So is this breaking the chord the same as Modal interchange that I linked in a the video earlier? I've watched a number of videos on modal interchange, and I'm still unclear how free you are to choose a different mode when you do.
 

Hi, Kamikaze. To be honest I have not checked any of the vids posted (just riffin' from memory here in betwixt other stuff in the meatworld).
 
"Modal interchange" to me though sounds like swapping out a minor mode for another minor mode when the root chord being played allows it (and similarily swapping out a Major mode for another Major mode when the chord allows it).
 
What the past few posts have been about is literally changing keys via the harmony. As in the actual chords of the harmony are breaking the key whereas just swapping out one mode for another may break the "melody" key while soloing but the overall harmony/chord progression remains intact.
 
To go back to the 12 bar blues I, IV, V analogy...
 
You can play various modes over top of those chords because they are not complex enough to cause "clashing".
 
What Voda is describing is like if we took that I, IV, V harmony/chord progression and turned the perfect IV into something entirely different... like a flatted diminished II or whatever.
 
In his paradigm it's the natural F that screws it all up JUST for a second (or you could "imply" that mode for the whole bar with the bass line, or another guit, or piano or orchestral stuff... lots of ways to approach it).
 
Your basic triads for Major and minor chords allow you to swap out modes rather easily. Once you start adding other notes (such as the 7th) you start limiting your modal options. Also the chord progression/harmony can bugger you up too... as in your mode may sound good over one chord in the progression but once you move to the others it ruins the modal vibe you established because you didn't take into account the overall progression.
 
uhm... okay I'm not sure I'm being useful with this post but ya... doin' shtuff.
 
Will clarify when I can.
 
Cheers!

BTW... when it comes right down to it changing your mode over the same chord IS essentially changing the key by you redefining it over top with your noodles... AND you can also go from Major to minor (or vice versa) as well.
You just need to make sure your harmony adjusts as well if needed (such as a walking bassline or rhythm guits or back up brass, etc).
 
THAT is the "chord by chord" approach mashed in with modal theory wrapped up in a jazzy/proggy/bluegrassy enigma.
 
That's what you want to build up to with all this.
 
To me I pick up my guit, hunt around a bit for the overall key of the tune. I find the underlying harmony/chord progression and learn it. Then I just go nuts until something sounds "wrong". Then I solve what is causing said "wrongness"... which is more often than not a total break from the assumed key.
 
If that makes sense.
 

Modal Interchange includes changing a chord from Major to minor.
 
JazzDuets Video defines it as
1. Modal interchange is an Unprepared harmnic switch utside the key.
2. The duration is short, not long enough to be a modulation.
3. The modal interchange comes from a paralel tonality.
4. It ups the emotional charge (You can feel it)
 
I'm gong t re-watch Rick Beato's video to see if I can get some more clarity.
 
[tube]Scrub that, he's all over the shop in expiating[/tube]

Kamikaze
Modal Interchange includes changing a chord from Major to minor.
 
JazzDuets Video defines it as
1. Modal interchange is an Unprepared harmnic switch utside the key.
2. The duration is short, not long enough to be a modulation.
3. The modal interchange comes from a paralel tonality.
4. It ups the emotional charge (You can feel it)
 

urm... I guess I can agree with that BUT the only objective point on that list is #1...
 
1. Modal interchange is an Unprepared harmnic switch utside the key.
 
The rest is subjective wishy washy stuff that defines nothing concrete and kind of clouds the issue.
 
I GUESS #3 is trying to say something objective but it mystifies and magicalizes the concept unnecessarily... which is (if I am reading it correctly) that when switching modes, over the same chord and/or the same root note, you are using the same root note. Of course you are using the same root note. That is the point of switching modes... while riding on a specific root note.
 
Play an Amin chord and muck with the all the minor modes you can construct off the root of A. Switch the Amin to an AMaj and jam out in the Major modes you can build off the root of A.
 
You are switching modes like a madman but riding on the same root note... A.
 
Of COURSE there is a common "tonality"... it's the Root Note... A.
 
Sorry, I just find the way this stuff gets taught sometimes to be really counterintuitive.

I think I have it now

Beepster
 
Sorry, I just find the way this stuff gets taught sometimes to be really counterintuitive.

Did you watch the JazzDuets Video?

Modes put in the order of flattening a note at a time. Going from bright to dark

http://www.jargstorff.us/wordpress/wp-content/uploads/2011/08/Major-Modes-on-Circle.png

This thread, and Beepster, be brilliant.
 
The major (sorry, for clarity's sake, the primary) problem is that by the time you have figured out where you are, and where you want to go next, using ionic parameter fallopian, the rest of the band has finished the song and is on break talking with chicks.
 
So, for the kids out there, don't abandon the "hear it in the mind's ear, then play it" skill set.  . . But either way, It's thousands of hours in front of yer instrument.

Sometimes its great to just make up a different rule for chord progression.
 
This theme is from Christopher Frankes "Babylon 5" album. It is the same theme on both tracks.
 

https://soundcloud.com/oyvind-skald/02-chrysalis-pt-2#t=3:23
 
https://soundcloud.com/oyvind-skald/03-chrysalis-pt-3#t=1:12