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In my continuing haphazard musical education, I've become very interested in modes. So far it seems like I will be able to find the right chords to enter into BIAB, but I am not so sure about how efficient BIAB is in selecting notes in soloist or melodist.
What exactly is BIAB or RB able to do with modes? I expect it will help me learn, but beyond that in creation, what are it's capabilities and limitations?
Thanks.
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Beginners Forum
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I should probably add that I have used a much older version of BIAB, but have ordered the 2018 Audiophile version for Windows. Just looking for a bit of a heads up before the HDD gets here, so I can get right to work.  I have a scheme to create a new album of music written in the various modes.
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Journeyman
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Journeyman
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Hey Tamgo,
Huge music theory enthusiast here.
Here's the interesting thing about modes. At the simplest level, it would not be incorrect to say that modes are nothing more than diatonic scale degrees started at different locations.
That is, take a regular major scale (Ionian), shift to the second and you have Dorian, the third-Phrygian, the fourth-Lydian, fifth-Mixolydian, sixth [relative minor] Aeolian and the seventh, Locrian. However, the essence and soul of modes does not simply imply playing the usual major and minor one is comfortable with (Ionian and Aeolian, respectively) just beggining from different degrees.
Each mode has inherent vamps, progressions, and substitutions. This is a topic that can take months, if not years of study.
Now in the context of BiaB--I've used BiaB pretty much exclusively for educational purposes (often just by slapping together some quick backing tracks to explore modes) and, in my experience, if you want to use Realtracks (with MIDI pretty much anything is possible) you'll have the best luck with the aforementioned Ionian and Aeolian, and also Mixolydian and Dorian. For Mixolydian, look for tracks that begin with a V7, and for Dorian, non-jazz tracks that begin with a ii (2 minor).
I would hit up a lot of the Bluegrass styles for Mixo and Celtic styles for Dorian. Note that many, many, jazz tracks will begin with the minor second as the ii V7 I(maj7) is a staple of jazz, to get the "soul" of Dorian it may be helpful to stick with the relatively simpler Celtic tracks at the outset.
Now, for conceptual purposes, try to focus on intervals and scale degrees as they relate to the tonic, rather than how your tonic relates back to the I.
Here's a one-minute cheat sheet to making backing tracks to jam along with modes.
Ionian (9 out of ten songs-whatevs)
Dorian (ii V vamp).
Phyrigian (III to IV or vice versa) An no, that was not a typo, use the major third instead of the minor third-which the third degree is otherwise supposed to be. You basically go back and forth a half step. This is a quirk of the particular mode.
Lydian-major7 chords (NOT dominant 7!) Try experimenting cycling among the V7, vi7 and I.
Mixolydian -- V7 IV7 vamps with an I7 thrown in as needed. (here you go with the dominant 7 on the fourth degree) Also, every three chord Grateful Dead song, like, ever.
Aeolian - Every minor key song that's played on the radio (except for Santana and that Jefferson Airplane song) since, well, the advent of radio.
Locrian- Jazz, Jazz fusion a la John Scofeild, et al
Hope this helps some :-)
DB
Band-in-a-Box 2021 PlusPAK w 2019 Bonus Pak. Custom Build Desktop PC W/ Windows 10 Home 64-bit. CPU: Intel Core i5-9600k @ 3.7GHz (6 core x 6 threads) RAM: 16GB DDR4. Storage 238GB SSD + 2.7 TB HDD. GPU: ZOTAC NVIDIA GeForce GTX 1050 Ti 4GB
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Beginners Forum
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Joined: Aug 2018
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Thanks, DB. That helps so much I'm going to print that cheat sheet out in large font! Between that, some good you-tube videos on the subject, and a cheat-chart or two I may lick this thing yet.
I understand what you are saying about fully extracting the feel. Some modes aren't much use without full grounding in the tonic, for example.
Since I'm not much of a player and not completely well-versed in theory, I'm hoping that I'll be able to force (for example) a guitar soloist (in midi at least) to play only the notes in each modal scale and avoid notes that aren't--without editing midi. Hearing it is the best way to "learn" for me, and if I can get usable tracks out of it, that's a significant bonus.
Thanks again.
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