I had a request on my first lesson to do a lesson on modes. As I previously said, I only started learning lead guitar in the last few months and since starting my journey I've never really gotten to what seemed to be a mammoth task of learning modes. However, upon further research and practice, I have found that modes is a powerful tool in any musicians musical vocabulary and shouldn't be underestimated.
Firstly, let's start on the reverse side of things, what are modes not? They are NOT the same scale, just in a different position on the guitar neck. However they can be, but this is not the essence of what modes are all about. This is what countless lessons teach and learning it this way will establish bad habits from early on.
There are many technical explanations of what modes are, but I'd rather consider modes as different flavors of each scale and using the best flavor to match the music you are playing with.
Let's get into the technical stuff, and I'll try and explain it in as practical a manner as I possibly can.
For the purposes of this lesson, let's use the C Major scale
, and for the purposes of not confusing anyone I will use only ONE position of the C-Major scale
The scale runs as follows:C-D-E-F-G-A-B-C
The modes for the C-major scale
are as follows:
C Ionian C D E F G A B C
D Dorian D E F G A B C D
E Phrygian E F G A B C D E
F Lydian F G A B C D E F
G Mixolydian G A B C D E F G
A Aolean A B C D E F G A
B Locrian B C D E F G A B
degree 1 2 3 4 5 6 7 1
It may seem as though the old myth about modes being the same scale starting on different notes is right, but that's not what the modes are about. From a technical standpoint, it's more about the position (or degree) of the notes in each mode.
So how do we apply these modes?
To master the concept, you will need to practice listening to your playing a lot because as I said modes are about what sounds good with what.
I urge you to practice the following while you read because this is where the core understanding lies.
Let's say we have a C-major chord
playing and we want to use the C-major scale
to solo over it. If you have the means, loop a C-major chord
now and play each note of the C major scale
starting with C
over the chord. As the root of the scale is C
we can say we are using the C-Ionian mode
with the C note
as the tonal center.
Now upon listening to each note, which of these notes would you say sound good with the C-major chord
? I believe you will find that C
all sound pretty good. A
probably wouldn't be too hard on your ears. However, B
may sound like they don't quite fit.
So why do C
sound good? Well, the C-major chord
is made up of C-E-G-C-E
if you look at your fingering when playing it. The reason for the F
sounding out of place is because in most cases the 4th
(which is F
) will clash with the 3rd
(which is E
). When I say 3rd
I am referring to the table above and the C Ionian mode
Let's use another example. Let's use the same principal with the E-minor chord
. Keep in mind that the E-minor
's relative major (for the purposes of using with the C-major scale
) is G-major
. So we will be using the G-Mixolydian
as in the table above.
This time you will realize that the notes that sound good are once again those that tie up to the notes in the chord, namely E
. In this case, even though we are using the key of C-major
, the C
sounds like the odd one out, because once again the 4th
(which is now C
) is clashing with the 3rd
(which is B
When taking into account all of the above you realize that modes are actually the relationship between a scale, and the chords in that scale.
Notice that we have not even touched on positions yet, but that is because modes are not relatively related to the positions on the neck. All the modes can be contained in one position on the neck as well. The notes you focus on are what matters though.
I will use position 1 of the major scale as an example. Once again we use C major
. For the first diagram, let's assume you are playing over a C-major chord
, and we use the C-Ionian mode
The notes in brackets are the ones you will try and focus on, and will sound nice to end on. All the other notes are good too, but you will be better off using them as passing notes.
However, coming back to the E minor
and G Mixolydian
, in the same position we find that the notes to focus on change, but are still in the same position of the same scale.
See, that's not so bad.
This lesson covers only the basic as there are so much more concepts involved in understanding modes and using them to their full potential. I will touch on these in coming lessons, but the core concept I believe is contained in this lesson. There may be a magnitude of theory involved but in the end, it comes down to grasping the patterns between the modes and the chords. Remember, if you struggle with the names no one will ask you while on stage what mode you are using.
In the next few lessons I will cover finding the major scale from the mode you are using and also which modes work well with which chords. There are also a few shortcuts to use to find the notes you are looking for.
To conclude I recommend that you practice listening to what sounds good with what first. Once you have a good grasp on which scales to use with which chords, using modes can become a second nature without you even actually having to know about them. Because it comes down to how they sound.
Practice with a loop and listen. Another method, I saw Mark St James
explain on YouTube that he learned from Joe Satriani
, when you don't have immediate access to backing tracks or a loop, is to play the open E string
, and just use your scales over it and listen to the notes that tie up nicely.
Good luck with modes.