Ricardo -> RE: Which scales? (Oct. 28 2019 0:13:29)
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quote:
ORIGINAL: devilhand You're right. In modal music, if we solo over G or A major chord using a scale with one or three sharps (G or A major scale), the song will be in B or C# phrygian mode. quote:
If what you meant was three sharps (they have to be order, F, G, C ) turns out be C# phrygian mode you would be correct ONLY if your static chord, drone, or vamp is based on C#. This static chord based on C# can be only A major chord? If this is not the case, I misunderstood the whole concept. Maybe all you are trying to say is one Sharp, G major, is the same as B phrygian? They all share the same scale, however you said “soloing over G major chord”, which means you are in “G Major”, either the key or the Ionian mode. Maybe you should say “if I play the G major scale over a B minor chord, it’s actually Phrygian sounding”. If you are soloing over the A major chord you can only describe THAT section of the song, and it’s necessarily in “A whatever”. If it is modal music we are talking about, it doesn’t have other chords or scales. So there is no point to bring in the term “phrygian” if you are talking about a G and A chord with two sharps or less...(you can’t have both chords if there are 3 sharps or more, because G is the third sharp). Two sharps implies EITHER G lydian OR A mixolydian. There is ambiguity because you don’t specify more info. For example the rhythm might pull us more into the A major chord territory by the phrasing, and we can call it Mixolydian. However you can also kill the ambiguity by playing a Gmaj7, then A/G....effectively producing a drone on the G that hangs under both chords and you must then describe the music as “G lydian” and only that. “This static chord based on C# can be only A major chord?” Maybe you are mixing up scales vs chords? C# is the bass, the drone, or the Chord and we call it phrygian, which is sharing the same number of sharps as A major key, so you would opt to use the A major key signature. AT no point do you want to play an actual A major chord because then you kill the entire modality you are trying to make over the C# bass or root or Chord. For the record, when making an appropriate vamp you have to be careful about ambiguity caused by distant chords vs nearby chords. See saw between C# minor chord and A major chord doesn’t spell out enough of the scale to distinguish between C# phryrian (3 #) and C# aeolian (4#). It could be either mode because neither chord has D or D# in it. As a rule you should include the relative tritone interval in your vamp to reveal the intended mode relative to the two or more chords you use.
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