Chord Scales - Part 2: Modes
(09 Apr 03)
Overview of Modes
For a better overview here's a list of the intervalic structure of all seven modes. I recommend that you take some time and learn this list by heart. Try to get to the point that you can write out the intervals of all modes.
Constructing Modes
One skill we have to achieve is that we are able to write out all modes starting on every note. There are two ways how we can do this, both equally important:
1) We can follow the intervalic structure of the mode and fill in the right note names.
Example:
2) We can define the original major scale and apply the correct key signatures.
Example:
C Dorian: Dorian is created by starting the scale on the second note of a major scale. C is the second note of Bb major scale. The key signature for Bb major is 2 flats (bb, eb). Now we write out the scale starting on C and include the two accidentals.
C Dorian: C D Eb F G A Bb
or
Db Lydian: Lydian is created by starting the scale on the fourth note of a major scale. Db is the fourth note of Ab major scale. The key signature for Ab is 4 flats (bb, eb, as, db). Now we write out the scale starting on Db and include the four accidentals.
Db Lydian: Db Eb F G Ab Bb C
Comparison and Memorization of Modes
The most important aspect of modes is that we have to divide them by chord sound families and compare them within each family.
Modes for maj7
There are two modes that fit into the category of major - Ionian and Lydian. Both scales contain the intervals 1, M3, P5, and M7, which make up the chord tones of maj7. A further similarity is that they have two out of three tensions in common. Ionian and Lydian both have the tensions M2 and M6. The only difference is that Ionian has a perfect fourth (P4) and that Lydian has a augmented fourth (#4).
As we can see the difference is minimal - only one note. Most of the time when we learn about Ionian and Lydian they are treated like two pair of shoes, meaning first we memorize the construction of Ionian and then the construction of Lydian. Although these two scales differ in sound and application they are nearly identical with the exception of one note. Therefore, I want to show you a way of memorizing and comparing modes that I found very helpful and practicable.
Comparing modes with the "Three Steps Formula":
1) chord tones: 1, 3, 5, 7
2) similar tensions between scales that contain the same chord tones.
3) mode specific tensions
Let's take a look at Ionian and Lydian with focus on our formula:
Modes for m7
There are three different modes for m7.
Let's take a look at them using our tree steps formula:
All three modes are m7 scales and have the similar tension of a perfect fourth (Is it just a coincidence that chord tones plus perfect fourth are exactly identical with the notes of a minor pentatonic scale? Or, lemme re-phrase thts: minor pentatonic is 'modeless', ie it doesn't imply the sound of a specific mode).
The differences are in the tensions second and sixth: Dorian and Aeolian use a major second, whereas Phrygian uses a minor second - Dorian uses a major sixth, whereas Aeolian and Phrygian use a minor sixth.
The last two modes that we have to talk about are Mixolydian and Locrian. Both represent their own chord family.
Mode for dominant 7
Due to the fact that Mixolydian is the only scale implying a dominant7 sound we memorize it like this:
chord tones: dom7 (1, M3, P5, b7)
tensions: M2, P4, M6
If you want to compare Mixolydian with modes we have already talked about you could say: Mixolydian is Ionian with a minor seventh or Mixolydian is Dorian with a major third.
Mode for m7b5
chord tones: m7b5 (1, b3, b5, b7)
tensions: b2, P4, b6
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