Modes- An introduction to learning modes
May 6th, 2007
This is a post I have been hesitating on for a long time. Since the theory behind a mode is somewhat hard to grasp at first, I was not sure how to break it down modes in a way that you could easily understand. But due to the importance of modes I decided I can’t push them off any longer. But I will try to cover modes in installments and as clearly as I can. This first lesson on modes will just outline what modes are and the names of the modes of the major scale. In later lesson I will cover modes in greater detail. So lets get crack’n.
Before you start this lesson you must understand how a major scale is made. If you don’t know this yet then see my post on building the major scale
What is a mode?
Simply, a mode is a diatonic scale that has 7 notes and one of those notes functions as the starting point (the “root” or the “tonic”). So the major scale is a mode because is has 7 notes and the first note of the scale functions as the “root” note.
Why do you need to learn modes?
The best reason to learn modes is because different modes have different sound qualities. They evoke different emotions. When you are writing a song or improvising you will want to express yourself in all different ways. Knowing different modes will allow you to musically express yourself and keep your songs and solos sounding fresh and interesting.
The 7 Greek Modes
There are 7 modes in western music that were named by the Greeks. These modes are used by almost all composers and songwriters today. There modes are 7 different scales that are derived from the major scale. Each mode is said to have a different type of sound and bring up different types of emotions. Here are the 7 modes and the moods they are said to evoke:
Ionian mode (AKA the major scale)- The Ionian mode is happy sounding
Dorian mode – the Dorian mode is sad sounding
Phrygian mode- The Phrygian mode is mysterious sounding. It is used a lot in flamenco guitar.
Lydian mode - the Lydian scale is happy sounding
Mixolydian mode- The Mixolydian mode is happy sounding
Aeolian mode (AKA the Minor Scale)- The Aeolian scale is sad sounding
Locrian Mode- the Locrian mode is used to create tension
Building modes
The modes above are all derived from the major scale. The different modes are made by starting and ending on a notes other than the root not of the major scale. Let’s see what I mean using the C major scale: C, D, E, F, G, A, B, C:
If we start from a different note and end on that same note we have that notes mode. The mode that you are playing depends on the position of the note within the major scale. Starting and ending on the 2nd note will always give you the Dorian mode. Starting and ending on the 3rd note will always give you that note’s Phrygian mode. And so on in the same order that I have the modes listed above.
Now just as each degree of the major scale has a number to go along with it (The major scale is built as 1, 2, 3, 4, 5, 6, 7), every mode also has corresponding numbers that relate to that notes major scale. Here is what I mean:
We know the D Dorian scale is D, E, F, G, A, B, C, D. So lets compare that to the D Ionian mode (Major scale). The D major scale is D, E, F#, G, A, B, C#, D. So our D Dorian scale has a b3 and a b7 (because the 3rd note of D dorian is an F, while the 3rd note of D major is F#, so its flat. Same with the 7th note of C vs. C#). So to get any Dorian Scale all you have to do is make the 3rd and 7th of that major scale “flat”. So if we wanted to play a C dorian it would be C D Eb F G A Bb C. You can also build a dorian scale by using the Whole- Half formula of W-H-W-W-W-H-W
Lets look at the rest of the modes compared to their major scales to find out how they are made.
E Phrygian mode is E, F, G, A, B, C, D, E. Compare this to E major: E, F#, G#, A, B, C#, D#, E. So the Phrygian mode spelling is 1, 2b, b3, 4, 5, b6, b7 or H-W-W-W-H-W-W
F Lydian mode is F, G, A, B, C, D, E, F compared to F major: F, G, A, Bb, C, D, E, F. So the Lydian mode spelling is 1, 2, 3, #4, 5, 6, 7 or W-W-W-H-W-W-H
G Mixolydian mode is G, A, B, C, D, E, F, G compared t G major: G, A, B, C, D, E, F#, G. So the Mixolydian mode spelling is 1, 2, 3, 4, 5, 6, b7 or W-W-H-W-W-H-W
A Aeolian mode A, B, C, D, E, F, G, A compared to is A major: A, B, C#, D, E, F#, G#, A. So the Aeolian mode (aka the minor scale) spelling is 1, 2, b3, 4, 5, b6, b7 or W-H-W-W-H-W-W
B Locrian mode is B, C, D, E, F, G, A, B compared to B major: B, C#, D#, E, F#, G#, A#, B. So Locrian mode is spelled 1, b2, b3, 4, b5, b6, b7 or H-W-W-H-W-W-W-
Remember that these formulas can be used to get any mode you want. Just apply the scale adjustments to any major scale to get that given mode, or start from any note and apply the appropriate whole-half steps.
Now the tricky part is how to use modes. I will cover that in a later lesson as you will need some time to digest what modes are before you begin to use them. Please post any questions if you have them. Stay tuned..
Great lesson, 1st time someones ever made modes make sense to me, without just showing me a sheet and expecting me to work it out for myself! awesome lesson.
my best use of mode understanding is when i need to know what extensions to add to a chord in melodic development when playing solo guitar (playing bass lines, melody and Harmonie at the same time)/ by knowing all of the notes of a major key throughout the neck, it is easy to move seamlessly through all of the modes without concentrating on anything except melodic content/ this is a method i use in freestyle improve for solo guitar; where as all composing and arranging is done spontaneously and intuitively/ i haven’t read all of your blog and lesson entries yet/ maybe you’ve touched on this somewhere/ once again i like what you are doing here/ i’d like to swap licks on guitar info from time to time/ drop me a line at SU…oh ya, i found you at the groups department at SU/ i’m a member of the guitar group… later
Again, you are wonderful at explaining things. I teach Spanish and when I see how clear you have made a subject (a “foreign language, per se) such as modes, I am amazed! I hate to think how many different sources I’ve used trying to understand these modes. I am a bit curious, though, aren’t modes pretty much for guitar players for soloing??? To me a “C dorian” would be in “pianospeak” a Cm or Cm7… so I have a hard time understanding why all the hoopla over modes unless it is so one can play (what I think of as) “mixed scales” (C dorian being Eb and Bb which is “borrowing” the Eb and Bb from the scale of Bb; C aeolian being “Do the dorian gig” and add to it an Ab which is “borrowing the Eb, Bb, and Eb from the scale of Eb; C locrian being flat everything but the C and F which is really the entire scale of Ab, but starting on C. Anyway, kudos to you and keep the good work.
now things have a lot of sense… thanks and greetins from Argentina
oh my goodness THANKYOU SO MUCH!! I actually get it now! This is so good, now I’m not stuffed for my exam
goodles
[...] are not crystal clear on those concepts than read my post Modes- An introduction to learning modes before reading any [...]
Modes are not simply a scale starting from a different note. Modes are different sounds available from a scale.
You have the C major scale. C is the root note, or tonic. It’s the most important note. All the other notes in the scale want to be that note. If you are in D Dorian, you are using the same 7 notes (A B C D E F G), but now D is the tonic. It’s a very important distinction to make.
Here is a simple example to help you hear this for yourself:
Play the song “Drunken Sailor” in D (it will start on A). That is a legitimate Dorian melody. You will only use the notes D E F G A B and C. The song will end on a D note, and you’re fine with that. It’s ending on the tonic, everything is nice and resolved, it sounded great.
Now play the song “Happy Birthday” in C (it will start on G). That’s a major/Ionian melody. Stop on the second to last note (which will be D). Are you okay with that? Does it sound good ending there? Of course not! It sounds terrible! The melody practically demands to resolve to the tonic (C).
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We already said that the C major scale has the notes C D E F G A and B in it… all the naturals. Every one of those notes all over the entire guitar is part of the C major scale. There are many different ways you can arrange those notes across the guitar as well. That’s how you come up with different scale shapes/fingerings.
What that website is showing you are 7 different position shapes (meaning that your hand will not move up or down the neck) for the major scale. Each one starts from a different note in the scale.
The diagrams are not that great, as they do not make it clear what the horizontal and vertical lines represent. For the record, the horizontal lines are the strings (bottom to top = thick to thin); the vertical lines are the frets (ascending left to right)
The first shape starts from the root of the major scale. So if you started playing that shape from the C on the 8th fret of the 6th string, you would play the notes C D E F G A B C D E F G A B C D E. The shape will stop at the 12th fret of the 1st string. You may play a total of 17 different notes, but it was all A B C D E F and G… just 7. The 7 notes of the C major scale.
The second shape starts from the second note in the major scale. So if you played that one from the D on the 10th fret of the 6th string, you would play the notes D E F G A B D E F G… you get the idea.
The diagrams go on to show you fingerings starting from the 3rd, 4th, 5th, 6th, and 7th notes in the scale.
You can also associate these shapes with the different modes. It’s important to know how the modes relate to each other. Dorian is the 2nd mode of the major scale, Phrygian is the 3rd mode, Lydian is the 4th, etc.
HOWEVER as I pointed out earlier, it is erroneous to simply say that modes are any scale starting from a note other than the root. I don’t know how many times I’ve heard a guitarist say something like “Oh, it’s in C major, but I did the solo in F Lydian”
…NO! You did not! You may have been using a shape that you have associated with F Lydian, but you were still playing C major. If you had really been playing F Lydian, it would have sounded awful. You would have really been leaning on that F note, which would clash horribly with the tonic triad (the C major chord).
So don’t get caught in that trap! It’s not where you start from, it’s all about the tonic!