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Acoustic Guitar, Electric Guitar, Guitar - Level 1 - Digital Download
SKU: A0.1163675
Composed by Brian Streckfus. Arranged by Brian Streckfus. This edition: audio, pdf. Instructional, Singer/Songwriter. Educational Exercises. 4 pages. Brian Streckfus #764016. Published by Brian Streckfus (A0.1163675).
Pages: 4
This study/etude makes modes a much more fun and practical exploration, rather than feeling like abstract theory. Also, since all seven are used in the key of C major, this study/etude allows someone to quickly memorize how modes work. The modes are diffucult to memorize because of their foreign names. This makes this piece have great replay value since it will take multiple attempts to memorize them.
Don't underestimate the last two pages as well, since the modes are beautifully notated and annotated. If someone is serious about mastering modal playing, then the last two pages are indispensable and you should keep them nearby for the rest of your life. I put the special notes of each mode in purple. Those purple notes are what is making them different from a typical major/minor scale.
Tips: 1. Each mode has one special note. It is a great exercise to figure them out. For example, the B natural in D dorian sections is the special note. This B natural "should" have been a Bb in the key of "regular" D minor. I added diamond shaped note heads to make which notes are special obvious.
2. One of the most elegant ways of playing modes is to play 1 more sharp or 1 less sharp than what the song suggests. For example, if a song is in C Major, trying soloing with a G Major scale, that would lead to an extra bright and happy sound. This is why I don't have scale charts for the modes, if you just play a slightly incorrect Major scale, you can can acheive all the modes leveraging the scales you already know.
3. This piece is a good example of what I like to call half step gravity. For example, in measure 12, the B has more gravity to go to C than A because C is closer. B to C would be a half step. B to A would be a whole step.
4. This piece is a good example of bass notes setting the tone and vibe. I invite performers to change the bass notes to see what I mean. For example, a constant C bass note would lead to a problem-free sound, whereas a constant B bass note leads to a more uncomfortable, metal music sound.
5. This piece is a good example of how we hear a chord from the bass note on up. For example, the chord in measure 13 could be called an Am(add2)/B chord, but since B is the bass note, it sounds more like a B half dimished chord.
6. This piece is a good example of a perfect authentic cadence (PAC) with a final A minor chord tonic (home) chord with an "A" in the bass and soprano voices.
This product was created by a member of ArrangeMe, Hal Leonard’s global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.
About Digital Downloads
Digital Downloads are downloadable sheet music files that can be viewed directly on your computer, tablet or mobile device. Once you download your digital sheet music, you can view and print it at home, school, or anywhere you want to make music, and you don’t have to be connected to the internet. Just purchase, download and play!
PLEASE NOTE: Your Digital Download will have a watermark at the bottom of each page that will include your name, purchase date and number of copies purchased. You are only authorized to print the number of copies that you have purchased. You may not digitally distribute or print more copies than purchased for use (i.e., you may not print or digitally distribute individual copies to friends or students).
Acoustic Guitar, Electric Guitar, Guitar - Level 1 - Digital Download
SKU: A0.1163675
Composed by Brian Streckfus. Arranged by Brian Streckfus. This edition: audio, pdf. Instructional, Singer/Songwriter. Educational Exercises. 4 pages. Brian Streckfus #764016. Published by Brian Streckfus (A0.1163675).
Pages: 4
This study/etude makes modes a much more fun and practical exploration, rather than feeling like abstract theory. Also, since all seven are used in the key of C major, this study/etude allows someone to quickly memorize how modes work. The modes are diffucult to memorize because of their foreign names. This makes this piece have great replay value since it will take multiple attempts to memorize them.
Don't underestimate the last two pages as well, since the modes are beautifully notated and annotated. If someone is serious about mastering modal playing, then the last two pages are indispensable and you should keep them nearby for the rest of your life. I put the special notes of each mode in purple. Those purple notes are what is making them different from a typical major/minor scale.
Tips: 1. Each mode has one special note. It is a great exercise to figure them out. For example, the B natural in D dorian sections is the special note. This B natural "should" have been a Bb in the key of "regular" D minor. I added diamond shaped note heads to make which notes are special obvious.
2. One of the most elegant ways of playing modes is to play 1 more sharp or 1 less sharp than what the song suggests. For example, if a song is in C Major, trying soloing with a G Major scale, that would lead to an extra bright and happy sound. This is why I don't have scale charts for the modes, if you just play a slightly incorrect Major scale, you can can acheive all the modes leveraging the scales you already know.
3. This piece is a good example of what I like to call half step gravity. For example, in measure 12, the B has more gravity to go to C than A because C is closer. B to C would be a half step. B to A would be a whole step.
4. This piece is a good example of bass notes setting the tone and vibe. I invite performers to change the bass notes to see what I mean. For example, a constant C bass note would lead to a problem-free sound, whereas a constant B bass note leads to a more uncomfortable, metal music sound.
5. This piece is a good example of how we hear a chord from the bass note on up. For example, the chord in measure 13 could be called an Am(add2)/B chord, but since B is the bass note, it sounds more like a B half dimished chord.
6. This piece is a good example of a perfect authentic cadence (PAC) with a final A minor chord tonic (home) chord with an "A" in the bass and soprano voices.
This product was created by a member of ArrangeMe, Hal Leonard’s global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.
About Digital Downloads
Digital Downloads are downloadable sheet music files that can be viewed directly on your computer, tablet or mobile device. Once you download your digital sheet music, you can view and print it at home, school, or anywhere you want to make music, and you don’t have to be connected to the internet. Just purchase, download and play!
PLEASE NOTE: Your Digital Download will have a watermark at the bottom of each page that will include your name, purchase date and number of copies purchased. You are only authorized to print the number of copies that you have purchased. You may not digitally distribute or print more copies than purchased for use (i.e., you may not print or digitally distribute individual copies to friends or students).
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