Mode/chord charts?

paulskirocks

paulskirocks

Blue Zone Compliant
I was wondering if anyone knows of a chart or spreadsheet that shows typical major and minor chord progressions and the various scales and modes that fit on top of them? Such as:

I IV V = I Ionian, I major pentatonic, IV major pentatonic, V pentatonic
i iv v = i Aeolian, i minor pent, iv minor pent, v minor pent
i IV v = i Dorian, IV minor pent, v minor pent
i vii = i Phrygian, i minor pent, v minor pent
etc....

Or, maybe like:

Ionian = I, ii, iii, IV, V, vi
Aeolian = i, III, iv, v, VI, VII
etc...

And, of course, ones that show progressions with various 7th, 9th, sus, dim, aug, etc.??

Thanks...
 
paulskirocks said:
Well, for 29 years, I wrote originals, and there was no thought, other than what it sounds like... So, in the last couple years, I'm trying to learn to think!
Click to expand...

I wasn't referring to music. thinking in general, it is way overrated.
 
paulskirocks said:
Well, OK, then... My quest is to find various chord progressions, and what kind of notes work with it, whether modes, exotic scales, chord tones, etc... What should I think about?
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Major Scale and Minor Scale, relative Major/Minor plus the Circle of Fifths.
 
The best player that I have ever met learned modes early on...from the encyclopaedia. He could see almost right away that (in his words) they were all the same.

Anyway, as I said he is the best player I have ever met. Amazing - Django, Randy Rhoads (and any other flashy rock player), classical, blues, jazzy stuff.

I wish I had 1/10 of his gift and that would be fine by me.
 
Kerouac said:
Major Scale and Minor Scale, relative Major/Minor plus the Circle of Fifths.
Click to expand...

As in Ionian/Aeolian, Lydian/Dorian, and Mixolydian/Phrygian?

Circle of fifths is something that went in one ear and out the other 30 years ago... Oh yea, that has what I'm looking for, doesn't it?! :facepalm: I forgot about that...

Thanks...
 
Standard progression cycle

iii- iv- ii - V - I
........IV vii

Just remember vii is m7b5 or half diminished. Chords IV and ii sub for each other; chords V and vii sub for each other which is why I have them under their respective subs. The way the chart works is you go to the left from "I". You cycle back to "I" with the chord to the right.
 
paulskirocks said:
As in Ionian/Aeolian, Lydian/Dorian, and Mixolydian/Phrygian?

Circle of fifths is something that went in one ear and out the other 30 years ago... Oh yea, that has what I'm looking for, doesn't it?! :facepalm: I forgot about that...

Thanks...
Click to expand...

Relative major and minor IS Ionian/Aeolian, if you want to think of it that way. Circle of Fifths is a convenient way to remember the appropriate sharps/flats of a key, which should help in scale construction. Sometimes you can find Co5 diagrams with the relative minor written as well.

And as saint said, substitutions are great to learn too. Honestly, I say fuck modes in their stupid meathead faces and work on chord construction. Being able to break up or build up a chord is far more valuable a skill. This is a fantastic book for that:

http://www.amazon.com/Chord-Factory-Build-Guitar-Dictionary/dp/0876390750
 
Modern Saint said:
Standard progression cycle

iii- iv- ii - V - I
........IV vii

Just remember vii is m7b5 or half diminished. Chords IV and ii sub for each other; chords V and vii sub for each other which is why I have them under their respective subs. The way the chart works is you go to the left from "I". You cycle back to "I" with the chord to the right.
Click to expand...

So, is an Am - Dm - Em progression considered a vi - ii - iii or i - iv - v? Is there even such a thing as i - iv - v?!

I think it's time for me to learn the circle of fifths, if nothing else so that I can communicate correctly... I know the whole fretboard in C major (well, I learned it as A minor) and where the modes reside, and I understand which are the relative minor/major modes... Not quite sure what to think of Locrian, though... And, I know what they sound like to my ear... So, I know by pattern what major and minor chords "fit"... Even a handful of real lessons are in my future, I think, after I get moved... Probably via Skype...
 
Kerouac said:
Relative major and minor IS Ionian/Aeolian, if you want to think of it that way. Circle of Fifths is a convenient way to remember the appropriate sharps/flats of a key, which should help in scale construction. Sometimes you can find Co5 diagrams with the relative minor written as well.

And as saint said, substitutions are great to learn too. Honestly, I say fuck modes in their stupid meathead faces and work on chord construction. Being able to break up or build up a chord is far more valuable a skill. This is a fantastic book for that:

http://www.amazon.com/Chord-Factory-Build-Guitar-Dictionary/dp/0876390750
Click to expand...

Modes are great to learn tonality in respect to the type of mode that it is. Hence - Dorian, Phyrgian and Aeolian are minor modes; Lydian and Ionian are major; Mixolydian is dominant and Locrian - half diminished.

@Paulski - learn the mode as a tonality, not as a scale. If you can hear the scale sound, the application is easy because your emphisis will always be towards the chord tones - 1, 3, and 5. What you gotta do is sing the mode while you play it. Looking at it in regards to progressions is a direction I wouldn't recommend.

Vamp on an Am chord and record it. Play over it A Dorian, the A Phrygian and finally A Aeolian. Can you hear the differences? Which one do you like best? What were the key tones that defined the mode. If you noticed, all three modes share the same chord tones 1, 3, 5, and b7.
 
Modern Saint said:
Vamp on an Am chord and record it. Play over it A Dorian, the A Phrygian and finally A Aeolian. Can you hear the differences? Which one do you like best? What were the key tones that defined the mode. If you noticed, all three modes share the same chord tones 1, 3, 5, and b7.
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Yea, I can tell the difference, and I bounce between all three of those modes a lot when I am jamming in minor pentatonic... By the way, they also share a 4th in common, thus the Am pentatonic scale...
 
Modern Saint said:
@Paulski - learn the mode as a tonality, not as a scale. If you can hear the scale sound, the application is easy because your emphisis will always be towards the chord tones - 1, 3, and 5. What you gotta do is sing the mode while you play it. Looking at it in regards to progressions is a direction I wouldn't recommend.
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Exactly. I can go back and examine what mode I'm using if I need to, but it's not really pertinent to my creative process.
 
paulskirocks said:
Yea, I can tell the difference, and I bounce between all three of those modes a lot when I am jamming in minor pentatonic... By the way, they also share a 4th in common, thus the Am pentatonic scale...
Click to expand...

Even though the 4th is common it is not a chord tone until you are playing a minor 11th. Therefore b2, 2(9), 4(11) and b6, 6(13) are passing tones.
 
Kerouac said:
Exactly. I can go back and examine what mode I'm using if I need to, but it's not really pertinent to my creative process.
Click to expand...

So true, all the rest are fluff and passing tones. The closest exception will be the b2 in Phrygian which really defines the start of some eastern flavor.
 
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