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Rhythmic & Chordal Playing
30 Day Challenge
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Cello Lessons: L.I.M.D.A.P.L. Mode Routine

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The order
of the chord scales that we've learned so
far was kind of organized in the order
of usefulness of the scale, maybe the most
frequently ones we learned first.
However, there's another way to organize
our knowledge of the Greek modes and
that's called LIMDAPL.
LIMDAPL is just an acronym and
each letter stands for a name of the mode.
The first L stands for Lydian,
which is a major scale with a sharp 11.
We say that this is
the brightest sounding mode,
because it has the most things sharped.
The next one is Ionian,
which is just our major scale,
which only changes one note from Lydian.
The sharp four becomes a natural four.
Let me talk you through this mode,
because as
we go through each mode in this routine,
we're only gonna be changing one note.
Let's go through each of these
modes one by one, with a drone,
so that we can really hear the quality
of the intervals as we go.
The first one is Lydian,
which is a major scale with a sharp four.
I'm gonna do
this in two octaves.
the I next stands for
Ionian, which
is just a major scale.
The next
is Mixolydian,
which takes the major scale and
makes the seventh flat.
Next is Dorian,
which makes
the seven and
the three flat.
is next, which
has a flat three,
a flat seven and
now a flat six.
is next, and
it has flat seven,
flat three,
flat six, and
now flat two.
The last one,
is Locrian,
the crazy mode.
Locrian has flat seven,
flat three, flat six,
flat two, and now flat five.
So the routine
I want you to practice
after you can identify
all of these different
scales is going to
go as follows.
I'm going to just play each
mode one octave up and down,
right after another and I am going
to verbalize the name of the mode,
and the alterations that it contains.
I'll demonstrate this with the drone, and
then this is how you can practice
your LIMDAPL mode routine.
Lydian, sharp four.
flat seven.
flat seven, flat three.
Aeolian, flat seven,
flat three, flat six.
Phrygian, flat two.
that's flat five.
The coordination of verbalizing
this is a little hard
while you're playing.
Most people just verbalize the mode and
the alterations in between scales.
You don't have to do it continuously, but
I want you to do this in the root of C,
like every day for like a week.
So that you start to internalize
the juxtaposition of these sounds and
you understand what makes
each mode what it is.
Once you feel comfortable with that,
I'm going to want you to do this
in all 12 keys with drones,
always do this with drones so
that you can be hearing these qualities.
This LIMDAPL mode routine will
help you be able to hear and
identify any mode the moment you hear it.