Ear training Practice for Parallel Modality

Dave Woods just posted this to the jazz guitar group. Enjoy!

Ear training Practice for Parallel Modality

On your guitar using the open A string as a common Tonal Center, play this

---0------
---10----
---8-----
---7----
---0---
---X---
This will play an A Tonal Center on the open 5th str., and the open E on the
1st. string will sound the perfect 5th. These set up an A Tonal Center drone on
the Guitar. The fretted notes give you A D# A, and against the A Tonal Center,
it sounds the Key Tritone of A Major Lydian Key of E.
(A) B C# (D#) E F# G# (A). Strum the guitar, play it with the open A,
open E Tritone drone, and sing the Mode. Then sing The Mode in your mind only,
as you play the drone. You will be hearing the Key Tritone against the Tonal
Center. Nothing cements the feeling of a Mode in your consciousness better than
this.

Next, on your guitar using the open A string as a common Tonal Center, drop
the fretted notes down one fret.

---0------
---9----
---7-----
---6----
---0---
---X---
This will play an A Tonal Center on the 5th str., and the open E on the 1st.
string will sound the perfect 5th. This sets up an A Tonal Center The fretted
notes give you A D# A, and it sounds the key Tritone of A Major Ionian (A) B
C# (D) E F# G# (A). Key of E.
Strum the guitar, play it as a tonal drone, and sing the Mode against the
drone. Then sing it in your mind only, as you play the drone. D# is lowered to
D. This gives a feeling of loss of tension.

Next, move the fretted notes down another fret.
---0------
---8----
---6-----
---5----
---0---
---X---
The fretted notes give you G C# G, and it sounds the Key Tritone of A
Mixolydian Key of D
(A) B C# (D) E F# G (A). Strum the guitar, play it as a tonal
drone, and sing the Mode. Then sing it in your mind only, as you play the
drone. Here D# drops to D. Go back and forth till' you sense the drop. G# is
lowered to G.

Next, move the fretted notes down another fret.
---0------
---7----
---5-----
---4----
---0---
---X---
The fretted notes give you F# C F# , and it sounds the Key Tritone of
A Minor Dorian Key of G
(A) B C (D) E F# G (A). Strum the guitar, play the tonal drone,
and sing the Mode. Then sing it in your mind only, as you play the drone. Here
C# drops to C. Go back and forth till' you sense the drop.

Next, move the fretted notes down another fret.
---0------
---6----
---4-----
---3----
---0---
---X---
The fretted notes give you F B F , and it sounds the Key Tritone of A
Minor Aeolian Key of C
(A) B C (D) E F G (A). Strum the guitar, play the tonal drone,
and sing the Mode. Then sing it in your mind only, as you play the drone. Here
F# drops to F. Go back and forth till' you sense the drop.

Next, move the fretted notes down another fret.
---0------
---5----
---3-----
---2----
---0---
---X---
The fretted notes give you F Bb F , and it sounds the Key Tritone of
A Minor Phrygian Key of F
(A) Bb C (D) E F G (A). Strum the guitar, play the tonal
drone, and sing the Mode. Then sing it in your mind only, as you play the
drone. Here F# drops to F, and B lowers to Bb. Go back and forth Through the
Modes till' you sense the drop.

A lydian has the most tension, as you go down through the Modes from
A Lydian to A Phrygian, the tension keeps dropping. Keep listening, singing, and
singing in your head as you listen to the Modes against the Drone.. This is
great training for composers, but will be a revealation to jazzers as well.

Dave further elaborates:

The Parallel Modality exercise was invented for a very talented friend who
wanted to learn to hear Key and chord Changes better.
In parallel Modality the Tonal Center is fixed on a given tone and the keys
change in relation to it. As you go through it, you feel the lift and drop
within you as the Key Tritone changes in relation to the Tonal Center and notes
get raised and lowered. Lydian is the most tense and brilliant, and as you go
down the line, Phrygian is the least tense and an angry sad feeling.

I come from a composition background. Grant Fletcher was my teacher at Arizona
State University back in the 60's.
There, I learned a theory of modulation.

Starting from the Key of C, G is 1#, D is 2#'s, A is 3#'s, E is 4#'s B is 5#'s,
and F# is 6#'s. In Modulating from the Key of C, to keys with sharps, the
pitches (frequencies) of notes are being raised (getting faster). .

Starting from the Key of C, F is 1b, Bb is 2 b's, Eb is 3b's, Ab is 4b's, Db
is 5 b's, and Gb is 6 b's. Here, pitches (frequences) of notes are being
lowered (getting slower) Therefor, the body feels a drop in tension.
These effects are best felt when the key changes are heard within the same
octave register.
Gb and F# are enharmonically the same, and here the effect of a lift or drop of
frequenct cancels itself out. raising from C to 5 #'s, or lowering from C to
five b's is the limit of the effect.

In my opinion, such as it is, training your ear (inner feelings) to be sensitive
to key changes is the all important first step.
Whin I hear a Key change the new key opens up within me in all regesters from
high to low at once, and I can just dive in. We hear and sing inside, and that
is projected through the guitar.

Dave Woods www.jazzguitarstartingright.com