This thread is about changes in scales or modes while keeping the same root note, with as little change as possible. The less notes that are changed, the smoother the change is and the easier on the ears it is. The overall smoothest way to go about it is to just change 1 note.
Lets take the C major scale. Simple as C D E F G A B C. Right away i see a number of possilities to change to a completely different scale or a mode through the means of just changing one note. Lets turn B into Bb. The result is C mixolydian (C D E F G A Bb C). All thats gone on is the change of one note, yet we're in C mixolydian now.
Lets go back to C major (C D E F G A B C). Lets turn F into F#. The result is C lydian (C D E F# G A B C). All thats gone on is the change of one note, yet we're in C lydian now.
Lets go back to C major (C D E F G A B C). Lets turn E into Eb. The result is very interesting: C melodic minor (C D Eb F G A B C). This is an interesting change, because you're actually technically switching to the paralell minor, by only changing one note.
The same concept can be used for the A natural minor scale (A B C D E F G A). Lets turn G into G#. The result is A
harmonic minor (A B C D E F G# A). Hopefuly one sees the simple connection there.
Lets go back to A natural minor (A B C D E F G A). Lets turn B into Bb. The result is A phrygian (A Bb C D E F G A). Again, just the change of one note leads to a completely different scale or mode.
Lets go back to A natural minor (A B C D E F G A). Lets turn F into F#. The result is A dorian (A B C D E F# G A), my favorite of the minor modes.
Lets go back to A natural minor (A B C D E F G A). Lets turn C into C#. The result is A mixolydianFLAT6 (A B C# D E F G A), one of my favorite sounds in the world.
All this has just been an example of changing to a different scale or mode by just changing 1 note. I will now go on to show an example of what can be done if you continue the process. Well use C major (C D E F G A B C). Change B to Bb, you get C mixolydian (C D E F G A Bb C). From C mixolydian, change F to F# and you get C lydian dominant (C D E F# A Bb C), which is another one of my favorite sounds in the world. From C lydian dominant, change Bb back to B, and the result is C lydian (C D E F# A B C). From here, all one has to do is change F# back to F, and we're back at C major. The result is that youve just used 4 different scales over the same root note, by just changing 1 note at a time, and worked your way back to where you started (good ole' C major).
Realizing the connection between all of the scales and modes can pay off big-time, because one can see how simple it is to flip between them once the common connections are obvious. Hearing the same notes for an entire song can be quite boring. Thats why theres many possibilities to change, as just some of them are presented here. Anyways, hope someone cares, later.
Linear Mode
