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Modes Matrix 1

I wrote this study about modal playing, wishing to structure some concepts for ‘playing out’/create tension while phrasing. I elaborated this from an idea Mr Olivier Hutman gave us at his master class on dec1st 2017 at Beijing Contemporary Music Academy to understand better the phrasing style of Herbie Hancock. Enjoy

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Phil
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120 views1 page

Modes Matrix 1

I wrote this study about modal playing, wishing to structure some concepts for ‘playing out’/create tension while phrasing. I elaborated this from an idea Mr Olivier Hutman gave us at his master class on dec1st 2017 at Beijing Contemporary Music Academy to understand better the phrasing style of Herbie Hancock. Enjoy

Uploaded by

Phil
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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Written by Philippe Mege

Wechat: pjazzfunk
Email: [email protected]

Modes Matrix 1
Foreword: I created this matrix after being inspired at a master class from Mr Olivier Hutman on Friday, December 1st of 2017 at
Beijing Contemporary Music Academy. Mr Hutman explained to us how to move around a Dorian mode to structure our out playing
and understand better the style of Herbie Hancock. I elaborated from this idea and transposed it to C major scale but you could think
D dorian anytime I say C major for the same effect.

Concept: This matrix represents all intervals created while playing a C major scale (horizontal top row) over a bass moving
chromatically (vertical left row).
When the bass is not included in the C major scale, it creates a collection of 5, 8 notes modes; with Db, Eb, Gb, Ab and Bb bass -
notes from Eb minor pentatonic scale.
Note that I use 9,11, 13 instead of 2, 4, 6 denomination because these new synthetic modes sound much better when playing upper
structures of chords (but i still keep 1 for the root and dont use 8 denomination).
Because these 8 notes modes now introduce what can be seen as passing tones, I will use the traditionally used Bebop term in this
way; bebop9= 1-b9-9, Bebop b7= b7-7-1.

Note C D E F G A B Denomination

Bass

C 1 9 3 11 5 13 7 Ionian

Db 7 b9 #9 3 b5 #5 b7 Altered bebop b7

D b7 1 9 b3 11 5 13 Dorian

Eb 13 7 b9 9 3 b5 #5 Lydian Augmented
bebop9

E b6 b7 1 b9 b3 11 5 Phrygian

F 5 13 7 1 9 3 #11 Lydian

Gb b5 b13 b7 7 b9 b3 11 Locrian Bebop b7

G 11 5 13 b7 1 9 3 Mixolydian

Ab 3 b5 #5 13 7 b9 #9 Lydian Augmented
Altered9

A b3 11 5 b13 b7 1 9 Aeolian

Bb 9 3 #11 5 13 7 b9 Lydian bebop9

B b9 b3 11 b5 b13 b7 1 Locrian

Application examples: these are made to create tension. Go with an open mind/ear. Dont expect comfort.
(not transposed for the sake of clarity, please transpose for yourself):

1- Over a Ab minor vamp, create tension by playing C major scale (or D dorian). This Example was played over a F minor vamp by
Mr Olivier Hutman at the master class, phrasing with B dorian.

2- Over a Db7alt the matrix suggest that I could use a C major scale. Or you can see it as D Dorian over Db7alt. General rule;
dorian mode played a half step higher than a alt7 chord root.

3- Over a Ebmaj7 chord, I could use C major scale so I hear the exotic tones of Lydian augmented with passing tones from 1 to 9.
General rule; major scale from the 6th of a Major chord or a Phrygian Mode from a half step above.

4- Over a Bbmaj7, I would use C major scale and thus create a Lydian sound with passing tone from 1 to 9.
General rule; major scale from the 9th of a Major chord.

Suggestions for further studies:


-Hear what happens when using a pair of F an G major triads (no E vertical row in the matrix). Nice modern sound with more
harmonic stability;
-Replace E by Eb in the horizontal top row and find out the sounds created with C Melodic Minor. (could do with Harmonic minor..)
-Each bass note can be harmonized with different types of triads and you can play an Altered bebop b7 over a minor chord if you
hear it. Mr Hutman was at one point using a F# Dorian over a F minor vamp, which is that Altered bebop b7 sound. Or at one point
he was using A dorian over F- vamp: same as C major over a Bb minor vamp (a lydian bebop9 over a minor chord!).
Or sometimes I like to use Phrygian over a Dominant chord (example; G Phrygian over G7alt).. why not!

Practice smart, be creative :)

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