Music Theory: Chord and Scale Application

perfect lesson for me right now...thanks a lot

Glad it helped!

This is a great lesson. Looks like it answered the exact question I had on the forums. lol

Time for a stupid question though. Or, if you are like my math professor in college, not a stupid question, but rather a stupid person asking a question. ;o)

Is the scale mode used really defined by the phrasing of the line? What I mean is, if you have a progression of ii-iii-vi-ii, it resolves the minor chord, the ii. So the "best" scale to use over this progression would be C Dorian if it is in the key of Bb (I hate repeating the same chords in examples, I try to use different to learn the points, bare (sp?) with me).

C Dorian would be: C-D-Eb-F-G-A-Bb-C, or W-H-W-W-W-H-W.
Other than the starting note, this isn't different than the Bb major scale. So that leads to my question basically which I already stated above. When using a certain scale over a progression, is the scale really determined by how you form your melody? Do you generally to resolve your line with a C if using C Dorian? Or do you resolve to the next chord in the progression? Would you use C Dorian over the entirety of the progression or would you change from C Dorian to D Phrygian to A Aeolian? If you make these changes in the modes, is this done in practice simply by resolving your melody to a given note, ie first the C, then the D, then the A? Am I just waaaay off base? Are the Red Wings going to get out of this current funk of truly awful hockey? Do you hate Sidney Crosby as much as I do? Is this too many questions?

Thanks!!

"C Dorian would be: C-D-Eb-F-G-A-Bb-C, or W-H-W-W-W-H-W.
Other than the starting note, this isn't different than the Bb major scale."

C Dorian is in the key of Bb Major. So that would explain the similarities. Check out my "Music Theory" lesson on scales for a more in depth explanation about why C Dorian is different than say Bb Ionian. It's more about the intervals than the notes.

"When using a certain scale over a progression, is the scale really determined by how you form your melody?"

Ofcourse it is not a 100% science. Everything boils down to the preference of the player. Like I said, this is a starting point. The examples assume that the player already knows what key they are in. Once you know the key, in a basic sense, you've just narrowed your choices down to just seven; your seven modes for any major that you should already know. Essentially, the point of this lesson, was to help you quickly figure out which scale or chord to apply to a progression or melody. Once you get the hang of it, then really, you will just look at this as a place you once were and no longer need to be. Call it a confidence booster if you'd like.

"Do you generally to resolve your line with a C if using C Dorian?"

My music teacher way back in my senior year of high school, told the class to compose something based around G major. I forget, of course, what my exact composition was, but, remember getting just a C because I didn't resolve my very metal sounding composition into a G major sound, considering that was the starting point.

My point being, generally speaking, in a strict theory sense, you should almost always resolve into your home chord or note. If you are playing in G major, resolve to G major. . . Blah, blah, blah. The thought is, that like I mentioned in the lesson, your resolving chord or note determines the tonality of a progression, so therefore, you must quantify your composition's key with your resolving chord.

That is a great place to start and a great way to help ones-self to better understand these concepts, however, most of us are rebels and do as we please, with or without a "correct" resolving chord.

"Or do you resolve to the next chord in the progression?"

That depends on whether your next chord completes the progression or is the beginning of a larger progression to hold the tonality of all of the chords.

"Would you use C Dorian over the entirety of the progression or would you change from C Dorian to D Phrygian to A Aeolian?"

I would recommend the latter. Playing the same mode over and entire progression, offers not a whole lot in the way of ear catching harmonic intervals. Of course, you are bound to accidentally play one or more modes whilst sticking to just C Dorian, so you might as well go balls to the wall. But again, it really comes down to the sounds that the player is aiming for.

"If you make these changes in the modes, is this done in practice simply by resolving your melody to a given note, ie first the C, then the D, then the A?"

Like I mentioned above, you will more than likely "change" modes without even noticing. Do yourself a favor, loop yourself playing a certain progression. Then solo over it using only one mode. But when you are soloing, take a video of yourself. Your best bet is to play slowly. Write down each note you play in order. Next, build modes in whatever key you are playing in, off the notes you actually played. You will find, that more than likely, you've played close to all seven modes. Unless you can tell me that you started every phrase with the same note; in which case, bravo.

"Am I just waaaay off base?"

These are good questions. "You always miss 100% of the shots you don't take".


"Are the Red Wings going to get out of this current funk of truly awful hockey? Do you hate Sidney Crosby as much as I do? Is this too many questions? "

The Red Wings need some younger talent. The old guys are getting old and the young guys aren't getting better. :) Good for me! The Flyers are doing pretty good. A little inconsistent, but not bad. I don't hate Crosby, because every other team is better off without him playing. But I think he is a wuss. Think about Lindros and then tell me Crosby is great? Hehe.

Hope that helped!

Rock on!

By the way, @Btimm, the lesson was based off your request in the forum hehe. I got inspired and rewrote what I had written before but accidentally deleted.

Thanks for the lesson and thanks for answering my questions, I am going to go ahead and try to solo over a progression and see what I can learn!

Welcome! Rock on!

I hope you still read comments to this, although I know I'm six months late...

I'm still confused as to what the difference is between, say, playing the notes of D Dorian (over e.g. a C major chord), and playing the notes of the C major Scale (Ionian).
If you just play the notes of the C maj scale, but end on D, that will sound discordant.

I know the notes of the D Dorian - D E F G A B C but using them to sound "Dorian" or "Modal" escapes me.

Playing D minor scale would introduce the Bb (vi) which would be the Dominant vii of C which would sound more "bluesy"...

Can you help?

Sorry for taking so long to get back to you....

It's all in the intervals man. Your overall tonality is more determined by, obviously your note choices, but indirectly by your interval choices. Check out this "modes" less I made a while ago. Should help you out a bit:

http://www.all-guitar-chords.com/lesson.php?id=213

Rock on!