A mode is often defined as a scale started on any note other than the root note and played to that same note an octave higher. While mostly true, even if we start a major scale on the root note (and play a major scale), that is considered a mode as well.
So we can start a major scale on any of its seven notes and play to that same note an octave higher and we are playing a mode of the major scale.
Each mode of the major scale has a Greek name and its own distinct tonality, sound, and structure (pattern of half steps and whole steps).
Each mode can also be called a scale.
There are two approaches to understanding modes:
- The Relative Approach.
- The Parallel Approach.
This post will use the relative approach to construct the modes of the major scale and provide instruction on how to play them on a guitar with any root note.
Modes of the Major Scale: The Relative (or Derivative) Approach
With the relative approach to modes, each mode is viewed as a type of scale that is derived from the major scale and related to that scale.
Ionian Mode
The Ionian mode is the first mode of the major scale and is identical to the major scale — the same scale by a different name.
If we start any given major scale on its root note and play to that same note an octave higher, we are playing an Ionian scale.
If we start a C major scale (fig.1) on a C and play to the C an octave higher, we are playing a C Ionian scale (fig.2).
Fig.1
Fig.2
Dorian Mode
The Dorian mode is the second mode of the major scale.
If we start any given major scale on its second note and play to that same note an octave higher, we are playing a Dorian scale.
If we start a C major scale on a D and play to the D an octave higher, we are playing a D Dorian scale (fig.3).
A D Dorian scale contains the same notes as a C major scale, but played from D to D.
The root note is D.
Fig.3
Phrygian Mode
The Phrygian mode is the third mode of the major scale.
If we start any given major scale on its third note and play to that same note an octave higher, we are playing a Phrygian scale.
If we start a C major scale on an E and play to the E an octave higher, we are playing an E Phrygian scale (fig.4).
An E Phrygian scale contains the same notes as a C major scale, but played from E to E.
The root note is E.
Fig.4
Lydian Mode
The Lydian mode is the fourth mode of the major scale.
If we start any given major scale on its fourth note and play to that same note an octave higher, we are playing a Lydian scale.
If we start a C major scale on an F and play to the F an octave higher, we are playing an F Lydian scale (fig.5).
An F Lydian scale contains the same notes as a C major scale, but played from F to F.
The root note is F.
Fig.5
Mixolydian Mode
The Mixolydian mode is the fifth mode of the major scale.
If we start any given major scale on its fifth note and play to that same note an octave higher, we are playing a Mixolydian scale.
If we start a C major scale on a G and play to the G an octave higher, we are playing a G Mixolydian scale (fig.6).
A G Mixolydian scale contains the same notes as a C major scale, but played from G to G.
The root note is G.
Fig.6
Aeolian Mode
The Aeolian mode is the sixth mode of the major scale and is identical to the natural minor scale — the same scale by a different name.
If we start any given major scale on its sixth note and play to that same note an octave higher, we are playing an Aeolian scale.
If we start a C major scale on an A and play to the A an octave higher, we are playing an A Aeolian scale (fig.7).
An A Aeolian scale contains the same notes as a C major scale, but played from A to A.
The root note is A.
Fig.7
Locrian Mode
The Locrian mode is the seventh mode of the major scale.
If we start any given major scale on its seventh note and play to that same note an octave higher, we are playing a Locrian scale.
If we start a C major scale on a B and play to the B an octave higher, we are playing a B Locrian scale (fig.8).
A B Locrian scale contains the same notes as a C major scale, but played from B to B.
The root note is B.
Fig.8
Relative Modal Scales: Similarities and Differences
So every modal scale has a related major scale that shares the same notes.
For example, all of the modal scales covered in this post are derived from a C major scale and share the same notes as a C major scale.
Although a major scale and the modes derived from it all share the same notes, it doesn’t mean there are no differences between them.
Each of the seven modes has a different:
- Root note.
- Tonal center.
- Scale structure.
- Sound.
- Application.
Modes on a Guitar: The Relative Approach
With the relative approach to modes, each of the modes is related to the major scale from which it is derived.
With this approach, you don’t need to learn any new scale fingerings to play the modes, just play the related major scale fingering but start on a different note.
Dorian Mode
To play a D Dorian scale (fig.9b) on a guitar, play a C major scale (fig.9a) from D to D.
Fig.9
Phrygian Mode
To play an E Phrygian scale (fig.10b) on a guitar, play a C major scale (fig.10a) from E to E.
Fig.10
Lydian Mode
To play an F Lydian scale (fig.11b) on a guitar, play a C major scale (fig.11a) from F to F.
Fig.11
Mixolydian Mode
To play a G Mixolydian scale (fig.12b) on a guitar, play a C major scale (fig.12a) from G to G.
Fig.12
Aeolian Mode
To play an A Aeolian scale (fig.13b) on a guitar, play a C major scale (fig.13a) from A to A.
Fig.13
Locrian Mode
To play a B Locrian scale (fig.14b) on a guitar, play a C major scale (fig.14a) from B to B.
Fig.14
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