Modes are like scales, but the difference is that they are not generally related to the key of its root note. However, the Ionian mode is an exception. For example: the C Ionian mode is simply the C Major Scale (C, D, E, F, G, A, B). Likewise, the G Ionian mode is simply the G Major Scale (G, A, B, C, D, E, F#). The Aeolian mode is also just the natural minor scale.
In fact, each mode is simply a variation of the major scale. Below, the modes are derived for the key of C major. Each mode is derived by writing a separate scale for each note of the C major scale. Since there are seven notes in a C major scale, there are also seven modes possible – one mode created for each note in the C major scale.
Modes derived from key of C major: C, D, E, F, G, A, B, C (One Octave)
- Ionian………..C, D, E, F, G, A, B, C…..(C Ionian)
- Dorian……….D, E, F, G, A, B, C, D…..(D Dorian)
- Phrygian…….E, F, G, A, B, C, D, E…..(E Phrygian)
- Lydian……….F, G, A, B, C, D, E, F…..(F Lydian)
- Mixolydian…..G, A, B, C, D, E, F, G….(G Mixolydian)
- Aeolian……...A, B, C, D, E, F, G, A….(A Aeolian)
- Locrian……...B, C, D, E, F, G, A, B….(B Locrian)
Guitarists can use all of the mode patterns related to C above -- that is, C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, and B Locrian -- over any modal progression that is related to the C major scale. Since all the modes and chords are made up of the same seven notes they all work and sound good together.
Each mode has its own distinct chord harmony sounds. The chords come from playing every other note of the particular mode (135-formula and such). The intervals between notes give each mode its unique characteristic sound. Also, a modal progression (or mode) is named for the chords that are being played, not by where you place your hand on the neck. This is a central idea and often misunderstood, especially when it come to using modes to create songs.
How to use Modes to Create Songs?
There are many ways to apply modes. In this article, the focus will be on one very interesting application of modes. It pervades many songs out there today. To get the true modal sound involves playing the modes over chords suitably. The possibilities are limitless.
Consider the chord progression: Am, G, F, G.
If one plays the chords several times (four beats each-- Am /// G /// F /// G /// Am///…), they will notice that when they want to end the progression, the point of resolution is the Am chord, not the G or F chords.
This particular sequence of chords is call an A Aeolian progression. The name we call a progression, Ionian, Dorian, Phrygian and so on, is determined by the chords in the progression. The chords come from the A Aeolian mode above derived from the C major scale.
A guitarist should record the above modal progression and try playing the A Aoelian mode over the Am chord (starting and ending their lick on note A, the target note). They can also play G Mixolydian over the G chord (target note G), and F lydian over the F chord (target note F). They should start on the root or target notes as they change chords.
How to Play a Modal Progression
First, a guitarist should pick a note from the C major scale to be the root or bass note in the progression. This will become a pedal tone. A tone repeated often, if not continuously. They should pick one of the following notes: C, D, E, F, G, A, B. The note they choose will establish the name of the modal progression. If the guitarist chooses a C, the progression will be Ionian, if they pick an F it will be Lydian, and so on.
Secondly, the guitarist should play the IV and V major triads (chords) over the bass note they picked above. Since the scale/key chosen is C major (C, D, E, F, G, A,B) then the IV chord is F and V is G (two of the primary chords). Using F and G triads with a note from the C major scale played in the bass (the pedal note) will give a guitarist the basic sound of any mode derived from the key of C.
A guitarist can also try a C lydian song. The C lydian is the fourth mode of the G major scale (G, A, B, C, D, E, F#). The IV and V chords of G major are C and D. What a guitarist plays is a C bass note while playing C and D triads. For instance, one can play a C bass note for three beats, then a C major chord, then play the C bass note three more beats, followed by a D major chord. The guitarist is pedaling a C bass note over two chords (C and D major). This method has been used in rock music extensively.
An adventurous guitarist can also try the following F# Aeolian (6th degree of A major scale) progression: F# m, A, Asus4, A, E, F#m. One should try soloing over this progression with the F# Aeolian mode, as well as, the F# minor pentatonic scales.
The F# Aeolian progression can be derived from the following formula: I minor, flat III, flat VII, I minor. This particular progression formula is applied to the F# Major Scale (F#, G#, A#, B, C#, D#, E#).
Modes allow a guitarist to create interesting harmonies. The modal progression method described in this article opens up a whole new world of possibilities for the guitarist. Each mode has its own characteristic sound that comes out when mixed with the appropriate chords.
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