A longwinded intro
"The researches of many commentators
have already thrown much darkness on this subject,
and it is probable that, if they continue,
we shall soon know nothing at all about it"
Mark Twain
have already thrown much darkness on this subject,
and it is probable that, if they continue,
we shall soon know nothing at all about it"
Mark Twain
Darkness? Yes, I think that is the right term when it comes to understanding the term modes as it is used today.
Over the years modes have become somewhat of a mystery, leaving a reader in pure astonishment and curiosity when a magazine article states that Mr. X playes Dorian, or Mr. Y loves to write Mixolydian songs.
Ok, I just gotta say this despite the possibility of a lot of hate mail: Modes also have become somewhat of a 'business card' for musicians to emphasise their skills by saying things like: "I only play Lydian" - "Hey, you gotta play Mixo over that chord..." etc... I think all in all this led to undesirable usage of terminology.
I personally prefer the term chord scales. Basically, they stand for the same thing although in my view chord scales say more about their application.
And here we are at the core of this article and one of the main things I'd like to lay upon you: "modes" aka "chord scales" are more than just a theory on how to improvise over chords. They are a logical, ordered system that combines todays music theory and it's applications in composition, arranging, melody writing, etc ... well, and yes, improvisation.
Having said that, I'd like you to get away from your instrument when working through this article. First we got to understand the theory part before we can actually go about working with this system and applying it correctly.
To be honest I had a really hard time getting this article together (I hope it paid off). The topic is so broadly important in so many different fields in music that it is hardly possible to mention every aspect.
I tried to carefully select the content of this article to demonstrate chord scales and modes in the most practical possible way.
I hope that this article will answer a lot of your questions.
And as always: if there's anything you'd like to share or ask about this article please feel free to post in the forums for immediate response and discussions.
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?!?)
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
Quick Review and Exercises
Let's summarize what we have learned up to now (more to my benefit to check whether I mentioned all important facts).
We started out with the major scale - derived scales/modes starting on every individual note of the scale - named these scales and learned their intervalic structure.
Then we divided modes into the chord sound that they imply and learned a formula that helps us to memorize the differences between the scales within each chord family.
Quick overview:
maj7: Ionian, Lydian
m7: Aeolian, Dorian, Phrygian
Dom7: Mixolydian
m7b5: Locrian
This marks the end of our first approach . Before we move on I put together a couple of exercises to ensure that you feel comfortable with "Scales'n Modes".
Again, I recommend to print and fill out the exercises. The solutions are at the end of the article.
Exercises to Scales'n Modes
1) Write out all the modes derived from Bb major scale
Bb Ionian: Bb C D Eb F G A
C
.
.
.
.
.
2) Write out all modes starting on the note D
D Ionian:
D Dorian:
D Phrygian:
D Lydian:
D Mixolydian:
D Aeolian:
D Locrian:
3) Label the appropriate chord sounds and tensions for the modes below.
Ionian: maj7 - M2 P4 M6
Locrian:
Aeolian:
Lydian:
Phrygian:
Mixolydian:
Dorian:
Create your own exercises or repeat the exercises above in different keys. Again, it would be cool if you post some exercises for all of us in the forums.
Approach No.2 - Chords 'n Tensions
Actually, this approach is a continuation of what I have talked about in Chord Scales - Part 1. Remember how we derived 7th chords by stacking up thirds that are diatonic to the key and scale. That's how it looked like:
Of course we can continue to stack up diatonic thirds. The result is that we get 5,6, and 7 note chords. Note that the notes added to our basic 7th chords are called tensions, meaning they are not part of the 7th chord anymore, but can be incorporated to create a special mood or tension.
Let's examine each individual chord:
I maj7
If we add another diatonic third to the basic Cmaj7 chord we get a major ninth on top of the chord, which in our case is the note D.
Note that when tensions that are major or perfect are indicated in a chord symbol it is common to write the plain number without the "M"or "P", as it is in use with intervals.
If we add another diatonic third to the Cmaj7(9) chord we get a perfect eleventh on top of the chord - in our case the note F.
By adding another third on top of the Cmaj7 (9 11) we get a major thirteenth on top of the chord.
Notice that we now have stacked up all seven notes of the C major scale in thirds starting on the note C. We can divide these 7 notes into 2 categories: chord tones (1, 3, 5, 7) and tensions (9, 11, 13)
The scale: If we write out all the notes of the Cmaj7(9 11 13) chord in form of a scale, meaning in ascending order we close the circle and are back at our C major scale (tensions 9,11,and 13 of the chord become M2, P4, M6 of the scale). Speaking in terms of modes this is Ionian.
The avoid notes: Avoid notes are tensions that create a dissonant interval to a basic chord sound, which, in turn, results in a loss of stability.
Example: the interval of a minor ninth is a very strong dissonance. It is strongly recommended to not use this interval (Do you remember that we have already talked about this in the article "7th Chords"?)
Now take a look at the tensions of Cmaj7 above - there is a b9 interval between the M3 and tension 11. As a result we will avoid using tension 11 with a major7 chord.
This does not mean that you are not allowed to play this note while improvising, but you should be careful that you use it as a passing note and do not play it for a long time. Furthermore, I advise you to never include the 11th within a maj7 chord symbol.
(Try this - record a Cmaj7 and then play or sing F as a single note on top of it - interesting, isn't it? Also, notice how the F has a strong tendency to resolve to the E)
Imaj7 Overview
II m7
Here are the tensions for Dm7 if we continue to stack up diatonic thirds:
The scale: It's probably not a big surprise that the notes of a Dm7(9 11 13) are equal to the D Dorian mode.
The Avoid notes: The avoid note is tension 13. Although it doesn't create a b9 interval within the chord itself there's a harmonic reason for avoiding it. I'll make it short: IIm7 - V7 - Imaj7 is one of the strongest cadences in music. If you incorporate tension 13 in the IIm7 chord you anticipate the sound and function of the V7 chord which "destroys" the cadence.
IIm7 Overview
Here's the rest of the list in a brief version:
III m7
IIIm7 Overview
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IV maj7
IVmaj7 Overview
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V 7
V7 Overview
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VI m7
VIm7 Overview
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VII m7b5
VIIm7b5 Overview
Chords are Scales - Scales are Chords
If you combine the two approaches we did to one big thing, we can express it as "Chords are Scales and vice versa". A chord functioning as a Imaj7 chord has the tensions 9, 11, and 13 which is identical to the notes of the Ionian mode. On the other hand, Ionian as a scale implies a Imaj7 with tensions 9, 11, and 13. Due to the importance I summarized all chords, their functions, tensions, avoid notes, and modes in the table below. Learn it by heart - up and down - backwards - place a copy next to your bed, in the restroom, or wherever you spend a lot of time.
A good exercise for memorizing and practicing the table above is that everyday you take a key, go through the list and fill in the notes. Here's for example the key of G:
Exercise to Chords'n Tensions
Fill out the table below
Chord & Function Tensions Avoid Note Scale
Imaj7
VIm7
IVmaj7
VIIm7b5
IIIm7
V7
IIm7
Hearing Modes
After all this theory I think you are craving for some real music. Yeah! I'll show you a way of comparing modes in terms of their sound.
We make use of a chordal technique called "slash chords" or "hybrids". These chords are made up by a chord and a bass note divided by a slash.
Example: G/A This means that we play a G major triad while the note A is in the bass. Note that the A is the root of the chord. This technique enables us to indicate more complex chords that would be difficult to write out in the usual way (There's no correct symbol for G/A. It could be written out as A7sus4(9) or Am7sus2(11) or Am7sus4(9).
We have already experienced that if we harmonize a major scale in thirds we get three major triads on the I chord, the IV chord, and the V chord. An interesting aspect is that these three major triads contain all 7 notes of a major scale.
Let's take a look at A major: the three major triads in A are A, D, E.
We will now project (superimpose) these three triads over the bass note A (A pedal). Written out in chord symbols it looks like this: A D/A E/A
On the guitar use your open A string as a pedal that sounds through the chord progression. Let's choose voicings for the triads and play:
The above sound clearly states the Ionian sound, especially the D major triad over the bass note A because it contains the perfect eleventh (D), which we know of being the Ionian specific interval.
To listen to other modes we have to define the original major key, look for the major triads, and repeat the process above.
A Lydian
Next we are interested in ALydian to compare the sound with Ionian. ALydian is derived from E major. The triads within E major are E, A and B. If we compare them to the triads from Ionian we see that E and A are identical and that we get a B triad instead of a D triad. B major triad contains the note D#, which is the augmented 4th.
Repeat the music example from above - instead of D/A use B/A by moving the fingering for the A major triad up a whole step.
How would you express the different sounds of Ionian and Lydian? Does Lydian sound brighter, more interesting, dissonant, ....? The answers differ a whole lot due to your personal taste.
A Dorian, A Aeolian, A Phrygian
Next we want to listen to the minor sounding modes.
Let's examine the triads first:
A Dorian - key of G - triads are G, C, and D
A Aeolian - key of C - triads are C, F, and G
A Phrygian - key of F - triads are F, Bb, and C
Now I want to leave you on your own. I think you understand how this works. Find voicings for the triads, put the A in the bass, listen to and experiment with the different progressions.
Finish all modes by figuring out A Mixolydian and A Locrian.
Applications of Chord Scales
In this last chapter I want to show different applications and examples for using the theory of chord scales. Please understand that this is meant to be an introduction - each topic could fill an entire article.
Analyzing Chord Progressions
One of the first things that comes to mind is that with our knowledge we are able to analyze chord progressions.
1) Diatonic chord progressions
Below is a chord progression that includes all seven chords of a key.
Now let's analyze the chords in term of their function and chord scale.
The above example starts on the Imaj7 and ends on the Imaj7 - therefore, it is not difficult to determine the scales and functions. But what if there is no one chord within a progression?
2) Diatonic chord progressions without a Imaj7 chord
Below are the first four bars of the tune Sudden Samba.
Let's analyze it. The progression starts with Ebmaj7, which we could assume as being a Imaj7 chord. Dm7 in relation to Ebmaj7 is VIIm7. I hope to hear a loud "This cannot be!" from you - function VII has to be a m7b5 chord. Therefore, Ebmaj7 can not be the Imaj7.
Good that we have another option for a maj7 chord - IVmaj7. If Ebmaj7 is IVmaj7 then Dm7 is IIIm7 and Cm7 is IIm7, meaning the progression is based on Bb major.
Here's the analyses for this Lydian based chord progression.
2) Chord progressions with key changes
Especially in Jazz it is common for a tune to not stay in one key. As an example I analyzed the first eight bars of the Standard "All the Things You Are".
Improvisation
This is probably one of the most talked about application of modes. The thing I want to explain is that when you have analyzed a tune in terms of its modes this does not in any way mean that you use a "scale thinking" for improvisation. Let's take again a look at the progression that includes all chords and modes in the key of C:
We know that all the above modes are part of the C major scale. Therefore, we can assume that improvising over all chords with C major scale will do it.
Well, yes and no. If you are not that experienced then this is a good way to start out. But - here's the but - to make a chord progression sound good and interesting we have to focus on the function of the individual chords, meaning their chord tones, tensions and avoid notes.
For you guitar players I'll show an example of how I worked out modes on the fretboard. Our chord is Am7.
We know that there are three possible functions for a m7 chord: IIm7 (Dorian), IIIm7 (Phrygian), and VIm7 (Aeolian). Forget Phrygian for a moment and focus on Aeolian and Dorian.
The procedure to project modes onto the fretboard is the same as what I mentioned earlier as "three steps formula", meaning chord tones, similar tensions, and mode specific tension.
I recommend that you record a Am7 vamp. Improvise and perform exercises with the different steps below.
1) Am7 Chord Tones (1, b3, P5, b7)
Here's the Am7 arpeggio in 5th position.
2) Similar tensions between Dorian and Aeolian are perfect eleventh and major ninth.
Am7 arpeggio with added tension 11 - identical to Am Pentatonic.
Am7 arpeggio with added tension 9.
Now try to play the arpeggio with tensions 9 and 11 . Remember that this 6 note scale is neither Aeolian nor Dorian.
3) Mode specific tensions are M13 for Dorian and b13 for Aeolian.
Am7 arpeggio with added tension 13 - Dorian
Am7 arpeggio with added tension b13 - Aeolian
The last thing I think about is the actual scale containing all notes.
A Dorian (G major scale)
A Aeolian (C major scale)
I hope you have experienced that your improvisation sounds different when you think about the individual notes, rather then playing the entire scale.
Composition
Actually, we already talked about a very important application. The way of listening to modes that I described on the last page "Hearing Modes" is a great resource for composing. There are tons of tunes that incorporate the technique of slash chords to create a special effect. Try this:
Does this sound familiar? Check out the tune "Flying in a Blue Dream" by Mr. Joe Satriani. The D/C is a great voicing for CLydian. It contains all tensions that are in the Lydian mode (9, #11, 13).
I just listened to the radio. They played one of the all - time - best - party - tunes "Jump" by Van Halen. The "Hook" of this tune is a triadic riff played by the keyboard, supported by a C pedal in the bass. The triads played by the keyboard are G, C and F - with the C played by the bass this is a great example for Ionian. If you want to play this riff on the guitar the fingerings look like this:
The ending of the riff is a little bit different and goes like this:
With the hints on the voicings it should be easy for you to figure out the entire riff.
Of course you can also make use of this technique and furthermore write a melody to a modal chord progression. Below is a little example that I wrote in A Dorian.
Notice how I focus on the f# in the melody which is the specific tension of A Dorian. Whereas in standard chord progressions like IIm7 - V7 - Imaj7 the M13 of Dorian is an avoid note it is the first choice in a modal progression to underline the mode.
You do not need to use the "slash chords" technique described above to write tunes based on a mode. The best example I can think of is "Norwegian Wood" by Lennon/McCartney. The first chords of the verse are G and F, which are the V and IV chords in C major. "Norwegian Wood" is written in G Mixolydian.
At last I want to list some modal tunes that you can take a look at and analyze what mode they are in.
So What (Miles Davis)
Recordame (Joe Henderson)
Norwegian Wood (The Beatles)
First Light (Freddie Hubbard)
Darkness (The Police)
Crystal Silence (Chick Corea)
Moondance (Van Morrison)
The End
I think this is enough information within one article. I hope you see the importance of chord scales and modes and I hope that it shed some light on the topic. If there is anything further please let me know by making a forum post.
In Chord Scales - Part 3 we will finish up this topic by examining harmonic minor, melodic minor and symmetric scales.
See you later,
Guni
Solutions of Exercises
Exercises to Scales'n Modes
1) Write out all the modes derived from Bb major scale
Bb Ionian: Bb C D Eb F G A
C Dorian: C D Eb F G A Bb
D Phrygian: D Eb F G A Bb C
Eb Lydian Eb: F G A Bb C D
F Mixolydian: F G A Bb C D Eb
G Aeolian: G A Bb C D Eb F
A Locrian: A Bb C D Eb F G
2) Write out all modes starting on the note D
D Ionian: D E F# G A B C#
D Dorian: D E F G A B C
D Phrygian: D Eb F G A Bb C
D Lydian: D E F# G# A B C#
D Mixolydian: D E F# G A B C
D Aeolian: D E F G A Bb C
D Locrian: D Eb F G Ab Bb C
3) Label the appropriate chord sounds and tensions for the modes below.
Ionian: maj7 - M2 P4 M6
Locrian: m7b5 - b2 P4 b6
Aeolian: m7 - M2 P4 b6
Lydian: maj7 - M2 #4 M6
Phrygian: m7 - b2 P4 b6
Mixolydian: 7 - M2 P4 M6
Dorian: m7 - M2 P4 M6
Exercise To Chords'n Tensions
Chord & Function Tensions Avoid Note Scale
Imaj7 9 11 13 11 Ionian
VIm7 9 11 b13 b13 Aeolian
IVmaj7 9 #11 13 none Lydian
VIIm7b5 b9 11 b13 b9 b13 Locrian
IIIm7 b9 11 b13 b9 b13 Phrygian
V7 9 11 13 11 Mixolydian
IIm7 9 11 13 13 Dorian