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Modes – Understand Music Theory
A Guitarist’s Guide to Understanding Modes
What ARE Modes, Really?
Imagine you have a set of LEGO bricks – the notes of a major scale. Modes are like building different structures (melodies and harmonies) using the exact same bricks, but by choosing a different brick as your “foundation” or “home base” (the root).
Essentially, modes are different scales derived from a parent major scale by starting on each of its seven degrees. Each mode has a unique character or “flavor” due to its specific pattern of whole and half steps, and importantly, its relationship to the underlying tonic.
The Parent Scale: The Major Scale (Ionian Mode)
Everything starts here. Let’s use C Major as our example:
C – D – E – F – G – A – B – C
Intervals: Root – Major 2nd – Major 3rd – Perfect 4th – Perfect 5th – Major 6th – Major 7th
Whole/Half Steps: W – W – H – W – W – W – H
This is also our first mode: Ionian.
The Seven Modes of the Major Scale:
Here they are, derived from C Major. Notice how the starting note changes, but the notes themselves are still from C Major.
Ionian (I): Starts on the 1st degree (C in C Major)
C – D – E – F – G – A – B – C
Formula: 1 2 3 4 5 6 7 (Same as Major Scale)
Character: Bright, happy, resolved.
Guitar Tip: Your standard major scale shapes.
Dorian (ii): Starts on the 2nd degree (D in C Major)
D – E – F – G – A – B – C – D
Formula: 1 2 b3 4 5 6 b7
Character: Minor, but with a “brighter” major 6th. Jazzy, melancholic yet hopeful. Think “Oye Como Va” (Santana) or “So What” (Miles Davis).
Guitar Tip: Play your C major scale shape, but make D your “home” note.
Phrygian (iii): Starts on the 3rd degree (E in C Major)
E – F – G – A – B – C – D – E
Formula: 1 b2 b3 4 5 b6 b7
Character: Minor, dark, Spanish/Middle Eastern, exotic. The b2 is its defining sound. Think “Wherever I May Roam” (Metallica) intro.
Guitar Tip: Play C major scale, make E your home. The half-step above the root is key.
Lydian (IV): Starts on the 4th degree (F in C Major)
F – G – A – B – C – D – E – F
Formula: 1 2 3 #4 5 6 7
Character: Major, but “dreamy,” ethereal, “brighter than major” due to the #4. Think “Flying in a Blue Dream” (Joe Satriani) or “Here Comes My Girl” (Tom Petty).
Guitar Tip: Play C major scale, make F your home. The B natural (the #4 relative to F) is the magic.
Mixolydian (V): Starts on the 5th degree (G in C Major)
G – A – B – C – D – E – F – G
Formula: 1 2 3 4 5 6 b7
Character: Major, but bluesy, dominant, rock-oriented. The b7 gives it a “pull” back to the tonic. Think classic blues, “Sweet Home Alabama” (Lynyrd Skynyrd).
Guitar Tip: Play C major scale, make G your home. The F natural (the b7 relative to G) is crucial. Often played over dominant 7th chords.
Aeolian (vi): Starts on the 6th degree (A in C Major)
A – B – C – D – E – F – G – A
Formula: 1 2 b3 4 5 b6 b7 (Same as Natural Minor Scale)
Character: Minor, sad, melancholic.
Guitar Tip: Play C major scale, make A your home. Your standard natural minor scale shapes.
Locrian (vii°): Starts on the 7th degree (B in C Major)
B – C – D – E – F – G – A – B
Formula: 1 b2 b3 4 b5 b6 b7
Character: Dissonant, unstable, tense. The b5 (tritone from the root) makes it hard to use melodically as a stable “home.” Often avoided or used for passing tension.
Guitar Tip: Play C major scale, make B your home. Rarely used as a tonal center.
Two Ways to Think About Modes (Crucial for Guitar!):
Relative Method (Same Notes, Different Root):
This is what we just did. You take ONE major scale pattern you know on the fretboard (e.g., C Major using a CAGED shape) and simply shift your perception of the root note.
Example: If you play the notes of G Major (G-A-B-C-D-E-F#)
Starting on G = G Ionian
Starting on A = A Dorian
Starting on B = B Phrygian …and so on.
Guitar Application: Learn your major scale shapes all over the neck. Then, for any given key, you can identify the notes of all 7 modes within those shapes just by focusing on a different starting note.
Parallel Method (Same Root, Different Notes):
This is where you truly hear the modal flavors. You compare modes that share the same root note.
Example:
C Ionian: C D E F G A B
C Dorian: C D Eb F G A Bb (compare to C Ionian: b3, b7)
C Phrygian: C Db Eb F G Ab Bb (compare to C Ionian: b2, b3, b6, b7)
C Lydian: C D E F# G A B (compare to C Ionian: #4)
C Mixolydian: C D E F G A Bb (compare to C Ionian: b7)
C Aeolian: C D Eb F G Ab Bb (compare to C Ionian: b3, b6, b7)
Guitar Application: This requires learning different scale patterns for each mode starting on the same root fret. For example, learning the C Ionian pattern, then the C Dorian pattern, etc., all starting on a C note. This helps you internalize the unique interval structure of each mode.
Characteristic Notes:
Each mode (except Ionian) has “characteristic notes” – the intervals that make it sound different from a plain major or natural minor scale.
Dorian: Major 6th (distinguishes it from Aeolian)
Phrygian: Minor 2nd (its defining sound)
Lydian: Augmented 4th (its defining sound)
Mixolydian: Minor 7th (distinguishes it from Ionian, gives dominant sound)
Locrian: Diminished 5th (and b2)
Connecting Modes to Chords:
Modes are not just for soloing; they are intrinsically linked to harmony. Generally:
Ionian: Major, Maj7 chords
Dorian: minor, m7, m6 chords
Phrygian: minor, m7, sus4(b9) chords
Lydian: Major, Maj7, Maj7(#11) chords
Mixolydian: Dominant 7th chords (G7, A7, etc.)
Aeolian: minor, m7 chords
Locrian: m7(b5) or diminished chords (though the mode itself is rarely a tonal center)
Playing the “right” mode over the “right” chord creates a consonant, fitting sound.
Blueprint for Memorizing Modes on Guitar
This is a step-by-step process. Don’t rush! Internalizing the sound is as important as knowing the shapes.
Phase 1: Master the Parent – The Major Scale (Ionian)
Action: Learn the 5 CAGED shapes for the Major Scale. Be able to play them in any key, up and down the neck.
Goal: Effortlessly find any note of any major scale, anywhere on the fretboard. Know the interval names (Root, 2nd, 3rd, etc.) within these shapes relative to the root of the shape.
Why: All modes are derived from this. Solid foundation is key.
Phase 2: Relative Understanding – “Same Lick, Different Station”
Action:
Pick ONE major scale key (e.g., G Major: G A B C D E F#).
Use ONE familiar major scale shape (e.g., the G-shape Major scale starting on the 3rd fret of E string).
Play the scale, but consciously make each degree of the G Major scale your “home note” or tonic.
Root on G: You’re playing G Ionian. Hum a G note while playing.
Root on A: You’re playing A Dorian. Hum an A note. Feel how the same notes sound different.
Root on B: B Phrygian. Hum B.
…and so on for C Lydian, D Mixolydian, E Aeolian, F# Locrian.
Learn the Order: “I Don’t Play Loud Music After Lunch” (or similar mnemonic):
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
Goal: Understand that one set of notes (one major scale fingering) can be any of the 7 modes, depending on the tonal center.
Tool: Use a looper to record a simple drone or one-chord vamp for each modal root (e.g., A minor vamp for A Dorian, D7 vamp for D Mixolydian).
Phase 3: Parallel Understanding – “Same Root, Different Flavors”
Action:
Pick ONE root note (e.g., A).
Learn to play each mode starting on that same root note A.
A Ionian (A Major scale: A B C# D E F# G#)
A Dorian (A B C D E F# G) – Notice C is natural, G is natural.
A Phrygian (A Bb C D E F G) – Notice Bb, C natural, F natural, G natural.
And so on for A Lydian, A Mixolydian, A Aeolian, A Locrian.
Focus on the Characteristic Notes: For each mode, identify the note(s) that make it unique compared to A Major (Ionian) or A Natural Minor (Aeolian). Sing these intervals.
Goal: Internalize the unique sound and interval structure of each mode. Be able to play, for example, G Dorian, then G Mixolydian, and feel the difference.
Tool: Use backing tracks in specific modes (e.g., “A Dorian backing track”).
Phase 4: Formulas and Fretboard Shapes
Action:
Memorize the interval formulas for each mode (e.g., Dorian: 1 2 b3 4 5 6 b7).
Relate them to Major/Minor:
Major Modes: Ionian (1234567), Lydian (#4), Mixolydian (b7)
Minor Modes: Dorian (natural 6), Aeolian (b6), Phrygian (b2, b6)
Diminished: Locrian (b2, b5)
Learn dedicated fretboard shapes for each mode. While you can derive them from major scale shapes, having a few go-to shapes per mode (especially for Dorian, Mixolydian, Lydian, Aeolian) is very useful for quick access. Start with one octave shapes, then expand.
Goal: Be able to construct any mode, on any root, from its formula, and have some go-to fingerings.
Phase 5: Application and Ear Training
Action:
Chord-Scale Practice: Play the appropriate mode over corresponding chords.
Am7 chord -> A Dorian, A Aeolian, (A Phrygian with care)
Amaj7 chord -> A Ionian, A Lydian
A7 chord -> A Mixolydian
Improvise: Use modal backing tracks extensively. Try to emphasize the characteristic notes.
Transcription: Learn solos or melodies that use modes. Analyze why they sound the way they do.
Singing: Sing the modes. Sing the characteristic intervals against a root. If you can sing it, you can hear it and play it.
Goal: Use modes musically and intuitively. Develop your ear to recognize modal flavors.
Phase 6: Transposition and Fluency
Action: Repeat Phases 2-5 in multiple keys. Start with common guitar keys (C, G, D, A, E, F, Bb).
Goal: Complete freedom with modes across the entire fretboard in any key.
Tips for Success:
Patience is Key: This isn’t an overnight process. Consistent, focused practice is better than long, infrequent sessions.
Ear First: Always try to hear the mode’s flavor. Don’t just learn patterns mechanically.
Looper Pedal: Your best friend for creating vamps to practice over.
Record Yourself: Listen back critically. Are you really capturing the modal sound?
Learn Songs: Find songs that famously use modes. This provides context and inspiration.
One Mode at a Time (for Parallel): When working on the parallel method, really spend time with one mode (e.g., Dorian) for a week before moving to the next (e.g., Mixolydian). Compare it back to Ionian and Aeolian.
