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Modes: Taking a closer look.
(23 Dec 03)
The Mixolydian Mode
The last of the major modes, this particular scale is associated with blues, but due to it's harmonic qualities the Mixolydian mode is the choice of latin music, mostly Brazilian and tropical music.
The formula for this scale s 1 2 3 4 5 6 b7, and we can see quite clearly that this scale is very similar to the major scale, except that it has a flat seventh. The interval that stands out in this scale is the flat seventh, along with the major third and perfect fifth; but it's the combination of the major third with the flat seventh that is the main feature of this mode. In this mode, the minor 2nds we've been tracking down are between the third and fourth degree, and between the sixth and seventh degree of the scale.
The Mixolydian mode is used mostly against dominant-type chords, like 7th chords, 9 chords and 13 chords, mainly because the Mixolydian mode contains all the natural tensions, along with the flat seventh, the basic interval of dominant chords.
Here are some licks for you to hear and practice. The first one is something that John Petrucci or Paul Gilbert could play over a dominant-type chord like A13. The next one is actually a cool fingerstyle, blues riff that sounds pretty great - thanks to a swing feel and the use of some diads to spice it up.
The Aeolian Mode
Another minor mode, the Aeolian scale is actually another name for the standard minor scale. The minor scale is the relative counterpart of the major scale; to make things clearer, let's take the C major scale. C major scale has C D E F G A B; now, its minor counterpart for this scale would be A B C D E F G A, thus giving us the A minor scale, or A Aeolian scale.
As you may already know, the formula for this mode is 1 2 3b 4 5 6b 7b. This particular scale tends to suggest a kind of "sad" or rather "serious" harmonic feel, but depending on the context and the skills of the player, it can give us a different feeling.
The most notorious intervals are the minor 3rd and the minor 6th, along with a flat 7th. This mode could be used against minor type chords, like m7, m9 or standard minor chords.
The Locrian Mode
This is the last of all the modes and is the least used of them all. The harmonic feel that this scale produces is quite difficult to explain, as it is very tense and dark, mostly because of it's minor second and diminished fifth. It's strange and unusual harmonic features tends to make most guitarists look for another scale that's more suitable for chords, since the Locrian scale is only compatible with m7b5 type chords (i.e. If you want to use the B Locrian you'll have to use it against Bm7b5 and so on). Even under such circumstances, the Locrian mode is often used by jazz players and fusion players a lot.
The formula for this scale is 1 2b 3b 4 5b 6b 7b, and we can note some interesting intervals going on, beginning with a diminished fifth, a minor second and a minor third. Last but not least, we can find a minor sixth and a minor seventh, but the obvious, important intervals that stand out are the flat fifth, the flat third and the flat seventh in this scale. In this case, our ol' minor 2nds are between the root and the 2nd degree, and between the 4th and 5th degree of the scale.
This is something that Marty Friedman could probably play against a m7b5 type chord. In this particular lick, we put emphasis on the minor third, diminished fifth and flat seventh.
Putting It All Together
To finish our study and to put ourselves to the test, I've came with this special chord progression. Don't worry, it's not anything too complicated, as you will soon see. I've chosen a tonal center, and our chords will be only three note chords (C5, Cmaj7 and C7). We'll use this little vamp to improvise something. Try to squeeze the most out of it and bear in mind that the progression is very free harmonically speaking, allowing us to use a wide variety of modal tools.
I've transcribed a few bars of my own improvised solo just to give you an idea of what we can do when we understand modal theory and apply it to real life situations. I'll outline every run, pointing out the exact mode I'm using in every lick you'll see on the transcription. Enjoy!!
The Files
All Mode Examples: PowerTab PDF Midi
Sample Progression (C5, Cmaj7, C7): PowerTab PDF Midi
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David is a guitarist from Venezuela, South America and he has been playing guitar for 10 years. He enjoys playing almost any style, but prefers classical music, modern fusion and progressive rock. Currently he's gathering musicians for a prog metal proyect, as well as finishing his University studies to become a journalist. He likes writing, playing guitar, sports and transcribing music.
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