Understanding the Modes

By Lucas Pickford The Modes are fundamental to almost every type of music. Jazz, Rock, and pop use these parent scales all the time to make melodies and build harmonies on. A thorough understanding of them is absolutely essential to anyone interested in improvising in any of the aforementioned styles. Some people think that the Modes are complicated and mysterious. In fact, they are easy to learn and understand even for a beginner. In my opinion the Modes are best learned in two general categories, major modes and minor modes. The major modes all have a natural 3rd and 7th with the exception of Mixolydian, which has a flatted 7th. The minor modes all have a flatted 3rd and a flatted 7th. Each mode has a very characteristic sound that sets it apart from the others. If you take just the major modes and learn them say over a one-week period, and the tackle the minor modes the next week, you'll have them down. My advice is to see the similarities between the Modes. Most of them only differ by one note in the whole scale. When you have the Modes down your music vocabulary goes up exponentially. The key of course is knowing where to apply them and what types of chords that they fit over. I will explain all of that very soon. For now, just get familiar with them on your instrument. The Modes are like the ABC's. When you have them down, there's no limit to what you can say. Major Modes in Key of C Ionian: C-D-E-F-G-A-B-C (1 2 3 4 5 6 7 8) Lydian: C-D-E-F#-G-A-B-C (1 2 3 +4 5 6 7 8) Mixolydian: C-D-E-F-G-A-Bb-C (1 2 3 4 5 6 -7 8) Minor Modes in Key of C Dorian: C-D-Eb-F-G-A-Bb-C (1 2 -3 4 5 6 -7 8) Aeolian: C-D-Eb-F-G-Ab-Bb-C (1 2 -3 4 5 -6 -7 8) Phrygian: C-Db-Eb-F-G-Ab-Bb-C (1 -2 -3 4 5 -6 -7 8) Locrian: C-Db-Eb-F-Gb-Ab-Bb-C (1 -2 -3 4 -5 -6 -7 8)

Applying the Modes & Special Scale Syllabus

By Lucas Pickford In my last article I described the Modes in detail. The fun part of course though is knowing where to apply them. Here are the chord types (abbreviated with chord symbols) that the respective modes can be played over. It's a good idea to practice the modes in intervals, i.e., 3rds, 6ths, etc., for the most melodic variation. These aren't the only scales that fit these chords, but the Modes are a great starting point for improvisation. I will be discussing other scales in the future that would also be relevant to these and other chord types. Stay tuned. Ionian: C Cmaj7 C6/9 C6 Lydian: Cmaj7 C6/9 D/C G/C Mixolydian: C7 C13 Csus4 Bb/C F/C Gmin/C Dorian: Cmin Cmin7 Cmin6 Aeolian: Cmin Cmin7 Ab/C Fmin/C Phyrigian: Cmin Cmin7 Db/C Ab/C Bbmin/C Locrian: Cmin(b5) Gb/C Db/C

Special Scale Syllabus

This is a syllabus that you can use along with the Modes sheet to give you the formulas for most chord scales other than the regular major and minor. There are many hybrid scales that aren't included here but this should serve you well in most musical situations, especially when we consider Dominant chords and their possible scales. Refer to the "Which Scales Fit Which Chord Types" part of this article to learn where to use these scales. Since the Modes were already addressed and where to apply them, it's taken for granted that you're familiar with them. The H means half step and the W means whole step. This is how you'll be able to build these scales in any key. All examples are in the key of C. Here goes. Diminished Scale: C,D,Eb,F,F#,G#,A,B,C - WHWHWHWH Symmetrical Diminished Scale: C,Db,Eb,E,F#,G,A,Bb,C -HWHWHWHW Lydian Dominant Scale: C,D,E,F#,G,A,Bb,C - WWWHWHW Altered Dominant Scale: C,Db,Eb,E,F#,Ab,Bb,C - HWHWWWW

Pentatonic Scale(Major): C,D,E,G,A,C - The formula is to use the 1,2,3,5,6,8 of any major scale to get the major pentatonic scale. Blues Scale: C,Eb,E,F,F#,G,Bb,C Locrian with Natural 9th: C,D,Eb,F,Gb,Ab,Bb,C Whole Tone Scale: C,D,E,F#,G#,Bb,C Melodic Minor Scale: C,D,Eb,F,G,A,B,C Harmonic Minor Scale: C,D,Eb,F,G,Ab,B,C

Modes of Melodic Minor

By Lucas Pickford A lot has been written about the so called "modes " of the Melodic Minor Scale. Although not strictly modes per say, these are really the scales that occur when you build stepwise scales from the notes of the MMS (Melodic Minor Scale). The names for these scales vary and I'm not sure it really matters what you call them but rather that you be familiar with what they are and where they can be applied. Here there are along with a few possibilities for use over chord changes. 1. C melodic minor :C-D-Eb-F-G-A-B-C 2. D phrygian (w natural 6th) : D-Eb-F-G-A-B-C-D 3. Eb lydian augmented: Eb-F-G-A-B-C-D-Eb 4. F lydian dominant: F-G-A-B-C-D-Eb-F 5. G mixolydian (w b6th): G-A-B-C-D-Eb-F-G 6. A aeolian (w b5): A-B-C-D-Eb-F-G-A 7. B altered dominant: B-C-D-Eb-F-G-A-B Any of these scales will fit these various chords: Cmin7, Cmin(maj7), F7(#11), Dsus4(b9), B7(alt), Ami7(b5), Ebmaj7(#5). As usual there are more possibilities but these are a good start. Experiment with scales and find your own ways to apply them to harmony.

The Altered Dominant Scale

By Lucas Pickford In my last few columns we've looked closely at the Symmetric Diminished Scales (SDS) and how they can be applied over dominant seventh chords. Another scale that is very useful over dominant chords is the one called the Altered Dominant Scale (ADS). The ADS looks like this: C-Db-Eb-E-Gb-Ab-Bb-C. The ADS is different by only one note from its SDS counterpart but that one note is very crucial in determining when to use it. The note that is different is the 13th degree of the scale. The 13th is also referred to as the 6th degree of a scale but when you extend the scale up beyond one octave, the 6th degree becomes the 13th degree. In an SDS, the 13th degree is natural. A SDS starting on C would look like this: C-Db-Eb-E-F#-G-A-Bb-C. Notice that the A note is natural. In an ADS, the 13th degree is flatted so the A becomes Ab. What's the big deal if the scale is only different by one note? It's a big deal because you use the ADS when the harmony indicates a II-V-I chord progression going to minor. The 13th degree of the scale you use on the dominant chord becomes the 3rd degree of the scale of the I chord. Example 1- In a common II-V-I progression such as Gmi7 - C7 - Fmaj7, the A note (which is in the SDS scale we would use over the C7, it's the natural 13th) becomes the 3rd of the Fmaj7 chord. A is the third note in an F major scale. Make sense? Example 2 - In a II-V-I progression that ends up on a minor chord such as Gmin(b5) - C7(b13)- Fmin7, we must anticipate the harmony of the Fmin7 by playing the flat 13th in the scale right before it which is the ADS played over the C7(b13) chord. That Ab note makes the ear hear that the I chord is going to be minor in tonality. This all might seem like it's very intricate and to some degree it is, but the main thing to remember is that when the chord progression is heading towards major, like in Example 1, play the SDS. When it's heading toward minor like in Example 2, play the ADS. Of course you can break these rules as all good improvisers do but please learn the

rules first, then break them. The ADS fits any dominant chord but it is not symmetrical like the SDS. Use it in place of the SDS in the appropriate places.

Symmetric Diminished Scales

By Lucas Pickford The scale known as the Symmetric Diminished scale (HWHWHWHW) or (R, b9, #9, 3rd, #11, 5th, 13, b7, R) is one the most useful and applicable scales in jazz. It's used primarily over dominant chords and the great thing about this scale is that because of its symmetrical nature, it fits four dominant chords at once all in minor third intervals. Since there are only twelve keys you need only to learn three symmetrical diminished scales and you've got at the dominant chords covered! (4 x 3=12). The scale is called symmetrical because the half step-whole step formula used to build it and because the relationship of chords to each other outlines a diminished chord. All the chords are a minor third apart from each other, which is the definition of a diminished chord. When you get this scale under your fingers and clear in your mind about where to use it, you'll notice a huge increase in your melodic vocabulary as it relates to soloing over dominant chords. Another great thing about this scale is that you can imply and superimpose triads and other chord changes that are out of the key and that is fun to do from time to time in your solos as well. Here goes. Symmetric Diminished Scale #1: C-Db-Eb-E-F#-G-A-Bb-C This scale fits over C7, Eb7, F#7, and A7. Remember, you build the scale using the (HWHWHWHW) formula starting on the roots of each one of these chords. Symmetric Diminished Scale #2: D-Eb-F-F#-G#-A-B-C-D This scale fits over D7, F7, Ab7, and B7. Symmetric Diminished Scale #3: E-F-G-G#-A#-B-C#-D-E This scale fits over E7, G7, Bb7, and Db7. That's it. That's all the scales. Learn these and you'll be amazed and the results. Next time I'll talk about some patterns you can use and some other cool ideas for using this scale in you solos.

Symmetric Diminished Scales Part Two

By Lucas Pickford *H=Half Step *W=Whole Step The Symmetric Diminished Scale, built using the formula HWHWHWHW, is an incredibly useful scale in jazz improvisation. In my last column I discussed how this scale could be used as a scale for soloing on each of the four different dominant seventh chords, all a minor third apart from each other, that the scale fits. To refresh, the three different symmetric diminished scales are as follows: 1. C-Db-Eb-E-F#-G-A-Bb-C (This scale fits over C7, Eb7, F#7, and A7) 2. D-Eb-F-F#-G#-A-B-C-D (This scale fits over D7, F7, Ab7, and B7.) 3. E-F-G-G#-A#-B-C#-D-E (This fits over E7, G7, Bb7, and Db7.) One device for improvisation with this scale is to superimpose various triads on top of one another other. In other words you can borrow any one of the three remaining triads from one of the groups of four and superimpose them against one another. The only rule is that you have to use triads from the same group. For example you can play an E triad against a G7 chord and vice versa, or you can play a Bb triad against a Db7 chord and vice versa. All of these chords are from the same group or "family" so to speak, in this case from scale version #3. They are interchangeable with each other because they are all minor thirds apart from each other and the scale fits all four chords. So say you are jamming on one chord like E7 funk groove for a long time, in your solo you can outline a G triad, a Bb triad, and a Db triad. This gives a whole different flavor to your solo depending on which triad you choose to emphasize. This idea of triadic superimposition is something that can be done on many other scales as well but it works especially well on the symmetrical diminished scale. If you play guitar or piano you can actually comp these triads against each other and get very cool effects. You can also play the different triads in various inversions as well like 1st, 2nd, and 3rd. You can make up endless variations inverting the triads in different ways and make up your own patterns for soloing. Below are some melodic patterns that I've experimented with using this concept and I encourage all of you to find your own unique patterns and ways of using the symmetric diminished scale.

Ragas and Western Scales

By Lucas Pickford Lately I've been immersed in the world of Indian classical music. The music from India is an amazingly deep, complex art form that has many things in common with our American art form of jazz. Both rely heavily on improvisation, intricate rhythmic patterns, and both utilize a vast array of scales for their melodic material. Most of us here don't know much about the music of India or it's musical legends except for perhaps sitar virtuoso Ravi Shankar. Ravi is one of the only great musicians from India that the average person in America has heard of. That is a credit to him of course, as he is one the most amazing musicians of the 20th century from any country. There are so many great players from India that are on the scene here in America today though. People like tabla master Zakir Hussain, mandolin prodigy U. Shrinivas, and sarod genius Ali Akbar Khan just to name a very few. They are all tremendous masters on their respective instruments and have all performed with some of our greatest masters in jazz and rock. In this column I want to draw some parallels between the ragas of North India and some of the scales we use here in jazz and in other types of American music. First though, what the heck is a raga? Not just mere scales, ragas are precise melody forms with different ascending and descending versions of themselves. Certain notes are used to bring out the very unique "color" of each raga. Specific degrees of the raga are accentuated and embellished and that is what really gives each raga it's own unique sound. Many Indian musicians like to stress however that although ragas are modal in nature, they are not akin to the modes as we are taught them here. The subtle differences in the order of notes, an omission of a dissonant note, an emphasis on a particular note, the slide from one note to another, and the use of microtones together with other subtleties differentiate one raga from the other. Many, many, ragas have no counterpart in either the modes or any scales that I know of because of their different ascending and descending versions. That doesn't mean though that they don't cross paths with our scales in the West, they do. One of the most inspiring musicians to me from the jazz world who has cross pollinated with musicians from India is the one and only guitarist, John McLaughlin. Starting back in the 70's with the Mahavishnu Orchestra and his groundbreaking group Shakti with Zakir Hussain, John has blazed the trail for what's possible when you combine these two rich traditions. John is still touring with Shakti and their music is truly amazing. If you're not hip to them, check them out soon. There are others like bassist Jonas Hellborg and Bela Fleck of Bela Fleck and The Flecktones who have also done tremendous things with Indian musicians. I really encourage all of you out there; even the ones who think you don't like Indian music, to investigate some of these master musicians. The technical ability of players like Zakir Hussain and U. Shrinivas is staggering. Indian music isn't about hippies, free love, and incense. It's some of the most technically advanced, rhythmically sophisticated music in the world and if you give it a chance you won't be disappointed. Here are some ragas that usually on the descent are very similar to many of the modes and scales we use in our neck of the woods. 1. Rag Bhimpalasi (ascending) C-Eb-F-G-Bb-C (descending) C-Bb-A-G-F-Eb-D-C This raga reminds me of a minor Pentatonic ascending and the Dorian scale descending. 2. Rag Bihag (ascending) C-E-F-G-B-C (descending) C-B-A-G-F#-E-D-C This is similar to both the plain Major scale and the Lydian scale on the descent. 3. Rag Kirvani (ascending) C-D-Eb-G-Ab-B-C (descending) C-B-Ab-G-F-Eb-D-C This resembles the Harmonic minor scale. 4. Rag Tilang (ascending) C-D-E-F-G-A-B-C (descending) C-Bb-A-G-F-E-D-C This one is the Major scale going up and the Mixolydian scale coming down. 5. Rag Pilu (ascending) C- Eb- F-G-B-C (descending) C-Bb-Ab-G-F-Eb-D-C Similar to Melodic minor going up and Aeolian on the way down. As you can see, some of these ragas are like partial scales. Some notes are left out on the way up or down and that is what slightly changes the melodic possibilities when improvising on them. I've only scratched the surface of Indian music but I continue to study and learn more all the time. Ultimately, music is the language of the world, just spoken with a slightly different accent depending on where you are. To learn more about these scales and Indian music in general, check out the Sounds of India page.

Altered Pentatonic Scales

By Lucas Pickford *pentatonic - adj. Music Of or using only five tones, especially the first, second, third, fifth, and sixth tones of a diatonic scale. This is Webster's Dictionary definition of a pentatonic scale and a very good one at that. Pentatonic scales are five note scales that can be used in so many different ways. They can be used as improvisational materials over any chord type and in any musical situation. Their versatility is what makes them so great and they appeal to rockers and jazzers alike. There are innumerable patterns and variations that can be created from any of the pentatonic scales and

there is really no end to the possibilities of how to use them. In this column I want to present the basic major and minor pentatonic scales and then I want to show you some more advanced things you can do just by altering or changing one or more notes in those scales. Just by changing one note in these scales, you increase the different chords that they can fit over. The "R" in these examples refers to the Root and the numbers refer to scale degrees.

Basic Pentatonic Scales

The formula for making ANY major pentatonic scale is this: R- 2- 3-5-6 and 8. So in the key of C it would be: C-D-E-G-A-C (this being the octave of course). I won't include the octave in all of these examples, as that should be understood. The formula for making ANY minor pentatonic scale is this: R- b3- 4- 5- b7 So in the key of C it would be: C-Eb-F- G-Bb. That's easy enough right? Right. In my previous columns I showed you some of the most common places where these basic major and minor pentatonics can be used. I won't cover that material again here but will instead refer you to my web site www.lucaspickford.com where those columns are posted so you can brush up. Now here comes the interesting part. Let's start by altering just one note of the plain old major pentatonic scale and see how it opens up the possible chords you can play it over. Altered Pentatonic Scales There are seven ways to alter a basic major pentatonic scale. By altering one or more notes we aren't changing the fact that these are five note scales. They remain five note scales albeit altered in some way. I then give some of the possible chords that this new scale will work over. This part is the most open. The chords I list are the ones I've tested out myself and know sound good, at least to me they do. Of course there are always more possibilities and these are by no means the only possible chords to try these on. Here goes. Cmaj pentatonic with b2 = C-Db-E-G-A - This scale will fit over these chords: C7 (b9), Eb7 (b9), F#7 (b9), A7 (#9) Cmaj pentatonic with b3 = C-D-Eb-G-A - This scale fits over these chords: Cmin6/9, Amin7(b5), Ebmaj7, F7, B7(alt) Cmaj pentatonic with b2 & b5 = C-Db-E-Gb-A - This scale fits these chords: C7 (b9), Eb7 (b9), Gb7 (b9), A7 (#9) Cmaj pentatonic with b5 = C-D-E-Gb-A - This scale fits these chords: Cmaj7(#11), C7(#11), F#min7(b5), Amin7, D7 Cmaj pentatonic with b6 = C-D-E-G-Ab. -This scale fits these chords: C7(#5), Dmin7(b5), E7(#9), Fmin(maj7) Cmaj pentatonic with b3 &b6 = C-D-Eb-G-Ab - This scale fits these chords: Cmin7, Dmin7(b5), Ebmaj7, Fmin7, Ab/G, Abmaj7(#11), B7(alt) Cmaj pentatonic with b2 &b6 = C-Db-E-G-Ab - This scale fits these chords: C7(alt), Dbmin7(b5), E7(alt)

The Art of Transcription

By Lucas Pickford The ability to transcribe, or write down on paper what you hear on a recording, is one of the most valuable tools a musician can possess. It enables you to do many things that are of great use in a wide variety of musical situations. First and foremost, it allows you to learn from the masters via their recorded works. When you are able to write down or at least figure out on your instrument, what someone is playing on a recording, it is just like taking a private lesson with that person. Therefore, you can sit down with your tape machine or CD player and take a private lesson with anyone from Chick Corea to Eddie Van Halen. All of their musical ideas are there for you to study and absorb for all time. It is also the best ear training that there is. It makes you concentrate on recognizing intervals, chord progressions, rhythms, and single note lines. All of these can have direct applications to "on the gig" situations. For example, if someone calls a tune that you don't know, you can follow the root motion of the pianist, hear the chord types, and recognize forms. These are extremely useful things to be able to on the spot. When you transcribe regularly, you focus in on these skills and refine them so that they can become available to you in an instant.

How does one actually begin to transcribe? It all starts by choosing something relatively simple and just diving in. A knowledge of intervals and music theory is helpful but not required. What is required is the ability to listen very closely and recreate what you hear onto your instrument. Pick out the first few notes of a solo. I started with artists like Chet Baker and Miles Davis. I chose the simplest melodies at first. Some people transcribe without writing anything down on paper. I find it more useful to write things down so that I can refer to them in the future. It is nearly impossible to remember everything that is contained in even eight or twelve bars of someone's solo. Nevertheless, some people prefer to learn by ear and commit it to memory. That is cool too if you can do it. There are also some basic techniques and tools that one should have when you sit down to transcribe. First is a good half speed tape deck. Some things you hear on records go by so fast that having the ability to slow them down is very useful. Many "Rockman" type tape decks have a speed control that you can use to slow the tape down. I also think that having a good set of headphones is important. By putting the music right in your ear, you can hear things that you might otherwise miss. I prefer to transcribe with my instrument on hand. Some experienced transcribers sometimes have the ability to transcribe without any tools other than their ears. At first though it is a good idea to have whatever instrument you play with you to check your accuracy. As I mentioned before, the more theoretical information you have, the faster you will be able to recognize things like root motion, intervals, and chord progressions. If your goal is to transcribe somebody's individual solo on a particular song, it is helpful to know the chords that are in that song. If it is a standard type tune, you may be able to find the chord progression in some type of fake book. These progressions are notoriously inaccurate however, and can't always be depended on. Also, there are often substitutions that the artists makes in his/her solo and you will want to know what those are. It may be a good idea to transcribe just the chord progression of a particular song first before attempting the solo. The best way to begin recognizing chord progressions is to get near a piano or guitar. Play the various chord types, (major, minor, altered, dominant, diminished, augmented, and sus 4 etc) and get these sounds in your ear. Be able to recognize the difference between them. Listen for the "color" tones such as the 9th, 11th, or 13ths. These tones are often altered in some way especially in the improvisation. After you have the chords, you will be ready for the solo itself. Be aware of the meter and form of the song. This is the skeleton upon which the person is hanging their improvisation. I recommend taking no more than two measures at one time. Listen for the starting note. Sing it to yourself. Singing is crucial. After you sing the note find it on your instrument. Write it down. Fast! Before you forget! After that it's a matter of hearing the intervals. Where does it go from the first note? Is it a whole step? A minor third? This too requires practice. Play all the different intervals on you instrument. Become comfortable with recognizing them and their different sounds. Only by doing this a lot will you begin to be able to pick out the different intervals quickly. I will often listen to the whole solo several times in a row. I listen for the overall shape of the lines and any landmarks that may help me such as turnarounds, or repeating figures. I also pay attention to the rhythms. This is a whole other field of study in and of itself. If you plan on writing down the solo, the rhythms are going to be crucial. Many times it is the rhythm of what you are transcribing that makes it so compelling. The notes may be ordinary in the sense that they are within the scale of that particular chord but the rhythm of it is what makes it special. I have even done what I call a rhythmic transcription. By that I mean I've written down the rhythms first and plugged in the notes later. Different people do it different ways. There is no "correct" way to transcribe per se. The only thing that matters is that the transcription is accurate to whoever is reading it. Music is a language and by studying transcriptions, either your own or someone else's, you are studying the language of music. I have learned more by transcribing than by any other means. I went to a major music school in the Northeast and I can honestly say that I learned more from transcribing than I did from any of my private lesson instructors. It wasn't that the instructors weren't good, it's just that in my particular case, the information that I was really after was contained in and easier to absorb directly from the music of the artists that I really loved. Before music schools musicians learned from each other much more. There were very few books on improvisation, and if you wanted to learn a tune or someone's solo on a tune you sat down and transcribed it by ear. Unfortunately, this art has died out among many younger players. Most of all though, if you haven't transcribed something before, don't be afraid. You really can do it. When you begin to transcribe you will see a whole new world of information opening up. It will be very frustrating at times. It will be monotonous at times. It sometimes will seem like you will never get those two measures no matter how many times you listen to it! Persevere though. The rewards are worth it. Good luck.