Building Triads on Each Note of the Major Scale

Within the key of C major we have seven notes – C, D, E, F, G, A and B. We can take any one of these notes as a root note to build a chord on. For instance, building a triad on the note C gives us C, E, and G which is a Cmaj triad. Chords can be built from any note in the scale in the same way. Starting on the note E and including every second note from the scale would give us the notes E, G and B forming an Emin triad. Likewise, building a triad on the note G would give us a Gmaj chord with the notes G, B, and D.

We call the chord built on the first note of the scale the “Ⅰ” chord, the chord built on the second note of the scale the “Ⅱ” chord, and so on using Roman numerals to designate which degree of the scale the chord has been built upon. If the chord is a minor chord this can be indicated by using a lower case Roman numeral (eg ⅳ instead of Ⅳ) or can be indicated by adding a lowercase “m” after the Roman numeral (eg Ⅳm). In this post I use the more traditional convention of using lowercase Roman numerals for minor chords and uppercase Roman numerals for major chords.

The table below gives an example of all of the diatonic chords in the key of C major, each numbered with Roman numerals. The table also shows the corresponding mode beginning on each scale degree.

Building Sevenths and Extended Chords on Each Note of the Major Scale

Of course, we’re not restricted to building only triads (three note chords) on each scale degree. We can build four note chords (usually seventh chords), or ninth, eleventh and thirteenth chords if we so chose. Here is the same table again, but this time indicating the types of chords available using seventh chords. Note how the Roman numerals stay the same, however the number seven is added to indicate that it is representing a seventh chord. Also, for the B half-diminished seventh chord, a circle with a line through it (ø) is the standard symbol indicating half-diminished.

Chord/Scales

Back in part 6 of this series we learned about chord/scales. That post gave an introduction as to which mode suited which chord for the purposes of melodic construction, including improvisation. In that post I also provided a table showing which mode was appropriate for which chord. That table has been reproduced below for easy reference.

As we learned in part 6 and as you can see from the table above, Phrygian, Aeolian and Dorian all suit a min7 chord, however only the Dorian mode is ideally suited to min7 chords as both the Phrygian and Aeolian modes have avoid notes when used over min7 chords. However in this post, rather than looking simply at which scales suit which chords, we will investigate which scales suit which chord progressions. By looking at chords in a musical context (i.e. a progression), we actually find many circumstances where a Phrygian or Aeolian mode may be more suitable than the ordinary Dorian mode for minor seventh chords. Similarly, whilst the Lydian mode is considered to be the most consonant mode over major type chords, we will see that Ionian may often be a better choice in many situations.

The Ⅳ-Ⅴ-Ⅰ Progression

The Ⅳ-Ⅴ-Ⅰ progression is a hallmark of Western music. In the key of C a Ⅳ-Ⅴ-Ⅰ progression is Fmaj-Gmaj-Cmaj and using seventh chords the progression would be Fmaj7-G7-Cmaj7. As we know from part 6 of this series, the default mode for the major seventh type chord is the Lydian mode since, unlike the Ionian mode, Lydian has no avoid notes. Therefore, for Fmaj7 we would use the F Lydian mode.

For the G7 chord we can use the Mixolydian mode, although it is important to remember that the natural fourth (the note C) in the G Mixolydian mode is an avoid note. As we know we can raise avoid notes by a semitone to make them more consonant. Raising the avoid note of the Mixolydian mode gives us the Lydian Dominant scale which was introduced in the previous post.

For the final chord, Cmaj7, the Lydian mode seems like a logical choice due to its lack of avoid notes, however most players would probably choose the Ionian mode instead, despite the presence of an avoid note. Why is that? Well, this progression is in C major (we know this because the Ⅰ chord is a C major chord). C Lydian, while certainly a possible choice, is actually derived from the G major scale, which is a completly different key centre. Using the F# from a C Lydian may sound like a ‘wrong note’ or it may suggest to listeners that you are modulating to the key of G major. Of course, experienced players may deliberately choose C Lydian as the #4 could prove more interesting. Typically speaking though C Ionian is the safer choice as it belongs to the the key.

Similarly, regarding the G7 chord, G Mixolydian belongs to the key (G Mixolydian is derived from C major), and may therefore be a better choice than G Lydian Dominant which is derived from an entirely different tonality. G7 is therefore the safer choice, however the #4 in Lydian Dominant may also be suitable for more colour, depending on the situation and player.

The ⅱ-Ⅴ-Ⅰ Progression

Like the Ⅳ-Ⅴ-Ⅰ progression, the ⅱ-Ⅴ-Ⅰ progression is one of the most common chord progressions in Western music. In the key of C major a ⅱ-Ⅴ-Ⅰ progression is Dmin-G-C, or, using seventh chords, Dmin7-G7-Cmaj7. The final two chords in this progression are G7 and Cmaj7, which is the same as the last two chords in the Ⅳ-Ⅴ-Ⅰ. Our mode choices are therefore the same, with G7 suiting either a G Mixolydian or G Lydian Dominant, and Cmaj7 fitting well with C Ionian or C Lydian. Once again G Mixolydian and C Ionian are safer choices in terms of adherence to the prevailing key, while G Lydian Dominant and C Lydian, are suitable if you are after a fresher/hipper sound, or prefer their lack of avoid notes.

For the ⅱ chord, Dmin, the obvious choice is the D Dorian mode. Dorian is the default choice for minor seventh type chords as it has no avoid notes. Also, because the D Dorian mode is derived from the C major scale, it belongs to the prevailing key.

The Ⅰ-ⅵ-Ⅳ-Ⅴ-Ⅰ Progression

The Ⅰ-ⅵ-Ⅳ-Ⅴ-Ⅰ is another hugely popular progression. In the key of C major this would be rendered as Cmaj-Amin-Fmaj-G7-Cmaj. As the first chord is a Ⅰ chord, we will be sticking with the mode built of the tonic – C Ionian. Also, the final three chords in this progression is the same as our Ⅳ-Ⅴ-Ⅰ progression above, so for those chords we will be using F Lydian, G Mixolydian and C Major respectively.

For the ⅵ, Amin, it would make sense to use either A Dorian, A Aeolian or A Phrygian as these are the main modes used for minor type chords. Since Dorian has no avoid notes, it would appear to be the obvious choice, however A Dorian is derived from the G major scale and will therefore contain an F#. F# is not a note that belongs in the key of C Major so it is very possible that choosing A Dorian may sound “off key”. A more reliable choice would be the A Aeolian mode as this mode is derived from the C Major scale and will therefore agree with the prevailing key which is C Major. Or course once again, choosing to use the A Dorian mode, with its non-diatonic F# is not necessarily “wrong”, just be aware that you may need to exercise more caution when using it.

Choosing Modes Based on the Prevailing Key

At this point it should be obvious that the main way to achieve a mode which complements and agrees with the progression is to choose a mode derived from the prevailing key. In effect, this means choosing the first mode of the key (Ionian) for the Ⅰ chord, the second mode of the key (Dorian) for the ⅱ chord, the fourth mode (Lydian) for the Ⅳ chord, the fifth mode (Mixolydian) for Ⅴ, and the sixth mode (Aeolian) for ⅵ. Accordingly the Phrygian mode would ideally suit the ⅲ chord, and Locrian will work well for the ⅶ.

Recognising Chord Progressions

Unless you are a session player, you’ll rarely encounter chord progressions written out as numbers or Roman numerals like I have done in this post. Usually chord charts are only written with their actual names, such as Cmaj, G6/9 etc. This means that, in order to use the information presented above, you’ll need to develop your familiarity with chord progressions and learn to recognise certain progressions when they appear. For instance Fmin-Bb7-Ebmaj immediately screams ⅱ-Ⅴ-Ⅰ in the key of Eb major.

The only way to really develop this automatic recognition is to analyse LOTS of charts until it becomes automatic. Of course, its important that you also have a good grounding in chord progression theory before you try this, so if you feel like your knowledge of progressions is lacking, then you’d better enter a few search terms in a search engine!

Minor Key Chord Progressions

So far we’ve only really touched on modes as they relate to chord progressions in major keys. Progressions in minor keys are slightly more complicated so for now it may be wise to limit your study of chord charts to songs in major keys. Minor key songs can become very complicated very quickly, so we’ll look at those specifically in the next post.

Like the major scale, we can form modes from the Melodic Minor scale, by changing which note is regarded as the root. For instance, by taking the notes of C Melodic Minor but starting on F we will have the F Lydian Dominant scale: F, G, A, B, C, D, Eb, F.

The First Mode of the Melodic Minor Scale

The first mode of the Melodic Minor scale is the Melodic Minor scale. Unlike the major scale which has the modal name Ionian, there is no alternative modal name for the Melodic Minor scale.

As we know, the formula for Melodic Minor is 1, 2, b3, 4, 5, 6, 7 so a C Melodic Minor scale would contain the notes C, D, Eb, F, G, A, B, C. If we take a fretboard diagram and mark a dot at each of these notes everywhere on the fretboard, we arrive at a fretboard map that looks like the diagram below (if you need help finding the notes on the fretboard, you may find my ‘Finding the Notes’ series helpful).

To make this giant fretboard map more digestable and user-friendly we can divide it up into five CAGED shapes.

The Dorian Flat 2 Scale

The mode starting on the second degree of the Melodic Minor scale is the Dorian b2 scale. Taking C Melodic Minor as our parent scale, but starting on the second note, we get the D Dorian b2 scale.

Of course, since D Dorian b2 and C Melodic Minor contain the same notes, but with different roots, the fretboard maps are identical but with the root notes in different places.

To understand why this scale is called Dorian b2, its useful to compare the D Dorian, and D Dorian b2 scales side-by-side.

As you can see, the two scales are identical except the Dorian b2 has its second notes lowered – hence the name Dorian b2. As we know from part 2 of this series, the Dorian scale formula is 1, 2, b3, 4, 5, 6, b7. This means that the scale formula for Dorian b2 will be 1, b2, b3, 4, 5, 6, b7.

Lydian Augmented

The third mode of the Melodic Minor scale is the Lydian Augmented scale, and is formed by taking the notes of the Melodic Minor scale, but defining the third note as the root. If we use the C Melodic Minor scale as the parent scale, the related Lydian Augmented scale will be Eb Lydian Augmented.

As with D Dorian b2, Eb Lydian Augmented shares the same fingering patterns as C Melodic Minor however it is important to remember that the position of the roots will be different.

Comparing the Eb Lydian Augmented scale with the regular Eb Lydian, shows us what is meant by the term Lydian Augmented.

As you can see the only difference between these two scales is that Lydian Augmented has its fifth note raised by a semitone, from Bb to B. The term Augmented is borrowed from the Augmented chord, where the word is used to denote chords which have had their fifth note raised. Where the regular Lydian scale formula is 1, 2, 3, #4, 5, 6, 7, the Lydian Augmented scale formula must have a #5 and is therefore 1, 2, 3, #4, #5, 6, 7.

Lydian Dominant

Taking the fourth note of the Melodic Minor scale as the root gives us the Lydian Dominant scale. Taking the C Melodic Minor scale, but begining on the fourth note we arrive at the F Lydian Dominant scale.

Once again, because C Melodic Minor and F Lydian Dominant are relatives of each other (that is they share the same notes), this also means that the fingering patterns will be the same. Of course, the important difference is that the position of the roots are not the same.

The table below shows the regular F Lydian scale, compared with the F Lydian Dominant scale. As you can see the only difference between these two scales is that the Lydian Dominant scale has its seventh note flattened by a semitone. The term Dominant has been borrowed from chord terminology, where the term is used to denote chords with a major third and a minor seventh, which is the case with the Lydian Dominant scale.

The scale formula for the regular Lydian mode is 1, 2, 3, #4, 5, 6, 7. Adding a b7 gives us the Lydian Dominant formula 1, 2, 3, #4, 5, 6, b7.

Mixolydian Flat 6

The fifth mode of the Melodic Minor scale is Mixolydian b6, also known as the Hindu scale. Using the notes of C Melodic Minor but regarding the fifth note, G, as the tonal centre we have the G Mixolydian b6 scale.

As with the previous examples the fingering patterns for the G Mixolydian b6 scale and the C Melodic Minor scale are the same, however the position of the roots are different.

The name Mixolydian b6 implies that it is the same as a regular Mixolydian scale but with the sixth note lowered. This can be confirmed by comparing Mixolydian b6 and regular Mixolydian with each other. Accordingly we can find the Mixolydian b6 scale formula by begining with the formula for the regular Mixolydian mode (1, 2, 3, 4, 5, 6, b7) and then lowering the sixth, which gives us 1, 2, 3, 4, 5, b6, b7.

Half-diminished Scale

The Half-diminished scale is the sixth mode of the Melodic Minor. Taking C Melodic Minor as the parent scale but starting on the sixth note, gives us the A Half-Diminished scale. As always, since C Melodic Minor and A Half-diminished share the same notes, they will also share the same fingering patterns, just make sure that you are aware of which note is considered to be the root.

A half-diminished chord is a chord with a b5 and a b7. The notes in an A Half-diminished chord are A, B, C, D, Eb, F, G. The interval between the root and the fifth is a diminished fifth (i.e. b5) and the interval between the root and the seventh is a minor seventh (i.e. b7). The half-diminished scale gets its name from the fact that, like the half-diminished chord, its characteristic notes are the b5 and b7.

While the term Half-diminished is my prefered term for this scale, other standard terms include Locrian #2 or Aeolian b5. Comparing this scale with a regular Locrian scale reveals that it is the same but with the second note sharpened (i.e. #2).

Comparing this same scale with the Aeolian mode reveals why it may also be called the Aeolian b5 scale. The table shows that the Aeolian b5 is the same as the regular Aeolian scale but with the fifth flattened.

The scale formula is for the Half-diminished scale is the same as the formula for the Aeolian scale but with the fifth note flattened. Therefore, where the Aeolian scale formula is 1, 2, b3, 4, 5, b6, b7, the Half-diminished scale formula will be 1, 2, b3, 4, b5, b6, b7.

Superlocrian

Superlocrian is the seventh and last mode of the Melodic Minor scale. If we take C Melodic Minor to be the parent scale and take the seventh note as the root, we will have the B Superlocrian scale. As with every example in this artcle, the fingering maps are the same, however the key difference is that the roots are not the same.

Comparing Superlocrian with the regular Locrian scale shows the Superlocrian to be the same as a Locrian scale but with a ‘flattened fourth’.

Where as the formula for Locrian is 1, b2, b3, 4 b5, b6, b7, the formula for Superlocrian must be 1, b2, b3, b4, b5, b6, b7. In reality the Superlocrian scale is rarely considered viable – since the ear will always hear/interpret a flat fourth as its enharmonic equivalent, a major third. However, enharmonically re-spelling the notes of the formula as 1, b2, #2, 3, b5, #5, b7, gives us what is known as the Altered scale.

While this means that the Altered scale and Superlocrian will both contain the same pitches, conceptualising the scale in this way makes it far easier to understand how the scale is applied. This is a source of great confusion for some students so I will investigate the Altered scale and its uses thoroghly in a later installment of this series.

Summary

This table shows each of the Melodic Minor scales and their respective formulae covered in this post. I have also included some common alternate names used for the modes, and written out the Tone-Semitone formula of each mode for those who are interested.

Chords

Generally, western music consists mostly of three basic chord qualities – major, minor and dominant seventh. The major chord formula is 1, 3, 5 while the minor chord requires a minor third so its formula is 1, b3, 5. Dominant seventh chords are a major triad with a b7 added on top, so the dominant 7th formula is 1, 3, 5, b7.

Of course, the major and minor chords can also be played as seventh chords, with a major seventh chord having the formula 1, 3, 5, 7 and the minor seventh being 1, b3, 5, b7.

All of these chords can be extended beyond the seventh with natural tensions up to a thirteenth – basically this means just stacking thirds above the seventh, without using flattened or sharpened degrees. The natural tensions above a seventh chord are therefore the 9th, 11th and 13th. We can add these notes to our major 7th, minor 7th and dominant 7th chords to create the major 13th, minor 13th and dominant 13th chords respectively.

Scale Choices

When choosing which modes to use over a given chord progression its important to always be aware that every mode implies a harmony, and that every mode co-exists with some sort of chord. One way of determining what chord relates with which mode, is to take the notes of the chord and rearrange them so that they fit into one octave – this means bringing the 9th down an octave to the 2nd, the 11th down to a 4th and the 13th down to a 6th.

Of course, we’ve already encountered these exact same formulas – but with different names. For instance the Maj13 formula is the same as the ordinary major scale/Ionian mode; the min13 formula is the Dorian mode, while the dominant 13th formula is the same as the Mixolydian mode.

This means that a Maj13th chord implies the Ionian mode. Similarly, a person soloing in a Dorian mode is implying min13th harmony. In fact, these modes and their respective harmony are so intertwined that its helpful to think of a maj13th chord as being meaning Ionian – and vice versa. Rather than thinking about chords and scales distinct from each other, its good to start thinking about ‘chord scales’ where terms like Ionian and major, or Mixolydian and dominant are two words for exactly the same concept.

‘Avoid’ Notes

An avoid note is a note of a mode, that creates an ‘unacceptable’ dissonance when held against the chord of the mode. For example, the Ionian mode is a suitable scale choice for a maj13 chord – but if you hold the 4th against a maj13 chord, the note will ‘need’ resolution if it is to sound ‘acceptable’. The sound of the 4th degree against a maj13 chord is almost universally agreed upon as sounding ‘wrong’ (or at least, not quite ‘right’).

Notes such as these are known as ‘avoid’ notes and need to be treated carefully when being used in melodic construction. Although they are called avoid notes, there is no need to avoid them completely – just use caution.

The Cause of Avoid Notes

Avoid notes are a result of the interval of a minor 9th (e.g. E to F, B to C etc). From the previous example, the reason the F sounds so unpleasant is because it clashes with the note E in the chord (a Cmaj7 contains the notes C E G B). Other instances of avoid notes include the 4th degree of a Mixolydian mode – e.g. a C over a G7 chord. G7 has the notes G B D F, but playing a C in the melody will clash with the B in the chord.

Dealing with Avoid Notes

Not all occurrences of a minor 9th will necessarily sound unmusical. Depending on the player, the voicing of the chord, and the expectations of the listener, its perfectly possible for an F to be played over a Cmaj7th chord (or a C over a G7 for that matter). Nonetheless, the minor 9th interval will typically sound unpleasant, so its important to be familiar with the common methods of dealing with these ‘clashes’.

The strident sound of avoid notes can be lessened by using the note as a ‘passing’ note. For our purposes, a passing note is a note which is usually of short duration and resolves stepwise to the note immediately below or above it. For example, in the case of an F over a Cmaj7 chord, keeping the F short and resolving it immediately to the E below, or the G above it would prevent the F from sounding ‘wrong’.

The other accepted way to deal with avoid notes is to raise them by a semitone – thus turning the ugly minor 9th interval into the much nicer sounding major 9th interval. In the case of the Cmaj7 chord this would mean raising the F to F#. This way the E in the chord will no longer clash with the melody note.

When raising notes to avoid the minor 9th dissonance it is important to be aware of the way that it will effect the ‘character’ of the melody. In ‘Top 40′ rock and pop songs or any music with a mostly static key centre, the raised note will sound like its ‘out of key’ – because, after all, that is exactly what it is. On the other hand, in many jazz tunes, some virtuoso rock guitar pieces, or any piece with ambiguous or changing key centres, or in a ‘modal key’, then the raised note may not sound so contrived or out of place.

Lydian Chords

As we know from the previous modes post the Lydian scale formula is 1 2 3 #4 5 6 7. Rearranging these notes into stacked thirds to create a chord and moving the 2, #4, and 6 up an octave we arrive at the chord formula 1 3 5 7 9 #11 13, which is the formula for a maj13#11 chord.

Of course its not necessary to use all of the possible notes to build chords. For instance using only degrees 1, 3 and 5 we can construct an ordinary major triad, or if we take degrees 1, 2 and 5 we can build a sus2 chord. More complex chords that can be derived from the Lydian mode includes the maj69 chord (1, 3, 5, 6, 9) or the maj7#11 chord (1, 3, 5, 7, 9, #11).

The most common chords that can be derived from the Lydian mode include maj, sus2, maj6, maj7, maj9, maj7#11, maj13, add9 and maj69 chords. As such Lydian can be a good choice for soloing over all of these chords.

Ionian Chords

The Ionian formula is 1 2 3 4 5 6 7. Rearranging these notes into stacked thirds to create a chord, we arrive at the chord formula for a maj13 chord, 1 3 5 7 9 11 13. Other chords which can be constructed from the notes in the Ionian mode are maj, sus2, sus4, maj7, maj9, maj11, maj13, add9, and maj69 chords.

You may notice that many of those chords can also be derived from the Lydian mode which means you have a choice of Ionian or Lydian as the mode to base your melodies on. Bear in mind though that the 4th degree of the Ionian mode will clash with the 3rd of the chord – i.e. the 4th note of the Ionian mode will be an avoid note. So be cautious, perhaps treating it solely as a passing note. Of course, you also have the option of raising the avoid note – but then you would just end up playing the Lydian mode anyway, since Lydian is essentially a major scale with a #4.

Mixolydian Chords

The Mixolydian formula is 1 2 3 4 5 6 b7. There are various chords which can be created from these notes such as the simple maj, sus2 and sus4 triads, and triads with added notes such as the add9 and maj69 chords. However, be aware of the natural 4th which will be an avoid note on the maj, add9 and maj69 chords. Of course, the sus chords do not have a third so there is no problem with an avoid note on those chords.

Mixolydian is ideal for dominant 11th chords (though to be honest these don’t come up often), and is also suitable over 7th, 9th and 13th chords – but again be aware of the avoid note. Mixolydian is perfectly suited to suspended dominant chords such as 7sus4, 9sus4 and 13sus4, because there is no avoid note.

Dorian Chords

The Dorian formula, when rearranged as a chord is 1 b3 5 b7 9 11 13, which is the chord formula for a min13th chord. The Dorian mode is therefore the perfect choice over most minor chords, min7, min9, min11 and min13 chords. Also, because the Dorian mode has a natural 6th (13th) it is perfect for min6 and min69 chords.

As the Dorian mode does not contain the major third, there is no danger of the natural 4th being an avoid note. This is also true for the Aeolian, Phrygian and Locrian modes since none of these modes have a major third.

Aeolian Chords

The Aeolian formula is 1 2 b3 4 5 b6 b7, which, when rearranged as a chord formula gives us a min7b13 chord formula, 1 b3 5 b7 9 11 b13. The only difference between the Dorian mode and the Aeolian mode is the presence of the b6 in the Aeolian. This makes Aeolian effective over min7, min9 and min11 chords, but will not work over min6, min69 or min13 chords as these chords all require the natural 6th/13th.

Also, even when used over basic min7, min9 and min11 chords we still have the issue of the b6 clashing with the 5 of the chord – i.e. the b6 is an avoid note. Because of this, it may be wise to stick to the Dorian mode over most minor chords. This is not to say that you can’t use Aeolian over min7 type chords – in fact, done carefully, I find that the b6 can be a beautifully ‘brooding’ note, providing that it is not held against the chord, and is used sparingly/tastefully.

Two chords which beg for the Aeolian mode to be used is the min7b13 and minb6 chords. Both of these chords a minor type chords, and both contain the b6/b13 note, so the Aeolian mode is the idea choice for these chords.

Phrygian Chords

The b3 and b7 indicate that the Phrygian mode is some kind of minor mode, however the presence of the b6 and a b9 (both avoid notes on min chords) makes it a less common choice over min7, min9, min11 and min13 chords. That said, used as passing notes the b6 and b9 make for a very dark, and, in my opinion, appealing sound, with a Spanish/Moorish flavour.

One chord that is particularly well suited to the Phrygian mode is the 7susb9. This chord is actually a dominant type chord – not a minor type chord – and it involves some fairly complicated theory to fully explain how and why this works. Unfortunately its well beyond the scope of this post, however later in the modes series we will look at it closer.

Locrian Chords

The Locrian formula is 1 b2 b3 4 b5 b6 b7, the notes of which build a min7b5 chord or simply Ø (meaning half-diminished). Since the half-diminished chord has a b5 (rather than a natural 5) there is no danger of the b6 being an avoid note as it was in the Aeolian and Phrygian modes. The only avoid note in the Locrian mode is the b9 which clashes with the root note. As with all other avoid notes mentioned in this post, this note is usually ‘brushed over’ as a passing note, or raised up to a natural 2nd.

In Summary

Today we’ve covered a LOT of material, so hopefully this table might make the most important things a little easier to digest.

Relative Mode Theory (aka ‘Modes in Series’)

So far we’ve been mostly using relative mode theory – e.g. where C Ionian and A Aeolian share the same notes, but have different roots. But now we are going to learn to use our modes in parallel. In contrast, parallel modes have the same roots but different notes.

Where C Ionian and A Aeolian are relative, C Ionian and C Aeolian are parallel modes. F major and F minor can be called parallel scales (or even parallel keys).

Comparing the Major & Natural Minor Scales

In the figure below, we can see that the first, second, fourth and fifth notes of these scales are the same…

…but, because of the different tone-semitone structure, the third, sixth and seventh notes are all one fret lower. Notes that are one fret lower are said to be ‘flattened’ and are represented with a ♭.

In the following diagrams I have numbered each scale degree with a number for easier reference. Sticking to convention, the first and last notes are still being labelled as R, rather than 1 and 8.

We can relate all modes back to the major scale in this way. Using ‘♭’ to represent ‘flattened notes’, and ‘♯’ to represent ‘sharpened notes’ (i.e. notes that are one fret higher).

Comparing the Modes with the Major Scale

When analysing the modes in parallel we find that the modes are all pretty similar to each other. In fact, each mode is only one note different to another mode. For instance Lydian and Ionian are only one note different. The same is true for Dorian and Aeolian. The following images show each mode, with an arrow indicating the note that has moved.

Here’s the same information collated into an easier-to-read table.

(NB: If you’ve never encountered such things as “♭3s” or “♯4s” before, or used scale formulas like those in the table I suggest that you hone up on your scale degrees and intervals before moving on with the rest of the modes series.)

The Character of Each Mode

Play through the modes in this order – starting with Lydian and then progressively lowering one note each time until you arrive at Locrian. You should find that Lydian is the ‘brightest’ or most consonant mode, and that, each mode is progressively darker than the last, until you get to the Locrian mode which is extremely dark and dissonant.

This table has the brightest modes on the left and the darkest modes on the right. Each mode gets progressively darker as you flatten more notes.

I strongly urge you to play through each of these scales and find your own description of each mode. The following list is how I think of each mode, and should help get you started.

• Lydian Very consonant
• Ionian Sweet and cheerful
• Mixolydian Bright like the major scale, however the b7 lends it a more ‘bluesy’ edge
• Dorian Not particularly bright or dark. Popular for jazz-tinged blues.
• Aeolian The natural minor scale, it typifies ‘sad’ songs
• Phrygian Dark and ‘characterful’. The b2 gives it a distinct ‘Spanish’ flavour.
• Locrian Dissonant

Tones and Semitones

Scales are sets of notes arranged into tones and semitones, also known as whole-steps and half-steps. Simply put, a tone (whole-step) is a distance of two frets, while a semitone (half-step) is a distance of only one fret.

For those that know a little about piano, a tone is one key apart, while semitones are adjacent keys.

The Interval Structure of The Major Scale

The notes of the Major scale (Ionian mode) are spelled out as Tone, Tone, Semitone, Tone, Tone, Tone, Semitone. Since a tone is two frets, and a semitone is one fret, a major scale could look like this, along a single string. (Of course, we would rarely use a scale laid out on a single string – but mapping it to the fretboard like this does make it easier to see the intervals (fret-distance) between each note.)

Realise that I haven’t just pulled this fretboard map out of thin air. It’s been taken from the regular C Ionian/Major scale (covered in Modes Part 2). In case you can’t see the connection, here is the full fretboard map with the other notes ‘greyed-out’.

The Interval Structure of The Modes

As we learned in Modes Part 2, a mode is little more than a major scale starting in a different place. This means that finding the interval ‘formulas’ of the other modes is as simple as starting the Tone, Tone, Semitone, Tone, Tone, Tone, Semitone formula at a different place.

For instance to get the Dorian mode formula, we will start at the second interval of the formula, since Dorian is the second mode of major. This would give us the Dorian interval structure as being Tone, Semitone, Tone, Tone, Tone, Semitone, Tone. Similarly, the formula for Phrygian, the third mode, would start at the third interval of the major scale formula, giving us Semitone, Tone, Tone, Tone, Semitone, Tone, Tone.

I’ve provided a table below for easy reference, but you should make sure that you can work out the formulas yourself.

And in case you’re a more visual person, here are those same modes mapped out along single strings.

CAGED Revision

Thinking back to the second CAGED post, you will recall that the CAGED system refers to the root shapes and the way that they lay out, and overlap, on the fretboard. Obviously, its important to understand how the CAGED system works with basic scales, before we apply it to the modes, so look back at that article if you need a refresher. Even so, I’ve reproduced the root shapes here for easier reference.

NB: Remember that the terms ‘A shape’ and ‘C shape’ etc only refer to the root shapes – don’t think that ‘A shape’ has anything to do with the note ‘A’ or that ‘C shape’ refers to the note ‘C’. If you mix this up things can quickly become very confusing .

CAGED

Lets begin with the C Ionian and D Dorian modes that were introduced last week.

Although the C Ionian and D Dorian patterns are exactly the same, the roots have moved. This has the effect that CAGED naming scheme will be different depending on what mode we are using. For instance, the ‘A shape’ C Ionian pattern, has the same fingering as the ‘C Shape’ Dorian pattern.

Conversely, the ‘E shape’ Ionian mode looks like this:

Whereas the ‘E shape’ Dorian mode is completely different:

Furthermore, since it is the placement of the roots which dictates what mode is being used, a fretboard diagram without the roots shown is absolutely meaningless.

For instance, this figure…

… could be known as the ‘E shape’ Ionian if the roots were placed like this:

But could also be the ‘G shape’ Dorian if the roots were placed like this:

Thinking Modally

Until now, we’ve been thinking entirely in ‘C major’. If we wanted a G Mixolydian, we would think of the C major scale but visualise the new position of the root. Effectively we’ve been thinking “C major”, but calling it something else. As you can see, though, when we start giving them CAGED names it quickly becomes difficult to ‘think in C‘ but play a G Mixolydian mode with the ‘A shape’ pattern. Working with three different letter names is asking for trouble. We need to streamline things if we want to actually use modes in real-world playing.

To play modal tunes, and improvise creatively with modes it’s impossible to calculate the parent major scale, figure out the new position of the root, and then choose the most convenient CAGED shape on the fretboard in an instant. Music should speak emotionally not intellectually, and unless you like sounding formulaic, you don’t want to be thinking formulas, either .

So if we want to play modally, we need to think modally by internalising the modes with the same thoroughness and completeness as any other scale. If you want to actually use modes in your playing, and not just think of them theoretically, you’ll need learn and practice each mode as if it were an entirely new scale. Modes are independent scales in their own right, so learn them as such. We want to think of the mode, not its parent major scale.

So Which Modes Should I Learn, First?

That’s a tough question. For instance, if you’re interested in jazz you might like to start with the Dorian or Mixolydian modes, or if you’re into Steve Vai then maybe starting with the Lydian mode would be a good idea. Over the next few modes posts, we’ll look at how each mode is used and in what styles. This should give you an idea which modes are most useful for you, so you can focus on mastering those modes, first.

Scales First

In the previous modes lesson, we learned that modes are simply ordinary scales with different notes being considered as being the root, so its obvious that you must be thoroughly comfortable navigating the basic major and minor fretboard maps, before trying modes. If you need a refresher then this CAGED article is a good place to start, and it would be good to have the scale fingering charts and the modes fingering charts near to hand as well.

Ionian Mode

The first mode of the major scale is the Ionian mode (pronounced I-OH-NEE-UN), which is the mode starting on the first scale degree (first note) of the C major scale, which is C.

Hopefully you’ve noticed that C Major and C Ionian are exactly the same. They contain exactly the same notes, and have the same note as the root. The figure below shows the CAGED shapes for C Ionian – of course, you should already know these shapes because they are identical to the C Major shapes.

The terms ‘Major scale’ and ‘Ionian mode’ are different words for the same thing. The term ‘major scale’ is used most of the time, but the term ‘Ionian’ is usually preferred when talking about modes.

The Aeolian Mode

The Aeolian mode (pronounced A-OH-LEE-UN) is the sixth mode of the major scale, meaning it’s the mode starting on the sixth degree of the major scale. For the C major scale (C, D, E, F, G, A, B, C), the sixth note is A.

We say that A Aeolian is derived from the C major scale or that the C major scale is the parent scale of A Aeolian. Note that these two scales have exactly the same notes – but they each begin on different notes. The root of C major is ‘C’, so the scale begins on ‘C’, whereas A Aeolian has ‘A’ as its root so it begins on the note ‘A’.

Below is a fretboard diagram showing the notes of A Aeolian. Hopefully you recognise it as being identical to the natural minor scale – if not, you should compare each of these shapes with the ones in the natural minor scale pdf. We know that the terms Ionian and Major both refer to the same thing. Similarly, the terms Natural Minor scale and the Aeolian mode are two terms for the same thing.

Also, compare this Aeolian diagram with the Ionian diagram further up the page. You should noticed that they share the same fingering patterns but the position of the root is different (the dots marked with an ‘R’). Since C Ionian and A Aeolian share the same notes, their fingering patterns should likewise be the same. Modes that share the same set of notes, but have the roots in different places, are known as related modes.

The Other Modes

So far we’ve looked at the modes beginning on the first and sixth degrees of the major scale (Ionian and Aeolian respectively). I started with these modes because you are already familiar with their scalar counterparts – the major and natural minor scales. Now lets look at the modes beginning on the other scale degrees. These are the Dorian, Phrygian, Lydian, Mixolydian and the (rarely useful ) Locrian Mode.

The Dorian Mode

The Dorian mode (pronounced: DOOR-EE-UN), begins on the second degree of the major scale, and is probably the most frequently used mode other than the ordinary Major scale.

Taking a C Major scale as the parent scale, but starting on the second note will give us the D Dorian mode.

Since D Dorian and C Major share the same notes, they must also share the same fretboard map however the roots will be on different notes.

The Phrygian Mode

Pronounced FRIDGE-EE-UN, the Phrygian mode is the third mode of the major scale. Taking C Major as the parent scale but starting on the third note creates the E Phrygian mode.

Again, since E Phrygian and C Major are relatives of each other and share the same notes, the fretboard map and the fingerings will be the same. Of course, the roots are different though.

The Lydian Mode

The fourth mode of the major scale is the Lydian mode (pronounced LID-EE-UN). A C Major parent scale gives us the F Lydian mode since F is the fourth note of C major.

As with the other examples, F Lydian and C Major are fingered the same, however the position of the roots have changed.

The Mixolydian Mode

The Mixolydian mode (pronounced MIX-OH-LID-EE-UN) is the fifth mode of the major scale. Working in C major will get the G Mixolydian mode.

As before, the fingering stays the same, but the roots have moved.

The Locrian Mode

We’ve already covered the sixth mode (the Aeolian), so moving on to the seventh, and last, mode is the Locrian mode (LOCK-REE-UN). Working in C Major gives us the B Locrian mode.

Memorising the Order of the Modes

So far we’ve seen that:

• The first mode is the Ionian mode. It starts on the first degree of the major scale
• The second mode is the Dorian mode. It starts on the second degree of the major scale
• The third mode is the Phrygian mode. It starts on the third degree of the major scale
• The fourth mode is the Lydian mode. It starts on the fourth degree of the major scale
• The fifth mode is the Mixolydian mode. It starts on the fifth degree of the major scale
• The sixth mode is the Aeolian mode. It starts on the sixth degree of the major scale
• The seventh mode is the Locrian mode. It starts on the seventh degree of the major scale

Memorising the order of the modes can be difficult, so here are a few mnemonics that I found in a quick google search.

• I Do Phat Licks, Modes Are Lame
• I Dont Particularly Like Modes A Lot
• I Don’t Play Like My Aunt Lilly
• I Dig Performers Like McCartney And Lennon

Related Modes

If this post doesn’t make complete sense to you yet, don’t worry, just make sure that you know the order of the modes and have a good grasp of the following:

• There are seven modes of the major scale
• Each mode starts on a different degree of the major scale
• Modes that share the same notes are “related modes”
• Modes that are derived from the same parent scale must have the same notes
• Therefore, modes that are derived from the same parent scale must also be “related modes”
• All of the modes covered so far have been related modes. They all share the same notes and were all derived from the the same parent scale, C major
• Related modes must all share the same fingering patterns and fretboard maps
• The only way to tell the difference between the modes is to know which note is the root

Coming Up…

This article has really only introduced what modes are. Soon we look at what they are for, how they are used, and the characters and moods that each mode creates. Also, we’ve only seen modes of the Major scale, but there are also plenty of great modes based on other scales, particularly the Melodic Minor scale, which we will have a look at too.

Today though, we’ll start simple, and find out just what a scale is .

So What’s a Scale?

Scales are simply a collection of (usually at least five) notes, with one of those notes being specified as the root. Any collection of notes with a root could be called a scale, so the number of theoretically possible scales is infinite. In reality though, history and common practice has distilled these infinite possibilities down to just a few basic scales, which form the basis of all other common scales.

So What is a Root?

The root note is a note which controls what kind of feeling or emotion a scale will imply. It is the most fundamental note of a scale, chord, or key, and it is the note against which every other note is judged/heard. We perceive every note of a scale, chord, or key as it relates to the root note.

Also the root note is the letter used to name scales, chords and keys. For instance a C major scale will have a ‘C’ as its root note; a Gmin chord will have a ‘G’ as its root; and a piece written in the key of ‘B’ will have a ‘B’ as the root.

The root note is the most important note in a scale, chord or key and so it is the note which receives the most ‘emphasis’. Notes which are emphasised (especially harmonically) stand out to the ear, so we perceive this note as having a special importance in the scale, chord, or piece. In this sense the root is usually referred to as a key centre.

How Can the Root be Emphasised?

Scales are usually rehearsed starting and finishing on the root note – this naturally reinforces the importance of the root. Similarly, songs usually use chord progressions and a harmonic rhythm which emphasise a particular chord and note, and will typically begin or end on the root chord.

Harmonic context (the chords/chord progression) is usually the number one indicator in determining the key centre/root of a piece, and for determining which scales/modes are appropriate for melodic composition or improvisation.

What Are the Modes?

Let’s take the notes C, D, E, F, G, A, and B. If the note ‘C’ is taken as the root then these notes form the C major scale (we’ll talk about this more later); but if we take ‘A’ as the root then these notes form the A minor scale. The same set of notes can create two completely different scales depending on which note is the root.

These same notes (C, D, E, F, G, A, B) can also be known as D Dorian, E Phrygian, F Lydian, G Mixolydian, or B Locrian, depending on which note is taken as the root.

If scales are collections of notes, then modes are scales but with different notes taken as the root.

So How Do I Know Which Note is the Root?

Context! You need to listen to the underlying chord progression, rhythmic structure and melodic structure to determine which note is sounding like the key centre (i.e. which note is being ‘emphasised’).

Here are a few mp3s for you to listen to. All of these mp3s use the same set of scale notes but every example has a different emotive quality and ‘flavour’ because of them each taking a different note as its root. To create context and hopefully make the differences between each mode more obvious, I have phrased the mode to emphasis the root notes and I have included a chordal backing to create harmonic context.

Summary

Hopefully this article hasn’t scared you off modes and scales – I promise everything will become clear in the coming articles. All that you should have taken from this post is that scales are collections of notes. Modes are scales but with different notes taken as the root. And the easiest way to tell one mode from another is to listen critically and decide for yourself which note sounds like a key centre.