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Putting Modes Together

Question

  • It seems that it comes down to trial and error in when putting modes together. I'd appreciate it if you could just give an example of two modes sound good together. Say, D Lydian and A# Phrygian or something like that. I am also interested in what the best way in combining these together is in your opinion. By the way, I love the importance of skat video; It has helped me solo and compose like nothing I have ever seen.

    • Response

  • I'm glad you enjoyed them and got something from them. The example of the modal video was to merely diversify the diatonic modes. (playing them from the same center) As far as trial and error, well, that sure is a great way to learn and the best way I would describe the road to creative improvisation/composition - ONLY if your "errors" are based on your particular musical tastes at the time, however.


  • A video of combining 2 modes together for either co-existence (poly-tonality), or modulation (changing keys and/or modal colors) is a complex one to put into a short (under 10 minute) video. I will say to you that this (dealing with the relationship of 2 modes) was a personal curiosity of mine many years ago when I was very into experimenting with music. I will give you but a small hint that should put you on your way for experimentation:


  • The Concept of Distance. Much like a family tree analogy the distance factor is most interesting with diatonic modality. If you are C (Ionian) then your parents are F (Ionian) Your first descendants would be G (Ionian)and so on. Most people refer to this as the cycle of fifths or fourths for key signature purposes, but in this case, let's take a more interesting look: Common Tones. Hence, The Concept of Distance can be measured by the common tone factor. Example: comparing A Aeolian to G Phrygian is creating the same distance factor (amount of common tones) as C (Ionian) to Eb (Ionian) because their derivatives (A Aeolian = C and F Phrygian = Eb) are simply going from the "key signature" or C Major to Eb Major. Consider this:
  • A Aeolian to G Phrygian:
  • 1) root progression = A to G (minor7th interval)
  • 2)Color change = Aeolian to Phrygian
  • 3)(and the most interesting hidden factor) Distance Factor = 4 common tones.


  • I know this seems complicated but you need to think about it and find your own personal uses for it, no matter what style of music you play/write.