Intro To Modes
October 14 to December 14, 2019
Work directly with Trey Gunn on a weekly basis in this 9-week group course
Note: An Intermediate Modes Course will run February 10 - March 21, 2020.
The prerequisite is this Intro Course.
In this Intro To Modes Course will break down one of the basic building blocks of music — the modes — into digestible parts, both sonically and theoretically, so you can use them with ease.
For all instrumentalists and singers.
This course will:
Help you to immediately find your ground in a piece of music
Give you flexibility when improvising
Give you greater color choices when developing your own compositions
Help you grasp command of the core material of music
Give you a long-term pathway to hear deeper into the relationships of the notes
This course is designed to work for all players:
We'll start with the basics
Hone the fundamentals in your hearing for improved playing and writing
Find the gaps in your melodic hearing
Apply practices to close the gaps and take your playing further
Learn to play confidently while capturing the unique quality of each mode in your improvisations and compositions. This ease only comes from the deep exploration based on how you hear, in your own particular way. This course breaks down that exploration into its core essence, step-by-step.
When most musicians play by thinking in modes, or scales, they tend towards using all the tones equally and without their full meaning. This results in bland musical lines. Lines that come across like white light where, instead, there could be gorgeous color.
How a painter uses color is a useful analogy for working with the modes. Any musical idea can be tinted with one of the modes. The idea remains essentially the same; but the color of the music changes based on which mode you are using.
This course is designed to establish these “modal” differences in your ear so you can use them as you need to, much as a painter pulls from his or her palette of colors.
Learning about modes isn't about the information. The information is easy. Learning this material, the way I think we should, is about getting to know each note intimately within its tonal context -- the mode's center of gravity.
This course will use a progression of practices to develop our sense of each note and how that note fits into its mode. Known as 'functional hearing', in contrast to 'intervallic hearing', this work proves much more vital when improvising.
This is an oversimplification; but based on many years of practice, study and playing I have honed an approach to go directly into the sounds.
First, we learn the sounds. The information can come afterward, simply to help us organize.
This course is part of my work in aiding musicians and artists to speak from their own, original voice.
This will be an email type of correspondence course with info/practices being presented each week. All of us will be discussing and digesting the material together via a Google Group. There is no real-time participation, so any time-zone or personal schedule will fit with our work together.
NOTE > We will not be using standard music notation in this course. So, please feel included even if you don't consider yourself a "reader".
The course will adapt to the people participating and how things develop as we go along. But the general curriculum will be based on the following progression:
General Concepts of Modes
Language And Method For The Course
Root, Fifth, Octave (+ listening/singing)
Thirds (+ listening puzzles)
Sevenths (+ extra singing)
Sixths (+ playing)
Review + Catch-up Week
Seconds (+ composing)
Fourths (+ audiation/memorization)
Full Modes (+ pentatonics/hexatonics)
Locrian/Pathway to Exotics (+wrap-up)
Early Sign-up $230
Cost is $350
Early Sign-up Discount (30%) until Sept 30 is $230
The Intermediate Course will be $299
with an Early Sign-up price for both courses
(Intro & Intermediate) at $400 until Sept 23, 2019
From participants of the last Modes Courses:
“Trey is a consummate coach. The material was presented in an alternate yet very practical order that integrates one's voice, heart, and head. I loved it!” - David Synder, Phd.
“This course made me realize that although I have been enjoying and receiving music my whole life, I haven’t been actively listening. That would be a bitter pill to swallow, if the course didn’t also show me that listening is within my grasp.” - Marc Pelath
“At the end of this course I felt more like being at the beginning of something.” - Jaakko Peltonen (touch guitar)
“I have been studying modes for a long time but found Trey's presentation as the one approach where the light bulb goes on above my head.” - Bob Kessler (harmonica)
“This course helped me to understand the notes I'm playing and reminded me to keep questioning why I'm playing those notes.”
- Alex Crane (guitar)