Recognising and applying the modes of the major scale is an important skill for ...
guitar neck will enable you to learn the modes more quickly and also help with ...
Diatonic Modes For Guitar Author: Dr Kerry Atkins
Copyright © 2013 by Dr Kerry Atkins. All rights reserved to the author. No part of this book or any portion thereof may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews.
Introduction Recognising and applying the modes of the major scale is an important skill for guitarists, particularly for improvisation. Learning these modes, their scale patterns and when to use them can be challenging. To simplify this process, the approach used in this guide is to group the modes by their main sound quality (i.e. major or minor). A colour coding system is also used to aid the learning of the intervals of each mode and how they compare to each other in terms of their interval composition. Understanding the intervals of an octave (i.e. chromatic scale) is necessary for learning not only the modes but other scales and chord shapes. A review of the chromatic scale and its scale patterns is provided in Section 1 of this guide. It is recommended that the material in Section 1 is memorised before moving on to later sections as it sets the foundation to understanding the construction and tonal quality of the modes. Section 2 discusses the major scale and describes how its modes are derived. A summary is provided in Section 3 of the differences between the modes in terms of their sound, interval patterns and chords that are most compatible with each mode. The "major type" modes (ionian, lydian and mixolydian) are described in Section 4 with the major(ionian) scale used as a reference to construct the lydian and mixolydian modes. Similarly, the natural minor scale (aeolian mode) is used as a guide to understanding the intervals that make up the “minor type” modes, the dorian and phrygian modes, which are discussed in Section 5. The locrian mode has distinct qualities compared to the other modes and it is described separately in Section 5. As you progress through the material, play the modes in all keys and in different registers (i.e. use scale patterns on different areas of the fretboard). Also try them over various chord progressions using the suggested chords for each mode.
Section 1: The chromatic scale The chromatic scale divides the octave into its twelve intervals or pitches. The scale is derived from the Greek work 'chroma' which means colour, thus reflecting the different tonal characteristics of each interval within the scale. The scale is made up of adjacent semitones or half steps. All scales and chords used in Western music are derived from the chromatic scale. Having a thorough understanding of this scale and the location of the intervals across the guitar neck will enable you to learn the modes more quickly and also help with identifying chord shapes at different locations on the fretboard. Table 1 shows the interval names and the notation that is used here to refer to each interval of this scale.
The intervals are colour coded throughout this guide to highlight in the scale patterns the differences between the modes in terms of their interval construction. The codes are: Red = root or tonic note. Blue = major intervals. Green = minor intervals. Yellow = perfect fifth intervals. Orange = augmented fourth or diminished fifth interval. When played against the root note, each interval has a characteristic sound. Before moving on to the later sections in this guide, make sure you are familiar with the location of each interval within the chromatic scale and their sound features. The example below goes through the intervals for the key of A .
It is recommended that you play through the intervals in all keys. Refer to the scale patterns for the chromatic intervals starting on the sixth, fifth, fourth and third strings below as a guide to finding the intervals at different locations on the fretboard. Relative to the root note, scales can be played either to the left or right. For the chromatic scale patterns that follow, both the left and right orientated patterns are shown. As the notes span up to five intervals in some of the patterns, you will need to slide the index or little fingers to include the additional notes when fingering these shapes.
After becoming familiar with these one octave patterns, practise linking them via the root notes to form multiple octave scales. For example, the patterns starting on the sixth and fourth strings are combined to span two octaves.
Section 2: The major scale Relative to the chromatic scale, the major scale is made up of the following seven intervals, also called scale degrees.
The interval pattern for the major scale is: Tone – Tone – Semitone – Tone – Tone – Tone – Semitone A tone refers to a span of two notes and semitones are adjacent notes.. For example, in the key of C, the semitones are the notes E to F and B to C and the tones are C to D, G to A and A to B. From each degree of the major scale, seven modes can be built based on the interval pattern for the parent major scale. Figure 1 shows how the intervals for each of the seven modes of the major scale are derived.
Each mode has a distinct interval pattern producing different sound characteristics. As such, the modes are more suited to certain chords which contain the same notes which is discussed further in this guide.
Section 3: The modes and their characteristics The modes are referred to by the following Greek names and by convention they are still in use today. Table 2 summarises the seven modes of the major scale, including their interval patterns, sound characteristics and the chords that they are most compatible with.
Note that the ionian mode is also the major scale and the aeolian is the natural minor scale. To learn each mode, it is helpful to relate them to each other. The approach used here to describe the modes is to group them by their general sound qualities as being “major type” or “minor type”. The locrian mode is a unique to the other six modes as it includes the diminished fifth interval, so it is given its own category. To highlight the differences in the intervals in the scale patterns to follow, the colour coding for the chromatic scale in Table 1 is used.
Section 4: The major type modes The scale patterns for the ionian mode (i.e. major scale) can be used as a reference for the other major type modes, the lydian and mixolydian. Figure 2 presents the scale patterns of the ionian mode from the roots originating on the sixth, fifth, fourth and third strings. There are two alternative patterns presented to play the scales, it is recommended that both are learnt.
As noted earlier, the ionian mode contains only major and perfect intervals. It is then most suited to play over the major triad and major seventh chords. As for all the modes, it can also be used for power chords (also called the fifth chord) which include only the root and fifth intervals and therefore are not defined as major or minor. The lydian mode is derived by raising the fourth degree of the ionian mode. The corresponding changes are shown in Figure 3 with the augmented fourth highlighted in orange. With the inclusion of the augmented fourth, the lydian mode is most compatible with the major ninth and sharp eleventh chords in addition to the major triad and major seventh
chords.
Returning to the ionian mode, if the seventh degree is flattened this gives the mixolydian mode. Compare and play the mixolydian patterns in figure 4 with the ionian and lydian patterns in figures 2 and 3, respectively. As the mixolydian contains the flattened seventh, it can be used for dominant chords in addition to the major chord.
Section 5: The minor type modes In a similar way to the major type modes, the aeolian (natural minor) scale can be used as a reference to the two other minor type modes, the dorian and phrygian. Compare the sound of the aeolian patterns in figure 5 with the major mode types in figures 2 to 4 above.
The aeolian is generally used with the minor and minor seventh chords. The dorian mode is similar to the aeolian but has a raised sixth degree as shown in figure 6.
Lowering the second degree of the aeolian modes gives the phrygian. As you play the phrygian patterns in figure 7 you will hear a Spanish quality in the sound.
Section 6: The locrian mode The locrian mode has an unusual sound with minor intervals, a perfect fourth and diminished fifth in relation to the root note. This mode is mostly used to play over diminished chords and the minor seventh flat five chord.
