Lesson by Camilo Velandia

MODES OF MAJOR SCALE

In our Western music system, we have seven degrees to our major scale.  As an example, we are going to use the key of C, because of the simplicity of its natural state.

The major key of C is as follows:

C    D    E    F    G    A    B

We can break that down even further into making a chord out of each degree of the scale and each one is defined in roman numerals. The capital number indicates a major 7 chord (and dominant 7 chord on the V chord), and the lower-case number indicates minor seven chord (and minor 7b5 for the seventh degree).

     I                ii                iii                 IV                 V                 vi                 vii
Cmaj7          Dm7           Em7            Fmaj7            G7              Am7           Bm7b5

Our major scale modes are scales derived from each one of the seven degrees of the major scale.  There are seven notes in the scale, therefore there are equally seven modes and each one has a unique and individual sound and is played over specific chords or chord progressions. It is VERY important to remember that even though all these modes sound different, they are all related to the major scale. To simplify the explanation, each mode is the major scale starting from a different note. I'll say that again: each mode is the major scale starting from a different note.  Each one of the seven modes has an individual Greek name. These are as follows:

        I                    ii                    iii                     IV                     V                            vi                          vii
     Ionian           Dorian           Phrygian           Lydian            Mixolydian             Aeolian                 Locrian
      (major)                                                                            (dominant scale)       (natural minor)       (half diminished)

1. THE IONIAN MODE

The Ionian mode is the first of the seven modes.  It is also known as the major scale.  It is the most basic mode that can be played over a major chord progression. The steps of the ionian mode are the following:

C      -      D     -       E      -      F      -       G     -       A     -       B    -
1      -       2     -        3      -      4      -       5      -       6      -       7     -
       W            W             H             W            W            W            H

W = Whole Step
H = Half Step


The Ionian mode can be used over any major progression where the I chord is a major chord.  For example  let's take this real simple chord progression:

                                                                            |  Cmaj7  |   Cmaj7 - F/G |


Try using the C ionian mode over this progression.  Use different approaches, such as thirds, fourths, etc. Here are some examples.

 

NOTE: The 4th degree of the ionian mode is commonly referred to as an "avoid note".  This note should be used as a passing tone. Landing on this note or sustaining it against a major chord will cause tension and will feel unresolved.




2. THE DORIAN MODE

The dorian mode is the second mode.  A very simple way to think about it, is taking the C major scale and making the D the first note.  We are still keeping the key signature of C, but our scale is starting on a different degree.  This is a very common mode used in minor blues tunes.  Players like Santana use this mode on tunes like "Oye Como Va" or "Black Magic Woman".  The degrees of the scale are as follows:

D     -       E      -      F      -       G     -       A     -       B    -        C    -
1      -       2     -        b3    -      4      -       5      -       6      -       b7   -
       W             H             W            W            W            H             W

W = Whole Step
H = Half Step





The Dorian mode can be played over any minor chord that is the II chord. For example, if we're in the key of C, the Dm7 would be the minor II chord.  Now here is a question, if we had Gm as the II chord, what would be our I chord? If you answered F major, you are right. In other words, if we had Gm, you could play a G dorian or an F ionian mode starting on the note G.  Now let's go back to the key of C. If we have D dorian, we could use the following chord progressions:

                                                                                1. | Dm7 | Em7 |                   2.  | Dm7 | G7 |

Try soloing over both of these progressions using a D dorian scale (or a C ionian starting from D). Here are some additional ideas you can use:

3. THE PHRYIAN MODE

The phrygian mode is the third of the major modes.  If we start the C major scale on tthe note E, we will get the degrees of the phrygian mode. This scale gives us some kind of a spanish sounding scale.  It is also played over a minor chord, although it is not as common as the Dorian mode. The Phrygian mode is the following. 

 E      -      F      -       G     -       A     -       B    -        C    -     D
 1      -      b2     -       b3    -       4      -       5      -     b6     -    b7   -
        H             W            W            W            H             W          W

W=Whole Step
H = Half Step


The Phrygian mode is played over a minor chord, although the b2 gives use an exotic sound.  If you were playing A phrygian, what key center would you be on? If your answer was F#, you're right.  Try playing E phrygian over the following chord progression:

                                                                                                | Em7 | F/E |

Hopefully by now you are beginning to hear the difference of these modes. Even though they are alll related and in some way it's all the same scale, you can hear the difference. Here are some phrygian lines to add to your practice:

4. THE LYDIAN MODE

The lydian mode is the fourth of the major modes.  This is our other major mode and it gives you a real pretty sound. If you start the C major scale on the note F, you can hear the lydian mode. You will also notice that there is only one different note from the original ionian mode. Here are the notes:


 F      -       G     -       A     -       B    -        C    -      D      -     E
 1      -        2     -        3    -       #4      -       5      -    6       -     7    -
        W             W            W              H             W          W         H

W=Whole Step
H = Half Step

The lydian scale can be played over the IV chord or even the I chord (when playing over the I chord, be aware that you are implying an outside note).  If you are in the key of B major, what would be your lydian mode? The answer is E#.  Try practicing your F lydian scale over the following chord progression:

                                                                                              | F | G/F |


Here are some samples of F lydian:

NOTE:  Notice that the 4th degree on the ionian scale sounded tense and unresolved.  The raised fourth on the lydian mode sounds much more resolved than the natural fourth.  Here are some ways to imply the lydian more:





5. THE MIXOLYDIAN MODE

The mixolydian mode is the fifth of the major modes.  This is our most basic dominant scale.  It has only one different that is different from the ionian scale, the b7.  This dominant scale can be played over any dominant chord because of its 7th degree.


 G     -        A     -       B    -        C    -       D      -     E      -      F
 1      -        2     -        3    -        4      -       5      -    6       -     b7    -
       W            W              H             W              W          H           W

W=Whole Step
H = Half Step

The mixolydian scale can be played over dominant chords such as a 7 chord, an 11 chord, a 13, or even a sus.  A lot of times, to give it a jazzy sound, you can add the natural 7th in addition to the b7.  This means you have three consecutive chromatic notes. Practice the mixolydian scale over the following progression:

| F/G | G |

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6. THE AEOLIAN MODE

The aeolian mode is the sixth of the major scales modes.  It is also known as our natural minor.  It is similar to the Dorian mode except for it's 6th degree. The aeolian mode has the following notes:


 A     -       B    -        C    -       D      -     E      -      F       -      G
 1      -        2     -     b3    -       4       -      5      -     b6      -     b7    -
       W              H             W            W           H             W          W

W=Whole Step
H = Half Step

The aeolian mode gives a very serious and suspenseful sound.  It sounds best when it is being played over a minor chord of the 6th degree.  If you were in the key of Ab, what would be your aeolian mode? The answer is F aeolian. Here is a good chord progression for A aeolian.

                                                                                                  | Am | F  |

Here are some additional lines:

7. THE LOCRIAN MODE

The locrian mode is the last of our major scale modes.  It is also known as the half diminished scale.  It has a similar sound to the phrygian scale because of the lowered 2nd, but it has one different note, the flat 5th. To hear the B locrian scale, you can play a C major scale starting from the 7th degree. Here are the notes of the locrian mode:

 B    -        C    -       D      -     E      -      F       -      G      -      A    -
 1      -      b2     -     b3     -       4     -     b5      -     b6       -     b7    -
        H             W            W            H             W            W           W

W=Whole Step
H = Half Step

The locrian mode gives us the more tense of all modes because all of our notes are flatted except for the 4th degree.  The locrian, or half diminished scale, works well over the half diminished chord. If you are in the key of D major, what is your locrian scale? If you answered C# locrian, you are correct. Here is a chord progression for this mode:

| F/B | G/B |

Hopefully, you found this lesson very helpful. Although it sounds like a lot of information, once you can begin to hear the difference of all the modes, it is very easy to tell them apart.  Practice these scales over the given chords and then try applying them to songs you already know!

Good luck!
-CV