Music Theory
The modes... also known as the church modes , are other diatonic scales that can be easily understood and obtained, once we have learned all of our major scales.We start by comparing these new scales, or the modes, to their respective major scales. Memorizing these rules is what I like to consider 1 of the 2 "schools of thought". We will discuss the second "school of thought" a little later. For now, look at your C scale and picture what it would look like if we played the C scale starting and ending on D. Then imagine doing that from E to E, F to F, G to G, etc... Though while you might feel like you are simply playing the white notes, starting and ending on a different place each time, you are actually playing modes. Think about how D to D (using all of the white notes) is different from the D major scale and you will notice that we have a flat 3 and flat 7. When we continue this idea/school of thought, we get a few simple truths/rules that are listed below. Memorizing and applying these rules is, in my opinion the fastest and least complicated way to learn the modes. That doesn't necessarily mean it's the best... but let's start with this. 1. Ionian = the Major scale (Major quality) Formula: 1-2-3-4-5-6-7-8 (Cmaj7) The major scale is the first mode and is called "Ionian". In light of it being a major scale, the chord that we get from it is C major 7 2. Dorian (minor quality) Formula: 1-2-b3-4-5-6-b7-8 (Dmin7) The Dorian mode has a flat 3 and 7. The chord that we get from it is D minor 7. The flat 3 implies a minor quality The major 2 and 6 within the scale create a nice tension that imply a major quality, while still maintaining the minor quality in the 3 and dominant/b7. Aside from fitting the 2 (ii) chord, it works well with other minor chords such as the 1(i), 3(iii), and 6(vi). It also creates an interesting contrast with the 4 (iv) chord. 3. Phrygian (minor quality) Formula: 1-b2-b3-4-5-b6-b7-8 (Emin7 or G7(b9)sus) The Phrygian mode has a flat 2, 3, 6, and 7. Phrygian is arguably used the least out of the five minor scales (Dorian, Phrygian, Natural Minor, Harmonic Minor, and Melodic minor), Phrygian is often used for Spanish music. The Phrygian scale works over a 3 (iii) chord (Emin7 in the key of C works with E Phyrgian) The Phrygian mode can also be used over a 5 7 (V7) chord if the V7 chord is suspended and has a flat 9 (V7b9). The flat 9 matches the flat 2 that we see in Phrygian, thus they'd work well together. For instance, in a G7(b9)sus to Cmin7 progression, a G Phrygian (which shares the same key center as Eb major) works well. 4. Lydian Major Formula: 1-2-3-#4-5-6-7-8 (Fmaj7 or Cmaj7#11) The Lydian Mode has a sharp 4. The sharp 4 makes it work well over any maj7#4, maj7b5, or maj7#11 chord. The Lydian scale sounds "uplifting" and "hopeful" to me. It's a scale that's often used in animated films and soundtracks because it sounds both curious and hopeful. 5. Mixolydian or Dominant Scale Formula: 1-2-3-4-5-6-b7-8 (G7) Mixolydian has a flat 7 The Mixolydian mode is the most basic scale for improvising over a V7 chord and a staple to the blues. 6. Aeolian or Natural Minor Formula: 1-2-b3-4-5-b6-b7-8 (Amin7) Aeolian has a flat 3, 6, and 7 which means it is the same as the natural minor scale. the chord that we get from it is minor 7. Locrian or Half Diminished Formula: 1-b2-b3-4-b5-b6-b7-8 (Bmin7b5) Locrian has a flat 2, 3, 5, 6, and 7. The Locrian scale is the most dissonant, or "ugliest" (as some of my students have previously referred to it), mode of the major scale. It is described by some as sounding random and having no real center. That is because the chord that we get from it is diminished. Music theorists have said that it would be impossible to write a song (something that sounds finished/pleasing to the ears) as the 1 chord is diminished, and thus has no real center/tonic. The only chord it really works well over is the half-diminished chord (also known as a min7(b5) chord). When approaching a half-diminished chord, some players like to sharpen the b2 from the Locrian mode to a natural 2. This new scale is referred to as Locrian #2. Locrian #2 Formula: 1-2-b3-4-b5-b6-b7-8 (Bmin7b5) Locrian #2 has a flat 3, 5, 6, and 7. It is the 6th mode of melodic minor harmony The next school of thought regarding the modes requires a little bit of what might I like to call "piano mathematics" for memorizing and understanding the modes. This method is to ask yourself what scale tone degree correlates with the mode you are looking to use. For instance, if I want to play C Phrygian, I have to ask myself, "What number mode is phyrigian?". The answer is 3. Now I have to ask myself what scale is C the 3rd (third note) in? Well, in the Ab major scale, C is the third note. So, that means that if I start on C, and play the notes from Ab major, I will get C phyrigian. OTHER SCALES: The Diminished Scales diminished scales are a symmetrical, there are only three diminished scales each can be started in eight different places (C) (C#)! you can start with either a half or a whole step and continue an alternating series to the octave. 8. Half-Whole Diminished/Dominant Diminished (Half diminished) Formula: 1-b2-b3-3-#4-5-6-b7-8 (C13b9) The half-whole diminished scale can be referred to as dominant diminished because the b7 implies a dominant quality. It works well over a dominant 13(b9) chord. The half-whole diminished is made up of the intervals H-W-H-W-H-W-H-W (H=half-step, W=whole-step) 9. Whole-Half Diminished (Full Diminished) Formula: 1-2-b3-4-#4-#5-6-7-8 (Cdim7) If you start a diminished scale with a whole-step, it becomes W-H-W-H-W-H-W-H. This mode of the diminished scale works well over a diminished chord. 10. Altered Scale Formula: 1-b2-b3-3-#4-b6-b7-8 (C7(#9b13) or C7alt, C7(#9b13) or C7alt The altered scale is the 7th mode of melodic minor. If you're confused what that means, we learned that our modes are when we start and end a scale on a different scale tone degree other than it's tonic. So, if you play a melodic minor scale, starting on the 7th note of the scale, you are playing what is called the "altered" scale. It works great over an altered chord (7#9b13, or 7alt), which implies 7(b9#9#11b13). This scale has many names, including “Super-Locrian,” “Diminished-Whole-Tone” or even the “Dim-Wit” scale. Though the natural 5th isn’t technically in the 7th mode of melodic minor, remember that the natural 5th works also when improvising with an altered scale over an altered dominant chord. 11. Whole-Tone Scale Formula: 1-2-3-#4-b6-b7-8 (C7b13) The whole-tone scale only has 6 notes as it is entirely made up of whole-steps: W-W-W-W-W-W. This scale has a b7, natural 9, #11, a b13. 12. Lydian Dominant Formula: 1-2-3-#4-5-6-b7-8 (C7#11) Lydian implies a #4 & dominant implies a b7. If you put them together, you have the fourth mode of the melodic minor scale, or th known as Lydian Dominant! This scale works well over a dominant II7 or a dominant IV7 chord, a bII7 tritone sub, or any 13(#11) chord. Bebop Scales If you add an extra chromatic passing tone to a major, Dorian, or Mixolydian scale, you get a bebop scale. While bebop musicians technically put the chromatic notes in other places and it sounded just fine in recordings, jazz theorists have codified the bebop scales into something more concrete, placing the chromatic passing tone between 6 and 5 (major bebop scales) and 8 and b7 (dominant and minor bebop scales). The bebop scales are primarily descending scales, and so I’ve listed the numbers backward to reflect the descending nature of these scales. 13. Major Bebop Formula: 8-7-6-b6-5-4-3-2-1 (Cmaj7) You can use the major bebop scale with any major chord. The chromatic passing tone is placed between 6 and 5. With any of these bebop scales, the idea is to use the chromatic note as a chromatic passing tone, and not to stop on the chromatic note for too long. 14. Minor Bebop Formula: 8-7-b7-6-5-4-b3-2-1 (Cmin7) The minor bebop scale has a chromatic between 8 and b7. It works well over a minor chord. Remember to use the chromaticism in the scale when improvising, and to use the natural 7th as a passing tone. 15. Mixolydian Bebop Formula: 8-7-b7-6-5-4-3-2-1 (G7) The Mixolydian bebop scale is the quintessential bebop scale. It has a chromatic passing tone between 8 and b7, and it works the best over an unaltered dominant chord. I hope that these scales will help you in your quest to become a better improviser! You definitely want to go further than just learning these in the key of concert C and take these through all 12 keys. *AIM TO DEVELOP AN EAR FOR EACH OF THESE SCALES. Different scales will work better in different musical contexts/genres/songs.
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