Discussion in 'Trumpet Discussion' started by trumpettrax, Apr 3, 2012.

  1. Satchmo Brecker

    Satchmo Brecker Piano User

    Jul 19, 2010
    Depends too on why you're learning them. Improv is definitely one reason, and really the end result there would be learn'em then forget about it, i.e. judge by your ear, not by some theoretical "this is correct, this isn't". The other thing though is by working through all the modes you really get the scale under your fingers. If you simply stick to say C major from C to C, you'd be surprised how your fingers will mess up going from say E to E. Muscle memory is a funky thing.
  2. trumpettrax

    trumpettrax Piano User

    Mar 18, 2006
    ok, another question regarding scales. What is the purpose of the different scale patterns? Is it just another way to get familiar with the scales???

    Examples: cde,def,efg
    cdefedefgagfgabc etc

  3. jiarby

    jiarby Fortissimo User

    May 7, 2011
    That's how they write music...

    A song made up of only major scales from the root to the root would be pretty boring. The point of practicing scales, intervals, arpeggios, slurs, and tonguing is so that you will be prepared to play MUSIC without having to worry (or even think about) the fundamentals of playing the horn.

    It's like learning a foreign language. At first you learn a couple words, conjugate a verb here and there.... but eventually you may become fluent and even THINK and dream in the new language.

    Scales, intervals, and those things are the words you end up using when you start communicating by playing music.

    When you start playing the trumpet you learn fingerings, then how to read notes (remember writing fingerings above the notes the first few weeks!?)...
    Then rhythmns... but your brain is still mechanically trying to translate what it sees on the page to what your body needs to do to produce the sound that matches. The greatest players skip that middle step and can go right from the page, they hear the sound in their brain, and then reproduce it on the horn. They don't worry or even think about the mechanical parts like air, embochure, valves, etc.. They can just do it because they practiced those scales and scale patterns and all the other fundamentals endlessly in their youth.
  4. TrumpetMD

    TrumpetMD Fortissimo User

    Oct 22, 2008
    Yes, I practice various patterns to help me better learn my scales.

    And as Jiarby pointed out, these patterns are the "words and phrases" we use to communicate when playing.

  5. Phil986

    Phil986 Forte User

    Nov 16, 2009
    Near Portland, OR.
    I'm not sure I totally understand your question. When doing a basic mode (i.e. a mode constructed on the notes of the C scale), you're essentially using a different scale. Sure the notes are the same as the C scale but their order and the succession of intervals are different. The fundamental, 3rd degree, all dgrees are different, as may be the interval between the fundamental and each degree.

    It is the succession of intervals that defines any scale and gives it its character. Knowing modes is quite an undertaking: every mode can be transposed to be played with any note as its fundamental. You need to know your major scales really well to then work out the modes. The Dorian mode is used extensively in Jazz, that's an easy one: think about playing the major scale of the note one tone below (i.e. E Dorian is like D major played from E). Other modes are trickier but also less common.

    Have fun.
  6. ozboy

    ozboy Mezzo Forte User

    Jan 17, 2007
    Modal knowledge is important with improvisation. If you hear a player playing 'outside' (notes not from the tonal centred scale) and they sound right, it is usually because they have lead the listener on a journey from the familiar to the unfamiliar through a kind of patterned sequence that makes audible sense. I will give you a simple example. If you were improvising over a C chord and you started playing a whole heap of F#s and G#s, it might sound a little weird. Now start playing a pattern like C D E, D E F#,E F#G#, F#G#A#,G#A#D,C etc then it will tonally make sense as long as you resolve it to a note with a strong chordal centre. hope this makes sense.
  7. Bob Grier

    Bob Grier Forte User

    May 4, 2007
    Greensboro, NC
    When the pianist is playing a CM7 you can play on a D Dorian scale. same key but your solo is now centered on the 9th. A hip note. basically the mode scales fit with different types of cords. The inform us of th ebasic note choices we can use with that chord. The also help us play horizonally/melodocally not vertical. Like playing on each chord is vertical.

Share This Page