Modal Theory for Guitarists – Part 2
playing the modes
When I used to use this pack with students, I provided them with a CD containing a backing track for each of the modes. This allowed them to practice getting the sounds and shapes under their fingers. In this version you will be provided with the harmonized scale for each mode and from it you can build your own rhythms and backing tracks to do the same. I’m assuming you know, or can easily figure out, the names of the notes on the fretboard, so the scale maps you’ll be presented with aren’t anchored anywhere on the fretboard. Once you know where the root note is for each scale, you can move that note to suit the scale you want to play. Note that some of the modes are for different scales, but this is just so you don’t learn everything in C, but try to get used to using other root notes.
the ionian way
As we’ve already discussed, the Ionian mode is the major scale, so whatever you know about the major scale, you know about the Ionian mode. We’ve looked at the structure of the scale, hopefully familiar to you, and the next thing we’ll consider is what chords you can build in the major scale. I’m going to assume that this is something you know and it won’t surprise you that if we take the Ionian scale of C and build seventh chords at each degree of the scale, we’ll get the following chords
C major 7
D minor 7
e minor 7
F major 7
Dominant G 7
the minor 7
B minor 7 flat 5
These chords are built from the notes contained within the Ionian C scale, so Ionian C will fit over any of these chords. Now this is technically true, but as you know from your playing, some notes work better than others, and for some people’s ears. You can also play the arpeggios of these chords.
the doric way
As you will know from the previous discussion of the theory, C Dorian differs from C Ionian by having the third and seventh of the scale flattened, therefore C Dorian consists of:
CD Eb FGA Bb
The seventh chords built on these notes are as follows;
C minor 7
D Mion 7
E flat major 7
f dominant 7
G minor 7
A minor 7 flat 5
Bb minor 7
To play something a little more familiar, you can also use the C minor pentatonic, as it uses notes that are in the Dorian scale of C, i.e.
C, Eb, F, G, A and Bb.
the phrygian way
You can use the theoretical discussion above to find out how Phrygian G differs from Ionian G. Just to recap, G Ionian consists of the notes G, A, B, C, D, E, and F#. The Phrygian mode differs from the Ionian in that the second, third, sixth, and seventh degrees of the Ionian scale are flattened. So G Phrygian consists of:
G Ab Bb CD Eb F
The seventh chords built on these notes are as follows:
G minor 7
ab major 7
dominant bb 7
C minor 7
D minor 7 flat 5
E flat major 7
F minor 7
Along with these, you can weave the arpeggios and the G Minor pentatonic is made up of notes from the G Phrygian scale, so you can use that too.
the lydian way
You should be able to calculate how G Lydian will differ from G Ionian. Remember that Lydian has a 4th degree that sharpens, and the 4th degree of the Ionian G is C, so the Lydian G consists of the following notes.
GABC# DEF#
The seventh chords built on this scale are:
g major 7
dominating 7
if less than 7
C# minor 7 flat 5
D major 7
e minor 7
F# minor 7
You can also use the various arpeggios and the G major pentatonic in this situation.
The Mixolydian Mode
You should be able to calculate how G Mixolydian will differ from G Ionian. Remember that Mixolydian has a 7th degree which is flattened, and G Ionian’s 7th degree is F#, therefore G Mixolydian consists of the following notes.
GABCDEF
The seventh chords built on this scale are:
Dominant G 7
the minor 7
B minor 7 flat 5
C major 7
D minor 7
e minor 7
F major 7
You can also use the various arpeggios and the G major pentatonic in this situation.
wind mode
You should be able to work out how B Aeolian will differ from B Ionian. Remember that Aeolian has third, sixth, and seventh degrees that are flattened, and the third, sixth, and seventh degrees of B Ionian are D#, G#, and A#, so B flat is made up of the following notes.
BC # DEF # GA
The seventh chords built on this scale are:
if less than 7
C# minor 7 flat 5
D major 7
e minor 7
F# minor 7
g major 7
dominating 7
You can also use the various arpeggios and the B Minor pentatonic in this situation.
the crazy way
You should be able to calculate how B Locrian will differ from B Ionian. Remember that Locrian has third, sixth, and seventh degrees that are flattened, and Si Ionian’s second, third, fifth, sixth, and seventh degrees are C#, D#, F#, G#, and A#, so if locrio consists of the following notes.
BCDEFGA
The locrio is interesting because it’s actually a half-diminished scale.
The seventh chords built on this scale are:
B minor 7 flat 5
C major 7
D minor 7
e minor 7
F major 7
Dominant G 7
the minor 7
You can also use the various arpeggios and the G major pentatonic in this situation.
Epilogue
Guitar study is the work of a lifetime, and even then you won’t know everything, you won’t be able to play everything, and you’ll still have skills that you could develop further. There is nothing wrong with that, as you don’t need to have a perfect understanding of anything in order to be creative and skillful. Part of the enjoyment is the journey, the learning process. We hope that this manual has given you the tools to begin your exploration of modes, and with the knowledge contained in this document, you can go ahead and create more tools that allow you to express yourself as you wish. Good luck.