Another thing is not too many people do runs for every chord. I actually hate dislike doing runs, but that's a whole other topic.
Ur logic using the scale degree chords and corresponding mode is theoretically sound, but does it sound good enough to be called musical? Are u playing the whole mode or parts of the mode?
I like the way u think man. I have similar thinking, build upon things u know with more complex things.
Well, I'm glad we have similar thinking...lol! ^_^
The next topic would probably be about learning how to play in mode keys. Since we have a basic of understanding of what modes to apply over the original chords; but we've barely scratched the surface of this thing. As often as we like to make Aeolian/Natural minor our mode key by making that vi chord in Ionian become our "i" chord in Aeolian, we forget about the wrest and don't apply that same concept to the other modes by making neither the ii(Dorian), iii(Phrygian), IV(Lydian), V(Mixolydian), or vii*(Locrian) chords become our 1 chord, and once we put do this new concept to work, I think it'll remove all of our limitlessness.
This is what happens when you would make these chords become your 1 chord, basically you'll still be in your main key, but all your doing or would be caught playing in a different mode key other Ionian or Aeolain that's all.
Mode KeysIonian - I ii iii IV V vi vii* Dorian - i ii III IV v vi* VII
Phrygian - i II III iv v* VI vii Lydian - I II iii iv* V vi vii
Mixolydian - I ii iii* IV v vi VII Aeolian - i ii* III iv v VI VII
Locrian - i* II iii iv V VI vii
Put this formula to work in the key of C.
C - Ionian/Major Key
I ii iii IV V vi vii*
Cmaj = I
Dmin = ii
Emin = iii
Fmaj = IV
Gmaj = V
Amin = vi
Bdim = vii*
D - Dorian
i ii III IV v vi* VII
Dmin = i
Emin = ii
Fmaj = III
Gmaj = IV
Amin = v
Bdim = vi*
Cmaj = VII
E - Phrygian
i II III iv v* VI vii
Emin = i
Fmaj = II
Gmaj = III
Amin = iv
Bdim = v*
Cmaj = VI
Dmin = vii
F - Lydian
I II iii iv* V vi vii
Fmaj = I
Gmaj = II
Amin = iii
Bdim = iv*
Cmaj = V
Dmin = vi
Emin = vii
G - Mixolydian
I ii iii* IV v vi VII
Gmaj = I
Amin = ii
Bdim = iii*
Cmaj = IV
Dmin = v
Emin = vi
Fmaj = VII
A - Aeolian/Natural Minor
i ii* III iv v VI VII
Amin = i
Bdim = ii*
Cmaj = III
Dmin = iv
Emin = v
Fmaj = VI
Gmaj = VII
B - Locrian
i* II iii iv V VI vii
Bdim = i*
Cmaj = II
Dmin = iii
Emin = iv
Fmaj = V
Gmaj = VI
Amin = vii
Its been said that...
Ionian mode/scale - Sounds more happy
Dorian mode/scale - Has a jazz sound
Phrygian mode/scale - Has rather a Spanish sound
Lydian mode/scale - Sounds more dreamy
Mixolydian mode/scale - Sounds kind of bluesy/rock n roll
Aeolian mode/scale - Strictly pure minor
Locrian mode/scale - Very dark and evil sound
I also notice that some of these same chord progression that we play in Ionian, could be written as something else in the other mode keys, but they still all have the same chords, though, but the best way to play in is to probably keep coming back to it so that, that ear hears it. Just imagine playing the typical I-IV-V-I or the IV-V-I or the V-IV-I in each mode key other Ionian and see what creativity we can get. Now, none of this info is new because the outsiders (the world) already knows about this, and they probably have already advanced in this new concept, but it seems as though like the church/musicians are just learning this stuff, and it seems as though we're trying to catch up with them.
Food for thought imo!
