Each scale mode actually has the most characteristic progressions
It can be distinguished at the first listen.
Especially lydian, dorian, and Phrygian, these are commonly used in various songs.
I don’t know anything else.
So, can SCALER TEAM continue to do a great thing.
Make each of them. I didn’t think it would be convenient to put it on the top, or to put it in area B or area C.
This is equivalent to a classic recommendation?
It does not matter if there is a text in the introduction.
Or, these functions already exist, but I don’t know.
Can you understand what I mean?
Each scale type has a well-recognizable chord progression. Make this chord progression easy for everyone to use and write it out directly, which will also help you learn music knowledge.
Because it is a translation, I am worried that everyone will not understand it. I will give another example of MixoLydian at the end.
The biggest change in MixoLydian is Bbmaj, Gm
I don’t play keyboards, but plunk (badly) from time to time on my guitar. The sound of scales on a guitar tend to have different emphases to keyboards, because of the ability to bend them etc to give a sort of micro-tonal twist. Guitar wise, IMHO the most distinctive aspect of the Phrygian Dominant is the natural third, which gives a very ‘eastern’ sounding tonality, rather than the flat second.
In the diatonic major modes, both Locrian (not featured in may songs) and Phrygian also have a flat second, and in the latter is the distinctive note in that mode, beloved of heavy metal groups (and they might switch between Phrygian and Aeolian).
“Each scale type has a well-recognizable chord progression”
Normally the chords associated with some given scale to build progressions are represented by the harmonisation of the scale, which is shown in Section B when you choose a scale. The vast majority of most standard progressions are based on (they might be extended) chords chosen from that harmonisation.
So here, I’m not quite sure of what you are asking Scaler to do? I would have thought that the vast majority of everyday ‘popular’ music is constructed from chords from the harmonisation of the Diatonic, Melodic and Harmonic minor scales (although modes of the Ionian surely dominate by a significant factor?).
I agree entirely with you that most scales / modes tends have a prominent note which characterises them (although this is often because a musician gives them prominence rather than using then in passing.), which is what you were pointing out with flat second and the dominant seventh. [Another very noticeable ‘jump out’ is the flat 5th in bluesy sort of music.]
So with dominant 7ths chords in a progression, you would probably play Mixolydian *** ; bright and happy might be from the raised 4th in the Lydian ; evil from the flat second in Phrygian and so on.
Yorkeman
*** However, axe folk may well fall back to pentatonics to avoid shifting about too much. So over a dominant bluesy progression Am7, Dm7, Em7, the guitarist may well use A minor pentatonic.
But it is all right there laid out in front of you. It’s already there. You have kind of figured it out. Keep going and use what sounds good. You need to make an effort to learn. Keep at it.
Yes, to echo @jamieh’s encouragement, @swingmix your illustration and descriptions are inspiring to me, for you it might be a question, or you are looking for something that apparently you haven’t found yet, but in the process you make people like me learn new aspects from your method of using Scaler Thank you for that!
If you know your major scales, you already know your Dorian mode. Depending on your instrument and the way you think, major scales may well be the easiest way to figure out the Dorian mode.
Thank you for that!