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Play these 10 tones while saying the following [go through each point while playing the scale]:
- Note-tone name - EFGABCDEFG
- Note-head location [line and the corresponding number]. Line 1, Space 1, Line 2, Space 3. Or, these are the ones - line/space, then the twos - line/space, etc.
- String/fret combination
- Each tone's everything: name, notation location, fretboard location. Go in order, plus separate by lines and spaces, as we have done.
We first played modes (calling them modes - all scales are modes) in Adding Tones to Em/G & Am/C. There, we added tones to a scale to create other types. In this session, we will use an existing scale that we know, C Major, and derive other scales from the tone group. There are 7 tones in a Major scale, therefore, we will have 7 modes. Each tone of the scale can be a 'starting point'. As previously discussed, modes are tone groups, aka scales. They are scales with special names. Scales which produce specific types of sonic 'impressions'. One way to understand/play modes is to use a scale that we know, such as the C Major scale. Then, play the scale using the different tones in the scale as ‘starting points’. This is called derivative - we are deriving scales from a scale. The way we did it before was to use a scale, such as the pentatonic, and treat it as a shell by adding tones to fill in the 'gaps'. Even another is to use formulas. We can modify a Major scale to create modes and their formulas [parallel]. We can also have a mode, created by whatever means [synthetic, etc.] and understand it by how it differs from its own Major scale. This will also produce a formula. Finally, we can also divide an octave any way which we choose → create our own modes. If modes we create aren't previously named modes, we typically call them synthetic modes [scales we synthesized].
We included these chords in the first G Major lesson. This is a touch-in to make sure that you have the 7ths in G Major.
Again, the idea is to move deeper into known keys, while starting new keys. We first learn the triads and scale at the nut for any key center. Once we have the triads, we learn the 7ths. It's different for everyone, but there will be a threshold which is crossed, where/when you see how it all works...keys, chord and scale forms, & sound. There you will be able to play in any key on any part of the board and link information in ways which may be entirely novel.
7 for each chord = these can be discovered by taking the highest root [octave = 8] in the triad version and dropping it back to the next chord tone in the scale. It will be either 1 or 2 frets back in this tone group.
7 = Maj7 = Major 7 = 7th that is 11 half steps away from root.
7 = 7th is 10 half steps away from root.
If the 7 is in a Major chord, it is a Dominant 7 [just 7].
If the 7 is in a minor chord, it is a minor 7 [m7 or min7 or -7].
m7b5 = minor 7, flat 5 = half diminished 7