Jim Moy

I am still studying major scale harmony, as I have [written previously][0]. Yes, I am going a little slow. Any forward progress is all good though, and I am getting it worked into my brain/muscle memory more and more, so it feels good.

[0]: http://jimmoy.com/index.php/2004/09/02/master-modal-pattern/

The usual starting point for learning the Ionian mode on the [Chapman Stick][1] is with the the middle finger just above the three-string “box,” 1 on the third string:

[1]: http://www.stick.com

|-6-|---|-7-|-1-|
|-3-|-4-|---|-5-|
|---|-1-|---|-2-|

It is one obvious place to start: straight major scale, and the pattern keeps you within the space of four frets, which requires the least amount of stretch between the fingers. This is the first major scale introduced in [Greg Howard][3]’s [_Stick Book_][4].

[3]: http://www.greghoward.com/
[4]: http://www.stick.com/instruction/books/stickbook/

The other common introduction to the major scale is starting on the second string of “the box” portion of the pattern. It is another obvious starting point, because the root is on the index finger, and is where [Bob Culbertson][5] starts in his [Intermediate level instructional video][6], as does the [Theory on Tap][t1] site. It takes a bit more movement if you are using a three-finger melody technique, and was the first major scale I learned:

|---|-7-|-1-|---|---|
|-4-|---|-5-|---|-6-|
|-1-|---|-2-|---|-3-|

[5]: http://www.stickmusic.com/html/biography.htm
[6]: http://www.stick.com/instruction/videos/lessonsonstick/
[t1]: http://www.scroom.com/mus_lessons/tot.3a.html

These are both fine and good, and I diligently memorized the patterns, up, down, sideways, etc.

The third-finger pattern was not coming as easily to memory. Mostly because I don’t practice enough, but that is a different story. However, I had a light bulb go on while reading [Emmett Chapman][7]’s [_Free Hands_][8], on page 21 where he discusses learning the seven modal patterns by starting with Lydian and flatting successive key signature notes. What I describe below coalesced a few concepts for me, and made it very easy to memorize.

[7]: http://www.stick.com/history/emmett/
[8]: http://www.stick.com/instruction/books/freehands/

Emmett presents it clearly, but also very broadly, and so he does not emphasize that when you start with the third finger there is a highly visual progression of the pattern on two strings starting with Lydian and progressing through each flatted mode. In the three-finger scalar technique on the melody side this does not happen with the same regularity when you start on the other two fingers.

The first time I read that page I thought, “Oh, that’s interesting, and sure, obvious, because it is the same thing that happens when you build up a key signature with flats.” That was more than a year ago. More recently, after a bit more time getting my fingers used to the seven string modal patterns, the light bulb came on and I realized what was happening. I immediately went back to that page and sure enough, a unique progression of patterns, starting with Lydian and proceeding to progressively flatter modes presented itself when I started with the ring finger.

I present them here with only the relevant positions, to clarify the idea. Watch the alternating “shuffle step” pattern on the _middle two strings_ as you move to successively flatter modes:

|-4-|---|---|---|---| Lydian
|-1-|---|-2-|---|-3-|      Start here, assume these illustrate the melody
|-5-|---|-6-|---|-7-|      strings 1 through 4 and for the most part ignore
|---|---|---|-4-|---|      strings 1 and 4.

|-1-|---|---|---|---| Ionian
|-5-|---|-6-|---|-7-|
|-2-|---|-3-|-4-|---|  < -- Highest note on string 3 flatted.
|---|---|---|-1-|---|

|-5-|---|---|---|---| Mixolydian
|-2-|---|-3-|-4-|---|  <-- Highest note on string 2 flatted,
|-6-|---|-7-|-1-|---|      lining up the patterns on both strings.
|---|---|---|-5-|---|

|-2-|---|---|---|---| Dorian
|-6-|---|-7-|-1-|---|
|-3-|-4-|---|-5-|---|  <-- Middle note on string 3 flatted.
|---|---|---|-2-|---|

|-6-|---|---|---|---| Aeolian
|-3-|-4-|---|-6-|---|  <-- Middle note on string 2 flatted, lining
|-7-|-1-|---|-2-|---|      up the patterns on both strings again.
|---|---|---|-6-|---|

|---|-3-|---|---|---| Phrygian
|---|-7-|-1-|---|-2-|
|-4-|---|-5-|---|-6-|  <-- Low note on the string 3 flatted.
|---|---|---|---|-3-|

|---|-7-|---|---|---| Locrian
|-4-|---|-5-|---|-6-|  <-- Low note on the string 2 flatted, lining
|-1-|---|-2-|---|-3-|      up the patterns on both strings again.
|---|---|---|---|-7-|

Compare Lydian and Locrian. Conceptually, I have _read_ in various books and articles a dozen times that Lydian has every note in its sharpest position while Locrian has every note in its flattest position.

Yeah, so?

But _look_ at the first and last patterns above. It was breathtakingly clear the moment I saw that the patterns on the two middle strings were identical, but shifted down a half step relative to the start/end positions. And my Stick allowed me to see it. Everything else is a logical shuffle step pattern in-between, and you can pretty much ignore the locations on the first and fourth strings because they don't move at all, the _pattern_ moves relative to them.

Why was it, when improvising/noddling over chord progressions, that I tended to repeat and savor the transitions across Dorian, Aeolian, and Phrygian? Because, not withstanding my personal aesthetics, _look_ how close they are, now I see it!

Of course, I did not see this earlier, because I was busy practicing modes with my first finger, then my second as I got comfortable, and finally my third to complete the cycle. The third-finger patterns may seem harder because there are four strings involved, but with this insight they have turned out to be the easiest of the lot for me to remember. Curious that it was this particular pattern that turned on so many light bulbs for me.

Greg also covers the Lydian to Locrian progression of modes in his book on page 6-5. He presents it in a more traditional staff fashion, so of course for me that meant it wasn't going to mentally gel, never having studied much theory via the traditional staff. (I have found many other things in his book that were equally helpful though.)

I keep saying three-finger technique, but the concept applies equally to those using four fingers since there are no fingerings notated above. It is just what I am using and am thankful Greg Howard talked me into switching from what seemed at first to be a more natural, comfortable, four finger scalar technique. I was making little progress up to that point.

These notes are worth my articulating because I want to keep track of my thought process in case my life takes me away from the instrument for extended periods as it has in the past. If it is of any use to others, that is a bonus!

Keeping an eye on Free Hands for other precious nuggets...

I’d been struggling to really understand what was going on with the 7-string master modal pattern on the [Chapman Stick][0]. Part of it was just that I’m new to music theory even though I’ve played an instrument in some form or another since I was eight.

[0]: http://www.stick.com

I have great learning materials: [Bob Culbertson][1]’s [instructional videos][2]; [Greg Howard][3]’s [_Stick Book_][4]; and [Emmett Chapman][5]’s [_Free Hands_][6]; and I’ve attended a couple of seminars with Greg and [Steve Hahn][7]. But things have only recently begun to click once I put [this image][8] on my wall, which is a fancy version of this:


[1]: http://www.stickmusic.com/html/biography.htm
[2]: http://www.stick.com/instruction/videos/lessonsonstick/
[3]: http://www.greghoward.com/
[4]: http://www.stick.com/instruction/books/stickbook/
[5]: http://www.stick.com/history/emmett/
[6]: http://www.stick.com/instruction/books/freehands/
[7]: http://www.deepchocolate.com/
[8]: http://jimmoy.com/stick-modal.gif

This pattern in one form or another has been described many times in the above materials and on the [Stickwire][sw] mailing list, but I hadn’t seen an instance of it that contained all the elements of the one in [this GIF][8]. (I have a nice PDF of it for printing if anyone’s interested) My brain hadn’t really locked on to its significance until I had a couple of key elements in one place along with the usual presentation of the pattern:

[sw]: http://home.ease.lsoft.com/archives/STICKWIRE-L.html

* The 3-string “box” both above and below the two two-string patterns and in their correct relative physical position, which means as I move off the top or the bottom of the box, I don’t have to think about anything, I can just see it and go.

* The major scale ordinals are in the circles, which means I can track each finger as I move out of a particular right hand position. Greg described how you can develop a _fluency_ up and down the entire fretboard at a seminar but I couldn’t see how it really happened. I still can’t do it, but at least now I think I see the mechanics of it.

* Slight separation between the two and three string groupings, so that it sets them off very slightly for fast visual recognition, but not so much that it interferes with the “flow” of the pattern to the next/previous string.

It’s one thing to be able to just play this pattern from the root of a key, but I can now see that knowing it inside and out from any finger location within it would be a boon to improvisation. I’ve got a hunch that the pattern plays out on the bass side as well; the bottom two lines of the “box” looks just like a chunk of the major scale on the bass side _without_ inverting the pattern. Steve pointed out at a seminar how the melody pattern, if flipped upside-down, works on the bass side if I move two frets toward the nut for each higher string, but that’s too much thinking.

I think it’s also helping that I’m reading Mark Levine’s Jazz Theory book, but as always it’s the combination of things when you’re learning stuff. I need to practice more.