Modes of the Major Scale III: Soloing

Each of the seven modes of the major scale has a particular application when it comes to soloing:

The Ionian and Lydian scales are used to solo over major and major seventh chords with the same root notes.
The Mixolydian scale is used to solo over major and dominant seventh chords with the same root note.
The Dorian, Phrygian and Aeolian scales are used to solo over minor and minor seventh chords with the same root note.
The Locrian scale is used to solo over diminished and minor seventh, flat-five chords with the same root note.

This post will take us through the process of identifying the modal scale or scales that are compatible with any given chord. It will also provide instruction on how to play the scale or scales on a guitar using the relative and parallel approaches.

Soloing: The Relative Approach

As you can see from the information outlined above, we often have multiple scale choices for soloing over a particular chord.

To solo using the relative approach to modes, look at the chord you want to solo over and:

Choose a modal scale compatible with the chord.
Relate that scale to the major scale from which it is derived.
Use that major scale fingering to solo, but emphasize the root note of the modal scale and chord you are soloing over.

Solo Over a G Major Chord

To solo over a G major chord, we could use:

A G Ionian scale.
A G Lydian scale.
A G Mixolydian scale.

G Ionian Scale

The first option is easy. A G Ionian scale is the same as a G major scale.

To solo over a G major chord using a G Ionian scale:

Use a G major scale fingering.
Emphasize G’s in your solo.

Fig.1a shows a common fingering for a G major scale.

To play a G major scale, start the pattern on the G on the sixth string, third fret (fig.1b).

Fig.1

G Lydian Scale

To solo over a G major chord using a G Lydian scale, we need to determine the major scale from which a G Lydian scale is derived.

A Lydian scale is based on the fourth degree of a major scale, so we need to ask ourselves in which major key is G the fourth note or in which harmonized major scale is G major the IV chord?

G is the fourth note and G major is the IV chord in the key of D major.

To use a G Lydian scale to solo over a G major chord:

Use a D major scale fingering (fig.2a).
Emphasize G’s in your solo (fig.2b).

Fig.2

G Mixolydian Scale

To solo over a G major chord using a G Mixolydian scale, we need to determine the major scale from which a G Mixolydian scale is derived.

A Mixolydian scale is based on the fifth degree of a major scale, so we need to ask ourselves in which key is G the fifth note or in which harmonized major scale is G major the V chord?

G is the fifth note and G major is the V chord in the key of C major.

To use a G Mixolydian scale over a G major chord:

Use a C major scale fingering (fig.3a).
Emphasize G’s in your solo (fig.3b).

Fig.3

Solo Over an Em Chord

To solo over an Em chord, we could use:

An E Dorian scale.
An E Phrygian scale.
An E Aeolian scale.

E Dorian Scale

To solo over an Em chord using an E Dorian scale, we need to determine the major scale from which an E Dorian scale is derived.

A Dorian scale is based on the second degree of a major scale, so we need to ask ourselves in which key is E the second note or in which harmonized major scale is Em the ii chord?

E is the second note and Em is the ii chord in the key of D major.

To use an E Dorian scale over an Em chord:

Use a D major scale fingering (fig.4a).
Emphasize E’s in your solo (fig.4b).

Fig.4

E Phrygian Scale

To solo over an Em chord using an E Phrygian scale, we need to determine the major scale from which an E Phrygian scale is derived.

A Phrygian scale is based on the third degree of a major scale, so we need to ask ourselves in which key is E the third note or in which harmonized major scale is Em the iii chord?

E is the third note and Em is the iii chord in the key of C major.

To use an E Phrygian scale over an Em chord:

Use a C major scale fingering (fig.5a).
Emphasize E’s in your solo (fig.5b).

Fig.5

E Aeolian Scale

To solo over an Em chord using an E Aeolian scale, we need to determine the major scale from which an E Aeolian scale is derived.

An Aeolian scale is based on the sixth degree of a major scale, so we need to ask ourselves in which key is E the sixth note or in which harmonized major scale is Em the vi chord?

E is the third note and Em is the vi chord in the key of G major.

So to use an E Aeolian scale over an Em chord:

Use a G major scale fingering (fig.6a).
Emphasize E’s in your solo (fig.6b).

Fig.6

Solo Over an A7 Chord

To solo over an A7 chord, we could use an A Mixolydian scale.

To solo over an A7 chord using an A Mixolydian scale, we need to determine the major scale from which an A Mixolydian scale is derived.

A Mixolydian scale is based on the fifth degree of a major scale, so we need to ask ourselves in which key is A the fifth note or in which harmonized major scale is A7 the V chord?

A is the fifth note and A7 is the V chord in the key of D major.

To use an A Mixolydian scale over an A7 chord:

Use a D major scale fingering (fig.7a).
Emphasize A’s in your solo (fig.7b).

Soloing: The Parallel Approach

To solo using the parallel approach to modes, look at the chord you want to solo over and:

Choose a modal scale compatible with the chord.
Use that modal scale starting on the root note of the chord to solo.

Note: You could also play the major scale with the same root note as the chord and alter the appropriate note or notes based on the modal scale formula. But memorizing a modal scale fingering is easier.

I will use a few of the same examples as above to demonstrate the parallel approach to soloing with the modal scales.