EXAMPLEs6-9 ‘modal’ chords cd tracks 24-30
Rather than thinking of chords as unmovable blocks it’s liberating to think of a key area and use chords derived from the scale (or mode) in a more fluid manner (particularly on longer one-chord ‘vamp’ sections); it also offers options for chords in conventional progressions. Pat Metheny, Bill Frisell, Joe Dioro, Kenny Burrell, Emily Remler, Scott Henderson and Allan Holdsworh take this ‘modal’ approach. There are many modes and concepts to explore but I’ve picked the extremely useful Dorian, Lydian, Mixolydian, and Altered.
eXample 6 Here’s a number of great-sounding chords, all over the neck, that describe D-E-F-G-A-B-C mode. The ‘character’ note of D Dorian is the Major 6th (B natural) and you’ll see that note appear in many of these voicings.
eXamGpUlITeA7RLydTiaEnCwHitNhIQitsUraEisSed24t7h2(B natural for F Lydian here) gives a GUITAR TECHNIQUES 2 7 2 beautiful floating quality to a Major sonority. It works greaMtfoilrto1n)e'sxteCnhdeodrd sections of Major 7th chords; 2) when the chord is not the I chord and; 3) ending chords. Practise these in a number of keys and contexts.
eXample 8 Mixolydian mode is top choice for Dominant 7th chords so think of these ideas as options over a dom7 chord from blues to funk to jazz.
eXample 9 The Altered (or Superlocrian mode) creates maximum dissonance b7th without ‘breaking’ the dom7 chord. It contains root, maj3rd and to define its essential quality, but all other scale degrees are altered from their natural
b9-#9, b5-b-13. A-Bb,-B#-C#-Eb-F-G. position, hence: A Altered therefore is Some players also include the 5th (as I’ve done here on a couple of the chords). I’ve also included a 13th, which sounds suitably John Scofield-esque, with a #9 or b9. These sound great over a Dominant 7th chord with altered extensions and/ wg hi nenJyaozuz want to create some added tension. Ex. 6 Dorian Fluency Ex. 6 Dorian Fluency Ex. 6 Dorian Fluency