Well, this is a bit of a struggle so far.  I've got to figure my way out of this box.  
 
I was reading your last post and I kind of wish I would have started learning all this differently.  See, I mapped out the whole E major scale on my fret board, to start with, then worked from low E to high E, 3 notes per string.  I did this with E, A, C, D, G and F, and had planned to continue on this way.  
 
I would vocalize the position in the scale, so for E major I would start off "1", 3 notes per string up and then back down, then move up to F# and vocalize "2", rinse and repeat.  So, I got to the point where I could recognize the patterns of each mode, but since I'm blindly doing 3 notes per string, I never really "see" the mode, rather it just becomes the note I start with in the scale as opposed to really playing in that mode.  
 
So, I know how to start playing in all of the modes...their patterns are recognizable, but I'm struggling on how to play in them, exclusively, without just spilling back into noodling around in the relative major.  
 
I'll get it..but it's an adjustment.  Trying to see the mode instead of it all just disappearing into one big selection of notes.  
 
 

BTW, what I described above is CAGED theory-ish so if you are familiar with that a bit or give that a quick overview online it might connect a few more dots for ya.
 
Relying solely on CAGED theory is not recommended by Beepster Inc or its affiliates.
 
;-)
 

No problem guys. It's good for me to nerd out on this stuff every so often anyway as a refresher.
 
There's a lot for you guys to muck about with now so dig in and let me know if you get stuck or have any additional queries. I usually check the CH once a day even though I'm not posting as much as I used to (this thread excluded... lulz).
 
Cheers!

Rick Beato has some great videos here.
 
What You Should Know About Chord Families and Their Modes

 
Music Theory Lecture - What Every Pro Musician Needs To Know

 
Music Theory Lecture - What Every Pro Musician Needs To Know Pt 2

I wonder if the chord recognition in Cubase and Studio One 4 are similar. Can't beat the price of that app. Thanks for the heads up.

Indeed, Billy and thanks. I was contemplating going into a diatribe about intervals and what they mean/how they are analyzed... so let's do that now because it is really cool and helpful stuff when dealing with diatonic scale/mode theory (and chord construction).
 
I learned (almost) all this stuff from that book "Elementary Rudiments of Music" Starise mentioned upthread. It really is a fabulous book (although a bit dry and clinical but it IS a textbook so yanno... no pissin' around which I personally like).
 
First off it needs to be noted that the Tone/Semitone sequence of the Major (Ionian) scale is what we use as our "yardstick" for ALL interval measurements. You measure from the "I" step (Root note) up to whatever note you are creating/"solving" your interval with... no matter what. There is a specific naming convention for all the intervals in the Major scale. There is also a specific naming convention/protocol when analyzing/manipulating intervals that do not conform to the Major scale Tone/Semitone sequence.
 
The default terms used in our (unaltered) Major scale yardstick for each interval are as follows...
 
I = Perfect Unison
II = Major 2nd
III = Major 3rd
IV = Perfect 4th
V = Perfect 5th
VI = Major 6th
VII = Major 7th
VIII = Perfect Octave
 
In proper music theory we never use the same letter note twice in the same diatonic scale/key (in theory... once you start using scales with more than 7 notes like Mixo-Blues that goes out the window). So you would never use Gb and G in the same key... you would use F# and G instead.
 
So to maintain that "one letter name per step" principle while being able to cover all 12 keys we instead Sharp (+1 semitone) and Flat (-1 semitone) any notes that do not conform to our Major scale yardstick. It's essentially forcing all these keys and scales to conform to the hard ass rules of the stave. As counterintuitive as it may seem ("why not have 12 letter note names?") it actually works out very elegantly and is very interesting to explore, especially on guitar and/or writing it out by hand.
 
Now I'm going to show you what the procedure is to acheive this on our yardstick and the terms we use (and when we use them) when identifying the interval "qualities" (quality meaning whether the interval is Major, Minor, diminished, augmented, etc) of each step. This is where you need to actually memorize some stuff but it's not too hard.
 
For each step I will use -1, -2 or +1 to indicate how many semitones are being added or removed to/from our interval along with what the proper term is when we do any of those things to said interval.
 
I* = Perfect Unison
-1 = Diminished 1st
+1 = Augmented 1st
 
*Since this is the Root we don't screw with it. We make everything else wrap around it HOWEVER it is fun to contemplate such as the concept of Zero and the like. But yeah, altering this step merely puts you in another key/mode so it serves no practical purpose. If you did though that's the correct terminology (I think).
 
II = Major 2nd
-1 = minor 2nd
-2 = diminished 2nd
+1 = Augmented 2nd
 
III = Major 3rd
-1 = minor 3rd
-2 = diminished 3rd
+1 = Augmented 3rd
 
IV = Perfect 4th
-1 = diminished 4th
+1 = Augmented 4th
 
V = Perfect 5th
-1 = diminished 5th
+1 = Augmented 5th
 
VI = Major 6th
-1 = minor 6th
-2 = diminished 6th
+1 = Augmented 6th
 
VII = Major 7th
-1 = minor 7th
-2 = diminished 7th
+1 = Augmented 7th
 
 
VIII* = Perfect Octave
-1 = diminished 8ve (octave)
+1 = Augmented 8ve (octave)
 
*Just like the "I" (root) we don't bugger with this outside of extreme naval gazing. ;-)
 
First thing to notice is that all steps that start out as "Perfect" can only become diminished (-1 semitone) and Augmented (+1 semitone) while all steps that start out as "Major" have three possibilities, minor (-1 semitone), diminished (-2 semitones) and Augmented (+1 semitone).
 
An easy way to remember this is think of your twelve bar blues. I, IV and V are the chords you are playing and the I, IV and V of our Major scale yardstick are "Perfect". You can only add (Augment) or subtract (diminish) 1 semitone with a "Perfect" interval.
 
The remainder of our steps are II, III, VI and VII... all of which start out as "Major". You will notice that you can subtract up to 2 semitones from these intervals but like the "Perfect" intervals you may only add 1 semitone. So whenever you are on one these four steps of our yardstick the sequence is -1 = minor, -2 = diminished and as with all steps +1 = Augmented.
 
If you have to go beyond these boundaries then you are breaking the laws of diatonic theory which means one of two things... you are using a scale that has more than 7 notes (such as blues scales and the like) or you are misinterpreting the interval/scale/chord/key/etc.
 
Okay, so that is some pretty crazy old school music nerd stuff and probably a little heavy for folks just looking for some new noodling possibilities but it's super useful for understanding a plethora of musical concepts and language.
 
Cheers!

Nice one, Rocky. Good to see ya.
 
Here's an interesting one (that I just had to whip out the scale book to confirm... but I'm glad I did because it exposed a flaw in my original assumption)...
 
If you overlay the Dorian mode overtop of the Mixolydian mode you get the Mixo-Blues scale.... EXCEPT (and this is the part I had been overlooking) the Mixo-Blues scale also includes a diminished 5th in it's chromatic run.

Very cool thread... I'm gonna go home and dig up my music theory notebooks I made in college.

Leadfoot
Very cool thread... I'm gonna go home and dig up my music theory notebooks I made in college.

Ya, man. Do eet!
 
Some of the stuff mentioned today has me itching to post some more nerdiness but I think I may be typed out for the eve.
 
I also just spent the past few hours fervently hunting around my apartment for, initially, an extra guitar strap for my acoustic and then trying to find where in the heck I hid all my extra boot laces so I could actually use the strap I did find.
 
Bootlaces are still missing in action but I got ticked off and forced the issue by fashioning a headstock harness out of hair elastics.
 
TAKE THAT YOU FICKLE HIDEY BOOTLACES!!! BEEPSTER DON'T NEED YOU!!!
 
jk... please come home bootlaces because this hair elastic remedy is silly and stopgap

I dn't know that option on the fretbard view, I know about changing string tunings, but I don't use that view either.
 
The Midi Transpse effect allws you to pay C Ionian on the keyboard, but tell it to create an output of E Dorian or what ever. handy if you are a guitarist and want to cheat on the keys. 
 
I always find D Ionian the most comfortable mode on the Sax/Flute. D Ionian n my Soprano is actually  C Ionian, and on my Alto flute it's A Ionian. So Midi Transpose cane be useful for changing the output of my Midi Sax to accompany which ever real instrument I'm focused on.

Voda... I misinterpreted the chords and progression in play. It's still essentially the same situation I mentioned but I grokked it all wrong because I wasn't paying attention.
 
There may even be some harm/mel modal stuff going on there.
 
I'll get back to you when I'm less derped/distracted.

Okay, took another look. I get what you are doing now.
 
Your Amin chord is definitely A Dorian (and the relative Major G Ionian). So you got that "solved" (I keep using that word for a reason because it is literally "solving" a math problem) which is awesome.
 
My initial premise about the Amin/Bmin was more correct (I got confused thinking an F Maj chord was getting tossed in... which it is... kind of) so I guess ignore and/or glean something from my own logical error.
 
Your Bmin chord IS actually breaking the key but ONLY when you fret that natural F on the low E (or wherever). By doing that you are making your Bmin into a Bdim (diminished 5th) chord at that moment making it the root chord of the B Locrian mode (relative Major is C Major... one step above B).
 
There is also the possibility it can be viewed through the melodic and/or harmonic minor modes and how they shift and morph with the natural modes but then I really would have to take out some charts. lol
 
Hopefully all that made sense. Back to boring arse edits.
 
Cheers!