So I've been learning about modes, and Im wondering what I should be focusing on as I start my application process? Whats the first thing I should do on my guitar while having modes in mind? I want to get the besst impression of how he mode sounds and should be apllied, I made a table of the C Modes

C - IONIAN - C D E F G A B C KEY: C Major - no sharps no flats
C - DORIAN - C D Eb F G A Bb C KEY: Bb Major - 2 flats Eb Bb
C - PHRYGN - C Db Eb F G Ab Bb C KEY: Ab Major - 4 flats Ab Bb Db Eb
C - LYDIAN - C D E F# G A B C KEY: G Major - 1 sharp F#
C - MIxlyn - C D E F G A Bb C KEY: F Major - 1 Flat Bb
C - AEOLIN - C D Eb F G Ab Bb C KEY: Eb Major - 3 Flats Eb Ab Bb
C - LOCRIN - C Db Eb F Gb Ab Bb C KEY: Db Major - 5 flats Db Eb Gb Ab Bb

I also memorized the circle of fifths so I know All the Major and minor Scales, and how the differrent modes relate in each scale, When I play A Major Or Minor or Dorian Lyfdian whatever scale, I play the scales over the root note to hear wha tthe differrent modes sound like, I notice a distinction in the differrent sounds, now I want to be musical and link modes and such as I star tthe application process
Last edited by 123mac123 at Feb 22, 2012,
Read the mode sticky at the top of the forum.

I would also say that, if you can't listen to a song and hear "Hey, that sounds like a minor scale, but he keeps raising the sixth!" then studying modes is probably inappropriate at this time.

How's the rest of your handle on theory? Do you understand inversions? Secondary dominants? Why the harmonic and melodic minors exist? Dim7 chords? Chord substitution? Modulation? Can you hear all of those things in music and apply them to your own playing?

If the answer to any of those questions is "no," then I suggest you wait on modes. But if it's all yes, refer to the sticky which links to some posts with a ton of information about modes, if that's your thing. But since you said you memorized the Co5s, I suspect your theory knowledge isn't that deep ... and I'm not sure modes are the right next step.

But YMMV of course.
Those different sounds you hear when you play 'modes' ... why does that happen? It's obviously because there are one or two sharp or flat notes compared to the closest major or minor scale. Rather than thinking of these as modes you could regard them as merely accidentals in a diatonic key. This would open up more possibilities, namely accidentals that don't conform to any mode. This would defer your need to study and refer to modes until your theory is good enough that you can understand true modal music, where the melody AND harmony are constructed from a modal perspective.