Hey Friend

When I started learning guitar, I didn’t have any use for music theory. I thought my couple years learning violin fulfilled the “requirement” for learning music theory, which I  understood to mean reading music. 

The truth is, that’s not what I was being taught.

You see, music theory isn’t learning what all the dots and lines on a score mean - well, that’s a small part of it, but there’s a much bigger purpose for music theory.

It’s not about the mechanical or technical parts of music. What it IS about is how the notes and harmonies interact to create an emotional response in the listener.

So you’ve got "what you play," but theory also addresses how you play it as well. 

You'll be hard-pressed to find vintage Muzak out there (we called it elevator music, because that’s where you usually heard it), but it is an excellent example of how NOT to play music. There’s no feeling in it. 

It’s like a two-day old Wonderbread sandwich - stale and no flavor…

Real music is dynamic. It rises and falls in volume and impact. It’s engaging, not just background noise.

I don't know about you, but music for me is like an onion (queue Shrek) - there’s many layers, and as soon as I start thinking I have a handle on a musical concept, something deeper is revealed and I’m back to stretching my brain more. 

And so it goes with the modes we've been looking at. 

I’ve been digging in a bit to get a deeper understanding of how modes are used. I knew what they were, but not really why or when they came into play. 

So far, here’s what I’ve learned. 

As you know, each mode is defined by its root note (tonic). In the key of C major, if you start a scale pattern on C, it’s the Ionian mode (scale degree I). If you start on the G note, it’s Mixolydian (the fifth scale degree). 

Even though there is a master key (C major), the note you’re putting the emphasis on in the scale determines which mode is being used. It also determines the primary chord.

So if you want to emphasize the G note in the key of C major, you would actually be structuring your melody by using the Mixolydian mode. Your emphasized chord would be the V chord, or G major.

The result of this is a happy, hopeful sounding melody and harmony, again in the key of C major, but emphasizing G.

That’s incredibly simplified, but a start. Hopefully, it’s enough to give you a little better idea of why a certain mode might be chosen for a melody or solo. 

Bottom line is, when you’re looking at formulating a melody, you can look at the various modes for tones that fit the feeling you want the melody to portray. I found some good examples of modes in use - these should give you a better idea of what I’m talking about. 

We’re not going to stay on modes in our study of melody, but at least you’ve gotten some exposure to what they are (when they come up in your travels).

Speaking of travel, I’m actually flying out today at 9am. Going back to Ohio to visit with the family for the holidays. I hate to say it, but I’m going dark for a few days, so don’t expect an email from me until Monday. 

I’m not going to have a computer, so it’ll be tough to get you emails. I hope you can survive without a daily message from me!

Have yourselves a great weekend!

Peace~

Dave