Modes: Taking a closer look.

by David Bohorquez

Most guitarists tend to get confused and bewildered by modes and everything to do with them. The strange
thing is that most guitar players seem to "understand" the basic theory of modes, but when it comes to
using and incorporating them in their playing, it's really difficult for them because of their lack of solid
understanding of what the modes really are and how to use them as an expressive tool for creating music.

As you may already know, the Greek Modes come straight from the major scale, and there are 7 different
modes: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. Each mode has unique harmonic
features that makes them different from every other scale, and to really understand them, we have to know
those features inside out and what they do, harmonically speaking.

To make this article really helpful, let's forget about the technical side of guitar playing and concentrate on
the harmonic capabilities of the music we play with our musical tools, be it a guitar, sax, violin, flute or any
other instrument. Hence, we won't focus on scale fingerings or technique in the examples I'm going to show
you below, allowing you play them in the way that suits you best while encouraging you to find different
ways to play the things you want to play.

To begin our study of modes, we have to review the major scale as a reference point. As I told you before,
modes are just variations of the major scale itself, so let's get to it.

The Major Scale

This particular scale is the cornerstone for most Occidental music. The major scale has seven different tones
or degrees, and it has an unique formula, as every other scale we know. The formula for the major scale is
1(Scale Root) 2 3 4 5 6 7 8. All of these degrees are just major intervals to the root of the scale, so there's
no minor third, diminished fifths, or anything confusing. Bearing that in mind, let's build a couple of
examples of major scales using different roots.

(All examples are also available as powertab, pdf and midi - you can find them at the end of the article)

By reviewing this formula, we can see a very important feature in the scale: It has two semitone-based
intervals, or minor 2nds, between the third and the fourth degree, and another one between the seventh
degree and the last degree, which is the octave of the scale. In the case of C, those minor 2nds are between
E and F and between B and C; in the D example, the minor 2nds are between F# and G, and between C#
and D.

Now, by understanding the basic structure of the major scale, we can already cover the modes and their
structure, since modes are just slight variations of the major scale.

The Ionian Mode

The first mode we'll cover in this article is the Ionian mode. It's the first mode of the major scale, and it's
formula is exactly the same as the major scale i.e. They're the same scale after all.

The Ionian mode is frequently used to imply a "happy" feeling, but depending on the player's skills, the
Ionian mode can drive the listener to a more relaxed, tranquil state of mind.

The intervals that make this mode sound the way it does are the major third (this is the interval that makes
it sound "happy" or major, in a more technical way of saying things), the perfect fifth and the major
seventh. In most cases, the Ionian scale is used over major-sounding chords like maj7, maj9, sus2, but
again, as the possibilities in music are endless, you may use C Ionian, for example, against Am-based chords
like Am7, Am9 and so on. Here are a couple of examples for you to learn and play.

The Dorian Mode

Next to the Ionian, we have the Dorian mode. This particular scale is one of the 4 minor modes, and its
formula is 1 2 b3 4 5 6 b7. This time, we find the minor 2nds between the 2nd and 3rd degree of the scale
and between the 6th and 7th degree, respectively.

The Dorian scale tends to sound really "sexy" and "attractive" thanks to the combination of its minor third
and its major sixth, and it's the main choice of many jazz and blues players along with rock and fusion
players like Brett Garsed or Steve Vai. As mentioned previously, the intervals that define the Dorian mode
are its minor third, major sixth and minor seventh.

In this riff, similar to a figure that Nuno Bettencourt plays in the intro of Lil' Jack Horny, the Dorian scale and
a swing feel are used to give the song a somewhat naughty and seductive feel.
In this blues rock lick, the half step bends put emphasis on the mayor sixth, making it stand out in the whole
context and catching the listener's attention. Note that the Dorian mode is used mostly against minor type
chords, mainly m, m7 and min9.

The Phrygian Mode

Another minor mode, the Phrygian scale is often viewed as the exotic, eerie mode due to its particular and
unique way of sounding. When used properly, the Phrygian mode can take the listener to a mental oasis in
the middle of a desert.

This mode is often used in Middle-Eastern music, along with the Phrygian Dominant scale. Also, due to its
"heavy" harmonic features, it's the scale choice for many metal riffs like the ones used by Metallica, just to
name one example.

The formula for this particular mode is 1 b2 b3 4 5 b6 b7, and here we can see that that this scale has a
minor third, minor second, a minor sixth and a minor seventh; think of the Phrygian scale as a regular minor
scale with a flat 2nd to make things easier to memorize. This time, the minor 2nds we've been tracking
down in the first two modes are located between the root of the scale and it's second degree, and between
it's fifth degree and it's sixth degree.

Because of it's minor 2nd and minor 3rd, this scale tends to sound heavy and dark.
The Lydian Mode

Along with the Ionian and Mixolydian, the Lydian scale is a major type scale. The Lydian mode is often used
by soundtrack composers to depict and describe the feelings of a child who discovers the world with wide-
open eyes, mixing playfulness and excitement along with cheerfulness and awe. Also seen as the "dreamy"
mode, the Lydian scale takes the listener to a trip to a land that may exist above the clouds.

The formula for this mode is 1 2 3 #4 5 6 7 8. This time, our ol' minor 2nds are between the augmented 4th
degree and the 5th degree and between the seventh degree and the octave. The notes that stand out in this
mode are its major third, augmented fourth and major seventh.
The last example is a transcription of a solo that shows a flashy way of using the Lydian mode in a metal,
prog rock context. Here, Adagio's Stefan Fort uses the Lydian scale to follow the chord progression in his
solo part in "The Inner Road" (Sanctus Ignis). Check the E and F# arpeggio/tapping licks at the end of the
example.

The Mixolydian Mode

The last of the major modes, this particular scale is associated with blues, but due to it's harmonic qualities
the Mixolydian mode is the choice of latin music, mostly Brazilian and tropical music.

The formula for this scale s 1 2 3 4 5 6 b7, and we can see quite clearly that this scale is very similar to the
major scale, except that it has a flat seventh. The interval that stands out in this scale is the flat seventh,
along with the major third and perfect fifth; but it's the combination of the major third with the flat seventh
that is the main feature of this mode. In this mode, the minor 2nds we've been tracking down are between
the third and fourth degree, and between the sixth and seventh degree of the scale.

The Mixolydian mode is used mostly against dominant-type chords, like 7th chords, 9 chords and 13 chords,
mainly because the Mixolydian mode contains all the natural tensions, along with the flat seventh, the basic
interval of dominant chords.

Here are some licks for you to hear and practice. The first one is something that John Petrucci or Paul Gilbert
could play over a dominant-type chord like A13. The next one is actually a cool fingerstyle, blues riff that
sounds pretty great - thanks to a swing feel and the use of some diads to spice it up.
The Aeolian Mode

Another minor mode, the Aeolian scale is actually another name for the standard minor scale. The minor
scale is the relative counterpart of the major scale; to make things clearer, let's take the C major scale. C
major scale has C D E F G A B; now, its minor counterpart for this scale would be A B C D E F G A, thus
giving us the A minor scale, or A Aeolian scale.

As you may already know, the formula for this mode is 1 2 3b 4 5 6b 7b. This particular scale tends to
suggest a kind of "sad" or rather "serious" harmonic feel, but depending on the context and the skills of the
player, it can give us a different feeling.

The most notorious intervals are the minor 3rd and the minor 6th, along with a flat 7th. This mode could be
used against minor type chords, like m7, m9 or standard minor chords.

The Locrian Mode

This is the last of all the modes and is the least used of them all. The harmonic feel that this scale produces
is quite difficult to explain, as it is very tense and dark, mostly because of it's minor second and diminished
fifth. It's strange and unusual harmonic features tends to make most guitarists look for another scale that's
more suitable for chords, since the Locrian scale is only compatible with m7b5 type chords (i.e. If you want
to use the B Locrian you'll have to use it against Bm7b5 and so on). Even under such circumstances, the
Locrian mode is often used by jazz players and fusion players a lot.
The formula for this scale is 1 2b 3b 4 5b 6b 7b, and we can note some interesting intervals going on,
beginning with a diminished fifth, a minor second and a minor third. Last but not least, we can find a minor
sixth and a minor seventh, but the obvious, important intervals that stand out are the flat fifth, the flat third
and the flat seventh in this scale. In this case, our ol' minor 2nds are between the root and the 2nd degree,
and between the 4th and 5th degree of the scale.

This is something that Marty Friedman could probably play against a m7b5 type chord. In this particular lick,
we put emphasis on the minor third, diminished fifth and flat seventh.

Putting It All Together

To finish our study and to put ourselves to the test, I've came with this special chord progression. Don't
worry, it's not anything too complicated, as you will soon see. I've chosen a tonal center, and our chords will
be only three note chords (C5, Cmaj7 and C7). We'll use this little vamp to improvise something. Try to
squeeze the most out of it and bear in mind that the progression is very free harmonically speaking, allowing
us to use a wide variety of modal tools.

I've transcribed a few bars of my own improvised solo just to give you an idea of what we can do when we
understand modal theory and apply it to real life situations. I'll outline every run, pointing out the exact
mode I'm using in every lick you'll see on the transcription. Enjoy!!