what the fuck do i do with them, when i change keys do i have to sit down and change all seven? I just dont know how to apply them i guess.

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Not gear or recording.Theory.

Modes have properties i.e. major minor, etc. If someone is slammin a Am chord, you can shred A Aeolian or A Phrygian over it and it slays!

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Silly kids and their wrong forums.

Now where did I put my pants...

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theory

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now learn them all in a linear form

helps alot for soloing....

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for minor chords you can use dorian, phrygian, aeolian because they have a minor third. so does locrian but it also has a flat 5. for major you can use lydian, mixolydian, ionian. if you have 7ths chords make sure you consider the 7th to determine what mode to use.

Shit im sorry, I thought i was placing this in the theory forum, no wonder i couldnt find the sticky on modes. so sorry. Just delete this goddamnable stupid post.

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Yeah, that's good, Davie.

I like the modes for their different melodies.
You can get to some real great shit by shifting between them using pitch axis. Like maybe going from F Phrygian to F Ionian, just an example. That way, you get that progressive feel like in chord progressions, only with pitch axis, the change in melody seems more spacious, or big.

I play a riff where I ascend then descend F# Japanese a). then ascend and desend F# Iwato in perfect succession. Melody is HUGE. Not forgetting that Jap' scales are huge already.

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there are plenty of different ways of using modes. say you're doing a progression like ii-7d-v-ii or something. the dorian (2nd mode) would work great over that, because it resolves to the ii chord. say you're in the key of C.. and that particular progression resolves to Dmin (ii chord). the dorian scale in the key of C = D Dorian, so it ends up working perfectly over that whole progression. or a V-IV-V progression would go very well with the mixolydian (5th) mode as it resolves to the V (5th) chord. that's why so many old rock solos are mixolydian, because they use such progressions very frequently. that's one pretty easy and effective way of using them.

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I don't actually get that system for chord progressions with those Roman numerals.
I guess it's because I'm a freeform freak and like my parallels and not my diatonics.
How's it work?

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I don't actually get that system for chord progressions with those Roman numerals.
I guess it's because I'm a freeformer and like my parallels and not my diatonics.
How's it work?
I don't actually get the naming of keys either.

I know how to do chord progressions in scales.
Let's take A Phrygian Dominant:

A dom - C# dim - D min - B min

But keys and Roman numeral chord progressions are beyond me.

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The roman numerals are just a way to represent the scale tones in that particular key (i.e Key of C(I)-Ionian, D(ii)-Dorian, E(iii)-Phrygian, F(IV)-Lydian, G(V)-Mixolydian, A(vi)-Aeolian, B(vii°)-Locrian). Caps for major, lower case for minor, dim have the lil ° (Alt+248), and aug have the +.

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