Chord Scales - Part 2: Modes
(09 Apr 03)
Approach No.1 - Scales 'n Modes
Modes are created by making each individual note of a major scale the root of a new scale, which is made up of notes that are part of the original major scale.
(These scales are then given names of ancient Greek tribes to ensure total confusion for any aspiring musician...)
Huh???
All right. Let's start out with what we have already learned in "Chord Scales - Part 1".
Here's our C major scale, its structure of whole and half steps and the intervals:
C Ionian
The interesting thing is that with our knowledge about the major scale we already have learned our first Mode. A major scale is exactly identical with the Ionian Mode. That's why we do not have to examine the scale - we know our major scale, don't we? Just remember that when we talk for example about A major scale, we could also name it A Ionian. Although there is a slight difference in the context within which we use the name major scale vs. ionian, this doesn't bother us for now. Our rule of thumb is that major scale equals Ionian - finito.
D Dorian
As a next step we write out the C major scale starting on the second note in the scale which is D.
As a result D is our new Root. Firstly, let's take a closer look at the basic chordal sound which is indicated by the intervals of 1, b3, P5, and b7. These intervals stand for a minor 7th chord. Therefore Dorian is a minor scale. The intervals M2, P4, and M6 are called tensions to the basic chord sound.
Examination: Dorian is derived by making the 2nd of a major scale the Root.
Basic chordal sound is minor (m7): 1, b3, P5, b7 - Dorian is a minor scale with the tensions M2, P4, M6
E Phrygian
You can guess what's happening next - we write out C major scale starting on E, which becomes the new Root.
Examination: Phrygian is derived by making the 3rd of a major scale the Root.
Basic chordal sound is minor (m7): 1, b3, P5, b7 - Phrygian is a minor scale with the tensions b2, P4, b6
F Lydian
C major scale starting on F:
Examination: Lydian is derived by making the 4th of a major scale the Root.
Basic chordal sound is major 7th (maj7): 1, M3, P5, M7 - Lydian is a major scale with the tensions M2, #4, M6.
Ok, it's getting kind of boring. Sorry we got a few more to go:
G Mixolydian
C major scale starting on G:
Examination: Mixolydian is derived by making the 5th of a major scale the Root.
Basic chordal sound is dominant 7th (7): 1, M3, P5, b7 - Mixolydian is a dominant scale with the tensions M2, P4, M6.
A Aeolian
C major scale starting on A:
Examination: Aeolian is derived by making the 6th of a major scale the Root.
Basic chordal sound is minor 7th (m7): 1, b3, P5, b7 - Aeolian is a minor scale with the tensions M2, P4, b6.
Notice that we already talked about this scale in Part 1 of Chord Scales. Do you remember Natural Minor? Natural Minor is equal to the Aeolian Mode.
B Locrian
And finally, C major scale starting on B:
Examination: Locrian is derived by making the 7th of a major scale the Root.
Basic chordal sound is minor 7th with flattened fifth (m7b5): 1, b3, b5, b7 - therefore, Locrian is a minor b5 scale (sometimes called half-diminished) with the tensions b2, P4, b6.
--------------
All right. We created 7 scales starting on every note of the major scale. Each individual scale has it's own intervalic structure.
One important fact that often causes confusion is that we actually never left the key (tonal center) of C major. As mentioned above Modes are derived from their origin major scale. As a result all of the above mentioned modes have the same key signature that in our case is none (Key of C). So what is this whole mode thing good for? I will show its value in the second part of the article. Be patient! We have to do some more theory to get better acquainted with the different modes.
You may ask why these scales are given names of ancient Greek tribes. We have to go back in time to the Middle Ages. Within the 8th century, church music adapted a Greek scale system that underlined the divine mood and intention of psalms, chorales, and requiems. The scale names survived the centuries although their meaning is different in todays harmonic understanding (...I'm just thinking that someone might call the songs of Slayer, etc.. divine and spiritual. Oops?!?)
|
