  <---R of F-chord is 4th in C chord and 5th in F-chord is 4th of C chord.
G-chord (V) = ROOT(G), 3rd(B), 5th(D) <---R in G-chord is 5th in C chord

...this aspect of one chord containing same or almost same notes as another chord plays a major role in "why/how" chords are "related" and can be "substituted" for one another...as well as why some chord "changes" just seem to "work/sound" better than others (e.g.: "voice leading" etc.).

WHICH IS FUNNY because on a guitar it is C E C  makes up a C chord 1st fret b string 2nd fret d string and 3rd fret A string ) What is that I III V OF?

is this what your talking about when you say and two of those three notes ALREADY sound "good" together...odds are the CHORDS containing those two NOTES are gonna sound good too!

beth wrote:

WHICH IS FUNNY because on a guitar it is C E C  makes up a C chord 1st fret b string 2nd fret d string and 3rd fret A string ) What is that I III V OF?

...did you mean "C E G"? ...the "C-shape" fingering of the C chord is:



...here is the "A-shape" fingering of the C chord:



...notice how both chords "start" from the same ROOT C-note at fret 3 on the A5-string, but the C-shape chord progresses 'down' (pitch wise) toward the nut and A-shape chord progresses 'up' (pitch wise) toward the bridge. The notes of these two fingers for the same CMajor chord are (bass--to--treble):

C-shape: 5, R, 3, 5, R, 3
A-shape: 5, R, 5, R, 3, 5

...notice: both chords share the common notes 5, R on the E6 and A5 strings!

...because they're ALL sounded "simultaneously" the order of the notes within a chord usually doesn't matter...in spite of the fact that we normally "stroke" the notes of a chord instead of actually "picking" them all at once (it's done so fast that it 'sounds' simultaneous).

NO its  C E C if you look at the cord diagrame on this site for C but you dont play the E string

but i see its left with C E G C E / R 3 5 R 3  so there the sane but not as full sounding i guess

...well, now I'm confused

...could you write out the strings & frets you're using so I can understand which fingering you're using, for instance the C-shape CMajor would be (bass-->to-->treble):

NOTES: G, C, E, G, C, E
FRETS: 3, 3, 2, 0, 1, 0

ok lol sorry! you have your 1st finger on the 1st fret of the B string then you have your 2nd finger on the 2nd fret of the D string and then you have your  3rd finger on the 3rd fret of the A STRING  but you dont play the 6th string =C

        X 3 2 0 1 0

...aha! now I "see" what you're describing, it's the C-shape CMajor chord without the E6-string being played, like this (frets):

X, 3, 2, 0, 1, 0 ...where X = unplayed string.

...thus, the notes (bass (A5) to treble (E1)) are:

X, C, E, G, C, E

...which correspond to DEGREES (in Arabic numbers instead of Roman):

X, 1, 3, 5, 1, 3

...this is the commonly used C-shape, because many people use their little finger (pinky) for playing melody notes while strumming. It is exactly like the illustration above, except the 5th degree note (G) on the E6-string isn't used.

yes glad we got that sorted where you used  x 1 3 5 1 3  i used  x r 3 5 r 3   sorry about the confusesion .at least  i have it i think now

...which do YOU prefer? "R" for root or "1" as I'm confortable with either one...and switch back-n-forth because they're both commonly used.

...Q: where do you play most songs, down at the nut or up the neck on the higher frets? Also, are you mostly strumming (chords) or picking (melody)?

i would like to play lead guitar melody.. i heard or read melody is for notes and harmony is for chords is that right ?
right now i am playing between the 5th fret and  the 1st fret

R or 1 its all the same to me to

beth wrote:

i heard or read melody is for notes and harmony is for chords is that right ?

...correct, although today, many guitarists "mix" the two and play melodies intersparsed with chords...common in rock, country and jazz.

beth wrote:

right now i am playing between the 5th fret and  the 1st fret

...that's pretty much where most people play, depending upon the songs "key," although many (most) really flamboyant players always seem to play at and above the 12th fret (hence the need for 22-24 fret guitars)...I'm a rhythm and chordal jazz player and seldeom go above the 12th fret.

...some musical "facts" about the guitar: (A) the "C" note at fret 1 on B2-string is same note as "middle-C" on a piano; (B) the guitar "covers" at least four "E-note" octaves (E6-string(open), D4-string(fret 2), E1-string(open), E1-string(fret 12)...and, if 24-fret, E1-string(fret 24)!

...have you played the C-major scale? tried playing any of the MODES?