This is the same as The Seven Modes for any two instruments, or for piano- however this version is written specifically for piano solo and is more difficult and complex.Descripción completa
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the best book for normal mode analysis
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Contains a glossary of 240 scales & modes written out in 2 octaves with suggested fingerings. Their harmonic implications and use in improvisation are explored.Descripción completa
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Contains a glossary of 240 scales & modes written out in 2 octaves with suggested fingerings. Their harmonic implications and use in improvisation are explored.Descrição completa
Contains a glossary of 240 scales & modes written out in 2 octaves with suggested fingerings. Their harmonic implications and use in improvisation are explored.
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Modos de Polifonía Clásica Vocal.Descripción completa
Contains a glossary of 240 scales & modes written out in 2 octaves with suggested fingerings. Their harmonic implications and use in improvisation are explored.Full description
Modes of Discovery
A chart of one-position patterns for modes in the Major, Harmonic Minor, and Melodic Minor keys, written for the 4-string electric bass. Included as well is a list of common chords that asso…Descripción completa
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MAPPING THE MODES: VOL.1 BEGINNER LUCA MANTOVANELLI
THE MODES IN 5 SHAPES
(Tab (Ta b files: modes_5shapes) We’re going to be using a system We’re s ystem of five box shapes in this masterclass. mas terclass. These are basically the CAGED shapes. The Tab Tab files show them the m all in the key of G major, but if you wanted to use these to play individual modes in root position, you’d get these modes… Shape 1: F# Locrian (starting from the lowest note), G Ionian (starting from the 2nd note) Shape 2: A 2: A Dorian Shape 3: B 3: B Phrygian (1st note), C Lydian (2nd note) Shape 4: D 4: D Mixolydian Shape 5: E 5: E Aeolian But of course, all five shapes can be used as G major or any of its modes. THE 5 NOTE APPROACH � STARTING WITH INDEX FINGER
(Tab (Ta b files: 5notes_index) Here’s something we’ll we’ll be doing a lot in this masterclass… working with little melodic “cells” “cells” (like mini phrases) which approach a target note in different ways. A “target note” is a strong melodic note which can be held over a chord. Normally, the root, 3rd and 5th are the most powerful target notes. Over a G major chord, these would be the notes G, B and D. The idea here is to take these simple melodic cells and work them through all our scale shapes, increasing fretboard knowledge and melodic flexibility. flexibility. For our first firs t pattern, we’ll start on the index finger (on a downbeat) and run through five notes, ending on a target note. Using the intrinsic layout of the five scale shapes, we only have three possible fingerings for this pattern: 1-2-4, 1-3-4 and 1-3. For example, if you look at the first scale shape (Tab file modes_5shapes_shape1_tab) you’ll see that we’re using 1-2-4 on the low E and A strings, 1-3-4 on the D and G strings, 1-3 on the B string and then 1-2-4 on the high E string. Each of these fingerings has its it s own pattern of scale notes and chromatic passing notes, leading to the eventual target note… 1-2-4 = 1-4-3-1-2 1-3-4 = 1-4 -1-2 -1-2-3 -3 1-3 = 1-3-1-2-3 The easiest thing is to play p lay through the exercises, referring back to the 5 mode shapes to see how they relate to the five-note melodic cells.
