The Right Way To Learn Modes

A very simple and short lesson on what to do with the modes of the major scale.

Ultimate Guitar
Alright, I've been seeing a lot of lessons on here about modes lately and they all give you the same bull, "To play Dorian mode all you have to do is play your G major scale starting and ending on an A"... That's not really right, that would still just be G major. Now listen, I'm not gonna take the time to type out all the mode shapes, patterns, boxes, whatever you wanna call them. If you haven't learned those already (even though they're just the major scale spread out over the entire fret board) then go look at one of the other mode lessons on here and come back to this later. Alright, here we go... First of all I'm gonna give you the names of all the modes. Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian Now, I'm gonna give two lists. The first will be the way most lessons tell you to play the modes. The second will be my way which will give you the notes in each of them using G major as the parent scale (parent scale just means the plain old major scale you are using to derive the other modes from). Most lessons give you G Ionian, A Dorian, B Phrygian, etc. But these aren't the modes they're just shapes, because you're still using the exact same notes in every one of those. In other words, you're just playing G major all over the neck. THE WRONG WAY
G  Ionian     (Major)      (G,A,B,C,D,E,F#,G)  (1,2,3,4,5,6,7,1)
A  Dorian     (minor)      (A,B,C,D,E,F#,G,A)  (2,3,4,5,6,7,1,2)
B  Phrygian   (minor)      (B,C,D,E,F#,G,A,B)  (3,4,5,6,7,1,2,3)
C  Lydian     (Major)      (C,D,E,F#,G,A,B,C)  (4,5,6,7,1,2,3,4)
D  Mixolydian (Major)      (D,E,F#,G,A,B,C,D)  (5,6,7,1,2,3,4,5)
E  Aeolian    (minor)      (E,F#,G,A,B,C,D,E)  (6,7,1,2,3,4,5,6)
F# Locrian    (diminished) (F#,G,A,B,C,D,E,F#) (7,1,2,3,4,5,6,7)
See what I mean? Every one of these has the exact same notes, because they are all the exact same scale. Let me clarify something real quick before I make my version of this list... The list of modes I just gave you is not really wrong per se, it's just that most guitarists see that and think something like "So if I have a chord progression of G major, A minor, and E minor and I wanna play modally over it, I would play G ionan, A dorian, and E Aeolian". That's what's wrong with, and what I hate, about all the other lessons I've seen, they lead people to believe that modes are just a fancy way to refer to chunks of the major scale. HERE'S WHAT MAKES MODES DIFFERENT
G Ionian     (Major)      (G,A,B,C,D,E,F#,G)    (1,2,3,4,5,6,7,1)
G Dorian     (minor)      (G,A,Bb,C,D,E,F,G)    (1,2,b3,4,5,6,b7,1)
G Phrygian   (minor)      (G,Ab,Bb,C,D,Eb,F,G)  (1,b2,b3,4,5,b6,b7,1)
G Lydian     (Major)      (G,A,B,C#,D,E,F#,G)   (1,2,3,#4,5,6,7,1)
G Mixolydian (Major)      (G,A,B,C,D,E,F,G)     (1,2,3,4,5,6,b7,1)
G Aeolian    (minor)      (G,A,Bb,C,D,Eb,F,G)   (1,2,b3,4,5,b6,b7,1)
G Locrian    (diminished) (G,Ab,Bb,C,Db,Eb,F,G) (1,b2,b3,4,b5,b6,b7,1)
This is how you should see modes. Notice how if you base them all off G the differences between them become very apparent. Now for the easy part. I'm now going to tell you how to use them... Let's say for example, you have the same chord progression as earlier (GM, Am, and Em) just three simple triads. Now, you could always just play it safe and noodle around with the G major scale for the entire progression, or you could play your newly learned modes! Let me show you chord by chord. For the GM chord, you could use any major mode (with G as the tonic of course). So, you could play G Ionian, G Lydian, G Mixolydian, or even some strange combination of the three over your GM chord. For the Am chord, you could use any minor mode (this time using A as your tonic). So, you could play A Dorian, A Phrygian, A Aeolian, or combine the three in various ways over your Am chord. The Em chord would work exactly like the Am did, except you would use E Dorian, Phrygian, and Aeolian instead of A. If your wondering about Locrian, it goes with diminished chords and that's it, so if we had an F# diminished chord in our progression than you would just play F# Locrian. It gets better! If your just using power chords (which aren't defined as major or minor) you can use any of the major or minor modes you want! However, the more intricate the chords you use (using 7ths, 9ths, etc.) the less options you have on what modes you use, because you have to make sure the notes of the chord match with the notes of the mode. For instance, if you played a GM chord with a flat 7th, then you would need to play G mixolydian would be your most likely choice of mode because it is Major and has a flat 7th. Get it? Well, this is all I can think of to try to explain modes... It's kinda hard to explain without being able to sit in front of someone with a guitar and just show them haha. I hope this helps anyone out there confused about modes and why you should learn them.

102 comments sorted by best / new / date

    This is the clearest most concise explanation of how modes are used that I've ever read. Thank you.
    I've never had any problem understanding modes. Whatever way you look at them, whether as derivatives of one major scale, or as changes of an original major scale pattern that takes the scale through various different major, minor, and of course diminished forms of the root note, the fact remains that the chords under them have to fit (unless you want to sound avant garde, which is fine). A good way to learn is to write out all the modes of a key, as the original poster did. Then, instead of playing over a chord progression, just play the tonic note of the key repetitively on say,a keybord, and play each mode over it. This will give you a clear understanding of the flavour that each mode brings to the table. Other than that, experiment. You'll know if it sounds good or not.
    Didn't you contradict yourself in the end from what you said in the beginning? Using the same chord progression as example (G, Am, Em), when the Am and Em are being played, even though you change to minor modes, shouldn't the key remain the same, G?
    When you say that the box patterns are just shapes, I always understood that if you were to play them moving along the neck, starting with Ionian, then you were playing the major scale, as you say. If, however, you start with the dorian box shape, and continue with the box patterns up the neck you are playing the dorian scale; same with all the other modes. In csc501's example above, the reason that G Lydian works from a C Ionian scale, by starting from the G note, is because the intervals change when you do this, from: W-W-H-W-W-W-H to W-W-W-H-W-W-H. So the intervals between the notes are different, and that's what makes it Lydian NOT Ionian. The root is now G not C, thus G Lydian. All the other scales are variations of the Major (Ionian) scale. It is the INTERVALS between the notes that makes them differ. It's a good idea to learn about intervals FIRST, as this makes the different scales much easier to understand.
    I have had this exact problem - when I was first taught modes it was the usual, 'Any G Lydian is exactly the same as C Ionian, just starting from G'. My first question was 'why not call it C Lydian then?'. Guitar teacher stumped. It's because this whole way of thinking is flawed - presented as you do, as a scale construction i.e. in tones Lydian is WWWHWWH, as opposed to Ionian/Major WWHWWWH, it suddenly makes sense. And it's obvious why it's G Lydian. As has been pointed out, it clearly gets and is more complex than that, but you need to start with the right basic understanding, and the traditional 'easy' way doesn't provide that, and can hold you back for years.
    Thank you! But what is said to be the wrong way of USING modes is in fact a very powerful way to LEARN the fingering of all modes. I think it is very useful to realize that the exact same scale patterns are used for all seven modes: To LEARN how to USE the modes I would suggest you do some ear training of the relative pitch from the root to the seventh note to get introduce your personal feel for each and every mode.
    Very useful post, which has helped me to figure out the modes. However, I find it even easier to learn modes starting from the two scales (modes) everybody learns to begin with: the major (Ionian) and the minor scale (Aeolian). In this way, I have 3 major modes (modes I, IV and V): Ionian 1 2 3 4 5 6 7 Lydian 1 2 3 #4 5 6 7 Mixolydian 1 2 3 4 5 6 b7 BUT: for the minor modes, I relate them all to Aeolian (modes II, III, VI and VII): Dorian 1 2 3 4 5 #6 7 (if you take Aeolian as comparison, because that's the scale most people will start from to play one of the minor scales) Phrygian 1 b2 3 4 5 6 7 Aeolian 1 2 3 4 5 6 7 Locrian 1 b2 3 4 b5 6 7 In this way, only the Locrian scale has 2 adjustments compared to Aeolian.
    Very good lesson, broke it down as simply as possible. My guitar teacher taught me the wrong way and i've been doing like that for years. Pissed me off lol. Now time to revise it properly, cheers!!!
    Screw the peanut gallery, you've clarified something that my books failed to put in my perspective. thanks man.
    Cold Reader
    Glad to see someone has cleared all that up And thanks for telling me when to use them, never really clicked before. Now, if you'll excuse me, I have some improv to get on with Cheers!
    I'd like to see a deconstruction of a modal type of song, for example Vigilante Man, I've heard been described as modal - but why? Otherwise this was a great lesson for people like me struggling with modes
    I don't get how all these lessons in modal music don't have a single example of modal tunes. How about some nice Indian music or perhaps some Miles or Coltrane examples? What is this chord-scale crap that is being thrown around as modal theory?? Understand this. If you're not playing "modes" (shapes, positions, intervals, or however your thinking of it) over the correct harmonic context ("cadences" corresponding to the mode) then it's not modal playing.
    Its quite harmful in that when you talk about the GM - Am- Em part, you completely neglect talking about the fact that if you now use Glydian instead of G ionian, then these chords will change. You will now need to play GM AM and Em. Modes are not just what notes you play but also what tones within the chord must also change in order to establish modality. You can't come on here badmouthing others work and them completely miss the point yourself.
    kill it
    nice article. locrian is half diminished and not your best choice over a diminished chord. it's best played over m7b5 chords or half diminished chords.
    This is a perfect introduction to CST, but not modal music. If we use the approach in the article we can opt to play for example: Progression: G C D (obviously in G major) Over the G we play G ionian, as suggested. Over the C we play C lydian, as suggested. Over the D we play D mixolydian, as suggested. And then you claim it's modal. However it's the notes of the G major scale, over the key of G major. It's G major, not anything else. Additionally we're given some chords to play over. These are G, Am, Em and F# diminished. If we had a progression which included these chords, it would most likely be a progression in G major, again not a modal composition.
    Just to follow up, I think it's important to get a hook into someone, then expand on the knowledge. If you just teach the theory, it gets lost on young, learning guitarists. It gets confusing and really turn you off to learning proper theory. This kind of lesson gives you a practical way to use the modes immediately, then you can progress into the theory of the tonal center and that stuff. Just different ways to learn I guess.
    As Govan said, learning a theory and not knowing it's use is a death trap for a guitarist.
    Well, I think the problem is that a lot of guitar teachers teach you the modes as patterns without really emphasizing the intervals between the notes. My teacher taught me the theory behind the modes but was much more intent on having me learn patterns. Starting with C and working my way up the fret board with notes. Move to the D major scale and repeat all the patterns just starting on D instead of C. Then move onto E, etc. It definitely taught me my modes, but not much on how tyo apply them. This article is kind of the opposite. It doesn't really explain the relationship between the notes in a mode but it does help in applying the modes. Honestly, although not theorethically correct, this kind of lesson probably would have helped me A LOT more when I was 15 and learning this stuff.
    For the guys who practice modes. Do you practice them in positions similar to the positions like the pentatonic positions, or do you just find all the tonic notes and play from there? Hope that question makes sense.
    You can't apply modes unless you know your intervals, at which point positions aren't relevant.
    I would disagree that you can use any mode over a power chord. A key would be implied regardless, so you should probably imply major or minor over the right chords. i.e. Over your G5, A5, E5 progression should still be solo'd over it as if it were G, Am, Em.
    **** this, i'm done with reading these articles thinking something worth seeing would be in them
    God people dont listen to this! Here's how i find students learn modes best. C major, D minor, E minor, F major, G7, A minor, Bdiminished These are the chords of C major. Now if our progression was D min to G7 (two chords in Cmajor only), we would use the C major scale. The only difference now is that the note C is not in the hamony. D min - DFA, G7 - GBDF. Notice now that D is our Main note, our tonal 'center'. So if we now play the C major scale, the notes will sound correct, only that the C note will not sound strong over either chord. By playing this scale over the chords you will find that playing off the D note will feel correct and easy. Once you have finished getting your head around this new mode which we call D dorian, then move on to mixolydian. Which, in my opinion, is the next easiest to learn. And bit by bit, you will learn all the modes. By trying to learn them all at once, you will take in too much info without putting it into practice and most people crash and burn. Also worth noting is that the harmony will dictate the mode, so study your "chords in keys"
    That's not modal. You haven't established an original tonal centre to give the mode context. That's just suggestive, which is exactly what this lesson is teaching. The lesson is good, just not correctly described.
    That is modal. If thats not modal, what is it? in C major? The fact that it sounds minor should rule that one out
    It is modal. By placing emphasis on the D, you are establishing that as the tonal center. The fact that you don't stay on it very long and/or move the tonal center somewhere else for the next chords is irrelevant.
    Very nice explanation.I'm not into theory,I play a lot of covers and if I write anything it's usually riff progressions in A minor because it's just easy for me and I love Iron maiden!Theory only really comes in handy if you write your own material,other than that.Develop your ear and get your technique down pat and you will be fine.
    Kudos, sir, and thank you. This should be the go-to mode lesson for mode beginners. Could you expand a little more into CST territory? It's not oversimplified for those with a brain who are capable of taking the next steps themselves, as most UG readers are.
    But I wouldn't call it the right way, given that it misses out the most important initial step concerning the tonal centre. Just my opinion of course.
    He uses G as the common root of the modes. This is the better way, rather than the previous 'wrong' approach he outlined. He also outlined three possibilities of useful scale over the G major chord, beginning chord scale theory ideas. Granted, he didn't expand on chord function and cadences, but this is a modal lesson, and does its job well. What would you do differently? The only thing I would do differently, is tackle each mode in its own lesson, and to truly know modes takes months if not years of ear training.
    Well technically I've already done a couple of articles on the subject. My concern is only what's missing. It's not actually modal, it's just modally suggestive. The problem with most articles on modes is the idea that there's an easy way to do it. Modes are complicated. People need to stop looking for an easy way out and accept that some things take work.
    Ah!!! Well in that case, I completely agree with you. Modes are extremely complicated and time consuming.
    You've done the groundwork well, but you've majorly oversimplified to the point where people are going to play c major, starting on d, over a d minor chord and think they're playing modally. What's missing is a decent explanation of the tonal centre, how to establish and maintain one, and an explanation of interval dissonance to explain how to maintain a modal piece over a chord once the progression is converted from tonal to modal. So, oversimplified to the point of harmful, but with a bit of additional effort, potentially helpful.
    I was just trying to lay the groundwork to help people get moving in the right direction with modes. It's meant to be bare bones so people, especially beginners, can easily digest it. This way, when they move on to more advanced in-depth lessons, like your "The Modal Approach" columns, they won't be completely lost. By the way, why don't you just direct some of these people over to your column?
    Because this has potential with a little expansion.
    Its quite harmful in that when you talk about the GM - Am- Em part, you completely neglect talking about the fact that if you now use Glydian instead of G ionian, then these chords will change. You will now need to play GM AM and Em. Modes are not just what notes you play but also what tones within the chord must also change in order to establish modality. You can't come on here badmouthing others work and them completely miss the point yourself.
    TECHNICALLY, if someone played DEFGABCD over a Dm they WOULD be playing "modally," (Where's the Bb of D natural minor?) Although this wouldn't necessarily be in a way that will make the quality of the mode stand out to any but a well trained ear. I think what the OP is trying to do here is provide a starting point for beginners without confusing them too much.... While I agree that there's more to it, this will help them walk before they try to run.
    Correction: I'd say playing DEFGABC over Dm might be (very weakly) suggestive of Dorian.
    Agreed hard. Every singly article that purports to teach "modes" ignores the two most vital features of modality: 1. Establishing and maintaining a tonal center, and 2. The simple fact that modes are about the most useless things ever, especially when playing an instrument like the guitar, which is tuned and fretted in accordance to equal temperament.
    The "modern" modes are perfectly playable on equal tempered instruments. Modes aren't useless if you use them correctly which, as you say, hinges on achieving the correct tonal centre. Modes are useable as a way of varying the sound of the music you write. One shouldn't let the common misuse of modal terminology frighten you off modes completely.
    Could you elaborate on your second point: "The simple fact that modes are about the most useless things ever, especially when playing an instrument like the guitar, which is tuned and fretted in accordance to equal temperament." I'm not sure I understand what you're getting at here so could you explain this point?
    Prior to the equal temperament tuning system, modality was a very different concept than it is today. I'm no expert on the specifics of that conceptualization of modality, so you'll have to ask someone else, but my reading on the subject indicates that just temperament made modality a more practical concept because of the ratios between notes. For more specifics than that, I'm afraid I'll have to disappoint for now. I'm reading more on the subject, but I haven't gotten too terribly far into it at the moment. As for modern modality, the principles of modality are much more complex than starting a scale on a different note or resolving a tonal chord progression to a non-root interval. For example, if you wish to play in E phrygian, you don't just play in C major and resolve to an E minor chord. You'll want to explore the relationship between the root, the fourth and the fifth and the diminished second and minor sixth and seventh. You'll want to use leading tones to construct a chord progression that resolves naturally to the Emin chord rather than arbitrarily starting and/or stopping there. What do you get out of all that? Probably a headache, among other things.
    Well, as long as we're discussing semantics, the second in Phrygian is a minor second. A diminished second would be a unison. For me, it's all about chord function, and cadences. When you learn modes, you recognise new tonalities, therefore chord movements and substitutions have a new perspective from a harmonic point of view. If you're into that kind of thing, then modes are hardly pointless. If you're not, then they are, and no harm done.
    could not disagree harder..... There is no reason a more scholared guitarist can do all of the things that you mentioned in your second paragraph... some spend nearly a lifetime exploring and perfecting this very thing
    There is no reason he couldn't do those things. However, it's a matter of diminishing returns. Is his musically necessarily superior because he knows how to write a modal passage? The truth is that knowing the specifics of modes is only useful if you're doing any kind of serious musical analysis or you're writing in multiple key signatures and you have to do some clever modulation to make the transitions coherent. Besides that, the benefits you get out of spending that much time learning modes (or mislearning, given the sheer amount of wrong information about modality on the internet) are dubious at best.
    About time someone posted a simple and correct lesson on learning and using modes. Tired of seeing incorrect lessons every day on modes. Cheers and +100000 for you
    H8ed H3r0
    Good article short and sweet. Right to the point and with clear and simple explanations. Anyone who thinks modes are useless or unnecessary think of modes in the first example and don't know their true potential
    I've known all the modes for 7-8 months and only now understand how they're properly used! Thanks for the great tutorial
    Ok, now I agree with the way this article is written simply because it shows a more practical use for the modes when playing lead or creating a melody over a chord progression. However, one of the reasons that modes are shown to a student with the ascending method starting in perhaps C ionian, D Dorian, E Phrygian etc... It helps a student learn their notes on the entire fretboard, which is essential to any guitar player. So I disagree that the aforementioned way is wrong and this way is right, I just think this is a practical way of using the modal shapes that are learned.
    Actually, after further examination the 'Wrong way' is actually the right way to think about it. The 'Right Way' would be a good way to hear the different sounds of 'G' tonality, in this case being the tonal center. But if you played every mode in the same position, starting with 6th string 3rd fret G, you would actually be switching keys with every mode change. Keeping the relative major in mind, (G Ionian = G Major , G Dorian = F Major , G Phrygian = Eb Major , G Lydian = D Major, G Mixolydian = C Major , G Aeolian = Bb Major , G Locrian = Ab Major) Now go play something.
    can you play modally using scales other than the ones mentioned?
    Well "playing modally" is really a bit of a falsity. Whether a song is in a mode or not is determined by the harmonic context of the song, just like keys. So if you play one of the selection of notes suggested in a key, you won't be "using modes" or "playing modally". Instead you will simply be playing the major or minor scale, perhaps with accidentals. However if you came across a progression with a modal harmonic context, it would already be in a mode, regardless of whether you were playing or not. If you choose to play the notes derived from that mode, then you "could" call it "playing modally". In the latter situation you "could" employ accidentals within the mode, although heavy use of them may drag it back into a key. If it is not dragged into the key, then yes, you could say that you can "play modally using scales other than the ones mentioned". However it has to be within the confines of one of the prescribed modes in this article.
    I read a lot of the comments after reading the Original post. The OP did a good job of explaining modes of G. I would add this in way of finding the modes of any key: Using G as the example still picture this---- They key of G is G A B C D E F# G The "formula" for Dorian mode is Flat 3 and flat 7 which yields- G A Bd C D E F G What major scale has just a Bd in it's key signature? Answer: F So to access the notes of G Dorian you play with just a Bd in the key signature (key of F), but no it isn't just playing F because you want to accent (maybe you want to anyway) the root, flat 3 and flat 7. Now, look at it from this perspective. Just like in the key of C where you have the D dorian mode (DEFGABCD) contained within it and D is the second scale degree of C. Well, G is the second scale degree of F yielding the G dorian scale. So, take any root note you want to be able to go dorian with. Think of which major scale would make that root the 2nd scale degree and you automatically have the parent scale or key signature of the key you want to use to get there. Parent Scale/Dorian Mode A B Bd C B C# C D etc..... But, what about the other modes? If you know any theory at all you have heard of the term "relative minor". Basically, the minor key buried within a major key rooted on the 6th scale degree. Example, C has A minor built in to it, G has E, D=B, A=F# and so on. Well, that is just an easy way of finding the Aolean mode. Relative minor=aolean mode. Just count three scale degrees down(or up 6) from the root in a major scale and you have it. Or to go at it another direction---starting on A you count backwards 9 half steps (From A--Ad G Gd F E Ed D Dd C) with the last scale degree indicating the key signature to be used to create A aolean. Each mode works the same way.... Mode desired/half steps down to find the parent scale/keysig Ionian 0 Dorian 2 phrygian 4 Lydian 5 Mixolydian 7 Aolean 9 Locrian 11 Or counting up: Desired mode/half steps up to find parent scale/keysig Ionian 0 Dorian 10 Phrygian 8 Lydian 7 Mixolydian 5 Aolean 3 Locrian 1 Also, it is not accurate to say that minor chords get minor modes and major chords get major modes and diminished chords get locrian mode. Those options are sometimes correct or they work much of the time. But, chords with no 3rd (power chords, Suspended chords, or any voicing that omits the third) could conceivably accept any mode. Chords that contain aspects of both major and minor chords (such as Am7 which is a Cmajor triad with an A as root) can also accept both major and minor modes. it all depends on the desired tonality of the melody you are trying to produce.
    thanks for this. I am finding it very hard to grasp the whole modes thing and this is about as close as i have come to 'getting it' (although i'm not there by any means) i have been playing off and on for 20+ years and being self taught with no music reading ablity, it's made me a very boring and linear player. I'm hoping to get the scales and modes imprinted in my head and become as comfortable with them as i am the 'box' which i always seem to fall back into. any of you guys that know of another lesson as good for beginners as this - i'd love to hear about it.
    I agree partially on the 'wrong approach'. While it may not be the best way to learn them, because its theoreticaly just learning the 7 positions of, in this case the G Major scale. In my opinion playing a certain mode of G Major, so from E to E to play E Aeolion for ex. it doesnt really start to sound modal just starting the scale from a different note (in this case E) I think it really becomes 'modal' when the backing is actually playing an E minor triad, or even droning an open E string. You could play from G to G, so just the G ionian mode, while that same E minor triad is being played and it will still sound like E minor, starting and finishing on G or not. So you can make that approach a bit more 'right' by droning the appropiate modal chords on top. Just playing it from a different starting point and ending there doesn't make it very modal.
    The OP to this thread is most helpful. There is much bantering, which is less helpful. Knowing the Circle of 5ths comes in handy here. The modal scales are nothing more than playing the major scales of other keys that contain the same note as the root note of the current key. For the Ionian modal scale, the player plays the same as the natural scale of the key in which he is working. For the Lydian modal scale, the player moves to the right on the Circle of 5ths one tone and plays the scale of that tone. For all other modal scales, the player moves to the left on the Circle of 5ths playing scales of other keys. So Mixolydian mode is one tone to the left. Dorian is two tones. Aeolian is three tones. Phrygian is four tones and Locrian is five tones. So given the key of G Major as above, here is what the player would play while the other instruments play in the key of G: Lydian → scale in the key of D Ionian → same as the key, the key of G Mixolydian → scale in the key of C Dorian → scale in the key of F Aeolian → scale in the key of Bb Phrygian → scale in the key of Eb Locrian → scale in the key of Ab Lydian: + 1, Ionian: 0, Mixolydian: -1, Dorian: -2, Aeolian: -3, Phrygian: -4, Locrian: -5 In all movement to the left on the circle, minor intervals replace major intervals. For movement to the right (Lydian), a tritone replaces a perfect 4th. Locrian has a tritone replacement as well, for a perfect fifth. Lydian: TT → P4 Ionian: same as the scale for the key Mixolydian: m7→ M7 Dorian: m7→ M7, m3 → M3 Aeolian: m7→ M7, m3 → M3, m6 → M6 Phrygian: m7→ M7, m3 → M3, m6 → M6, m2 → M2 Locrian: m7→ M7, m3 → M3, m6 → M6, m2 → M2, TT → P5
    Everyone learns modes differently. I learnt modes from just practice and muscle memory
    I got f'n headache already.Just solo in key,forget about the modes unless you are actually charting.Listen to what sounds good and go with it.This is what has always turned me off about soloing.Too much information bad and good.If you solo in the right key,you can't go wrong.Modes are for composers,scales are for guitar gangsters!
    Musical tastes may develop as you keep playing and listening. I'm sure none of us wants to sound mediocre whenever we record ourselves playing our instruments so that's why we're here to share some basic approaches, tips and insights so that we could continually keep on improving.
    I agree Metal Jeff, the theory is very useful if you have 100 years to master them. Other wise sticking to basics can be very enjoyable. Liam Gallagher doesn't even know any notes.
    Changing the chord underneath any scale pattern or shape changes the mode. You also have to consider that