APP E X T R A ©
I
BEGINNER'S THEORY
TECHNIQUES
BEGINNER'S GUIDE
ELLEN TAKES US DEEPER
INTO THE MODES ZONE
H
ey low-enders! W elcom e
back to the second
instalm ent of our study of
the m odes of the major
scale. La st month w e w ere
introduced to the seven
m odes and how they correlate
to each degree (or step) within
a certain key (or parent scale).
Know ledge of this frees us up to
play with confidence across the
fretboard. Let's have a quick recap.
A s you can se e from the table,
certain m odes can be played over
particular chords of the harm onised
major scale. This is because each
m ode has certain attributes that
w ork well with certain chords.
For exam ple, Ionian, Lydian and
Mixolydian all have a major 3rd, so
they w ork well over major triads.
That said, if they are 7 chords then
the Ionian and Lydian will w ork over
a major7 chord, but the Mixolydian
m ode should be played over the
dom inant7 chord.
This month w e will look in depth
at the more 'major' sounding
m odes. See
Example 2
.
Scale Degree
Mode
...which can be played over these chords
chord symbol
1st - I
Ionian
major - major7
maj, maj7 m7
2nd - II
Dorian
minor - minor7
min, min7, m7
3rd - III
Phrygian
minor - minor7
min, min7, m7
4th - IV
Lydian
major - major7
maj, maj7 m7
5th - V
Mixolydian
major - dominant7
maj, dom7
6th - VI
Aoelian
minor - minor7
min, min7, m7
7th - VII
Locrian
minor - minor7b5
min, min7b5, m7b5
Example 1
Ionian
Dorian
Phrygian
Lydian
fo :
.
- y
T ----------------------- 2—4—5— ■7- 5 4-------------------- ------------------------7—9— 18-9- 7--------------------
A
2
3
5
ft
4* 5-
--- 7—5-------------
8 -7 -5
7
9 10
7 -8- 16---
------------18-9 -7---------
------------------------18- 8
Mixolydian
Aeolian
Locrian
Ionian
m
-
- л
ш
-
*
____ ~
m
♦ f r r r . T- t - P F-
P-
* -
r u
by.
F
L <
1
|
1—j-
__1
! j
!
i— l 1
1
1__ j
—*
■---------------------- 9- 48 42 r-44-42----------------------- ----------------------- 14 -18
----------- -------------- -— i
57 48 14--------------------
в
-
--- 15-14-47- -14-15-17---
17-15-
Example 2
Ionian
The Ionian m ode is also known as the major scale and
co nsists of the following formula:
Root - major 2nd -
major 3rd
- perfect 4th -
perfect
5th
- major 6th -
major 7th
The Lydian m ode co nsists of this formula:
Root - major 2nd -
major 3rd
-
augmented 4th
-
perfect 5th
- major 6th -
major 7th
And the Mixolydian m ode co nsists of this formula:
Root - major 2nd -
major 3rd
- perfect 4th -
perfect
5th
- major 6th -
m inor 7th
A s you can see, I have highlighted in bold the chord
tones of each m ode/scale as they define which chord
go es with which mode. This w ay you can se e that the
chord tones of Ionian and Lydian are the sam e (M3, P5
and maj7th) but for Mixolydian the 7th is flattened so
you now have (M3, P5 and a minor or flattened 7th). This
m eans that the Ionian and Lydian m odes can be played
over a major7 chord, but Mixolydian is used to play over a
dominant7 chord as it has both a major 3rd and a flat 7
I have also indicated in italics the only differences the
Lydian and Mixolydian have from the Ionian. The Lydian is
just like the Ionian (major scale), but with an augm ented
(or sharpened) 4th while the Mixolydian has a flattened (or
minor) 7th. Until next month, have fun!
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