Clearing Pokémon efficiently is the key to winning Pokémon Shuffle's many stages! Use all the strategies and tactics available to you, and learn to read the board to spot future matches. To clear each stage, you'll have to reduce the HP of the wild Pokémon you face to zero within a set number of moves. There is no time limit, so you can take as long as you like to study the board. If I’ve found one thing about modes, it’s that they give writers a more complex palette to work with instead of being stuck with major = happy and minor = sad.Each stage in Pokémon Shuffle provides you a limited number of opportunities in which to move your Pokémon around. Those are just some of the associations I have with some of the modes, but everyone will have their own. Think of how bright and kinda zany that theme song feels, Lydian is great for that. Lydian is great for a real citric, bright, feeling. I interpret phrygian to have sort of a Spanish/Egyptian exotic sound (oddly enough, it gets used in a lot of metal, but its certainly good for a lot of different sounds and feelings). Mixolydian tends to have somewhat of a ballsy, indifferent sound so it’s great for rock, but it can also have sort of an exotic sound (check out the fiddle solo at the end of Baba O’Reilly by The Who). I’ve always found Dorian to sound very chilled out and hip so I use it for that. Not everybody will perceive it exactly the same way but a lot of people agree that the modes played in that order get progressively darker and you can sort of get to know the feeling of each mode and use that as an emotional tool in composition. From bright to dark it’s Lydian, Ionian, mixolydian, Dorian, aeolian, phrygian and locrian. The only think I have to add to your perspective of modes is thinking of them as a spectrum of flavors. D Dorian is D minor with a natural sixth). Basically people get caught up thinking of parent scales rather than root notes (D Dorian is just C started on D vs. Changing the melody is changing the chords, is changing the modality. Notice how the only difference is the b7 in the 5 chord? This is the value of having multiple angles to approach things, you find that they complement and back each other up. everything is the same so far v - minor 5 chord, 5 b7 9 I - major I chord, 1 3 5 IV - major 4 chord, 4 6 8. Notice how these give us all the intervals necessary to build the complete major scale, as the 9th is equivalent to a 2nd. Starting with Ionian- I - major 1 chord has the notes 1 3 5 IV - major 4 chord has the notes 4 6 8 V - major 5 chord has the notes 5 7 9 Every modal scale can be broken down into its 1 4 and 5 chords, because their chord tones make up all of the intervals you need to build the scale.
You mentioned the whole point of Dorian is the major 6th- well, just remember every time you see a scale with a Major 6th, it also makes your 4 chord major. I will say that sometimes the relative mode thing is useful when playing guitar, as you can slide up the neck and use the mode position based on the root your finger lands on.Īnother cool tidbit I found after screwing around with them for a while is that, because the collection of notes change, so do the chords, and this happens in a very predictable fashion. The main angle I use is the one you mentioned, where I just see them as alterations on the major/minor scale. I think the best way to conceptualize anything is to get it from multiple different angles. Explaining modes as "Playing a scale but starting on different notes" is technically correct but offers no guidance for how you might use them. The reason why modes never seemed useful is because they were explained to me wrong. And a whole new world of music theory opened up to me. Lydian is "the sound of a major scale where the 4th is raised", Mixolydian is "The sound a major scale where the 7th is flattened", etc. The point of Dorian is not that you play a scale from the second note, it's that it's a minor scale where the 6th is raised a step.
#SONORITY MODE FULL#
It's clearly in a minor key, but it's chock full of IV chords, not iv.
One day, it finally clicked for me when thinking about the song "Mad World". And it all just sounded like playing a C-scale but starting on the wrong note.
Guitar players would describe them to me and say how cool they were, and then I'd go home to my piano and play a C-scale starting on C.
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