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time_continue=49&v=nshSv9os1FQ

1. What are the modes for guitar?

In the past, there weren't different keys (or tonalities) so
the only way to make different tunes was to create
melodies in different mode(s) of the Do-Re-Mi-Fa-So-La-Ti-
Do scale; which means starting from different notes. Over
time, the so-called major-minor system developed (which
we use today), so we use them in the context of the
major-minor system. And that's the reason why the best
way to master modes for guitar is to learn each as a major
or minor scale with certain alterations!

2. The best way to understand modes.

Modes for guitar are derived from the major scale. (I'll use
the C major scale to make it easier to understand):

 CDEFGABC = 1st mode: Ionian (actually major scale)

 DEFGABCD = 2nd mode: Dorian (start from 2nd note)
 EFGABCDE = 3rd mode: Phrygian (start from 3rd
note)
 FGABCDEF = 4th mode: Lydian (start from 4th note)
 GABCDEFG = 5th mode: Mixolydian (start from 5th
note)
 ABCDEFGA = 6th mode: Aeolian (start from 6th note,
minor)
 BCDEFGAB = 7th mode: Locrian (start from 7th note)

So, as you can see, the notes are the same for all modes.
But when we changed the order of notes, we actually
changed the structure of the scale, as well as their
functional relation to chords.

If we look at the first mode (major scale), we will see the

relation between notes (distances) are:

Ionian W-W-H-W-W-W-H (W=whole step/two frets, and

H=half step/one fret), the second mode has W-H-W-W-H-W-
W and that is different from the first. It’s actually the
 minor scale with a small difference – it has a raised half
step VI note.

(W=whole step/two frets, and H=half step/one fret)

 Ionian W-W-H-W-W-W-H
 Dorian W-H-W-W-W-H-W
 Phrygian H-W-W-W-H-W-W
 Lydian W-W-W-H-W-W-H
 Mixolydian W-W-H-W-W-H-W
 Aeolian W-H-W-W-H-W-W
 Locrian H-W-W-H-W-W-W

So, the easiest way to memorize modes is by comparing

them with the major and minor scale:

MAJOR (or modes similar to major scale):

1. Ionian = major scale
2. Lydian = major scale with IV#
3. Mixolydian = major scale with VIIb

MINOR (or modes similar to minor scale):

1. Dorian = minor scale with VI#
2. Phrygian = minor scale with IIb
3. Aeolian = natural minor scale
4. Locrian is minor scale with IIb and Vb, and actually
wasn't in use, it was only theoretical construction.
5.

3. Harmonic sense of modes

(chords).
All these alterations have an affect on harmony (chords),
which are the main characteristics of each mode. Thus:
- #IV in Lydian causes the major II chord in major key,
instead of the usual minor (and diminished IV, but this one
is less important;
- bVII in Mixolydian causes the minor V chord instead of
major, (and diminished III chord);
- #VI in Dorian causes the major IV instead of minor (and
diminished VI chord);
- bII in Phrygian causes the major chord as a II chord in
minor key instead of diminished – which is known as a
Neapolitan chord, and minor chord as a VII chord instead
major.

For a better understanding of the Lydian mode/key, try to

play this chord progression: C, D, C and improvise using
the C major scale with F# instead of the F note.

For a better understanding of the Mixolydian mode/key, try

to play this chord progression: C, Gm, C and improvise
using the C major scale with Bb instead of B.

For a better understanding of the Dorian mode/key, try to

play this chord progression: Am, D, Am, D… and improvise
using the Am scale with F# instead of F.
For a better understanding of the Phrygian mode/key, try
to play this chord progression: Am, Bb, Am, Bb… and
improvise using the Am scale with Bb instead of B.

When learning how to play the seven major modes on the guitar, most
of us begin with the Ionian mode then move on to Dorian and progress
up the fretboard in this way until we’ve learned all seven positions of the
major scale.

While this can be an effective way of learning modes, in this lesson you
will learn a shortcut that will allow you to quickly and easily learn all
seven modes by starting with Lydian and simply lowering one note at a
time until you can play all seven modes on the fretboard.

When learning the modes in this way, by changing one note between
each subsequent mode, you will practice them out of the normal order.

Here is the normal order of the major modes for review.

• Ionian
• Dorian
• Phrygian
• Lydian
• Mixolydian
• Aeolian
• Locrian

When working them from the one-note changing perspective, you wind
up with this order of modes.

• Lydian
• Ionian
• Mixolydian
• Dorian
• Aeolian
• Phrygian
• Locrian

Start by learning the modes, memorizing them in the new order so you
can use the one-note changing method. From there, you can go back
and play them in the original order when putting them together in one
key on the fretboard.

Doing things this way will allow you to quickly learn the modes and then
bring them back into normal order, rather than learning them as seven
distinct fingerings in normal order from the beginning.

A quick note about the chord grids below. There are three colors on
each grid, here is the legend for those colors.

Red: Root note for that mode

Black: Static notes between the last mode and this mode
Blue: The one note that has been moved from the previous mode to
form the new mode you are playing.

So, now that you know a bit about the concept we're exploring today,
let’s take it to the fretboard.

Lydian Mode

To begin, you are going to learn the Lydian mode, which contains one
sharp in its construction, the #4. This is going to be the base mode for
all seven shapes, so make sure to get this shape down comfortably
before moving on to the next mode in the system.
Ionian Mode

Now you will take the Lydian mode you just learned and alter one note
to form the Ionian mode. In this case, you will lower the 4th note of
Lydian to produce the Ionian fingering.

Mixolydian Mode

Continuing on to the final major-based mode, you will now alter the
Ionian mode by one note to form a Mixolydian mode fingering. When
doing so, you lower the 7th of Ionian to form the Mixolydian mode.
Dorian Mode

We can progress to the minor modes now as you alter one note of
Mixolydian to form the Dorian mode. Here, you will lower the 3rd of
Mixolydian to form the Dorian mode fingering.

Aeolian Mode

To form the second minor mode, you will lower one note of Dorian to
produce the Aeolian mode on the fretboard. To do so, you will lower the
6th of Dorian to form the Aeolian fingering.
Phrygian Mode

Next, you will lower one note of Aeolian to form the Phrygian mode.
When doing so, you lower the 2nd of Aeolian to form the Phrygian
fingering on the fretboard.

Locrian Mode

Lastly, you will take the Phrygian mode and lower one note to produce
the Locrian mode. Here, you lower the 5th note of Phrygian to produce
the Locrian fingering.
As you can see, by starting on Lydian and lowering one note at a time,
you can quickly and easily build and memorize all seven modes of the
major scale on the guitar. Also, you will be able to see and hear how
closely related these modes are, which isn’t always apparent when
learning all seven fingerings on their own in the more traditional manner.

Learning Modes Exercises

Once you've worked out each of these seven major modes on the note
G, you can try out the following exercises to help you solidify these
shapes further in your studies.

01. Play through all three major modes: Lydian-Ionian-Mixolydian from

one root note. Repeat in 12 keys.

02. Play through all four minor-based modes: Dorian-Aeolian-Phrygian-

Locrian from one root note. Repeat in 12 keys.

03. Play all seven major modes in the order presented at the start of this
lesson from one root note. Repeat in all 12 keys.

04. Put on a major chord backing-track, such as G, and solo over this
chord moving between Lydian, Ionian and Mixolydian to hear how these
modes color a major chord in a soloing situation.

05. Repeat this soloing exercise but put on an Am backing track and
solo between A Dorian, Aeolian, Phrygian and Locrian.
06. Repeat exercises 4 and 5 in all 12 keys. Then, begin to move
between two chords, so G-C or Am-Dm, and work all seven modes over
both of those chord progressions.
While each mode is built on the notes of the exact same major scale
and its diatonic chords, in this case F Major, because each mode has a
different scale degree as its starting and ending point, often called their
“tonal center,” they each have their own unique flavor and sound.
(Remember, we already covered the Ionian Mode of the F Major scale

F Major scale - Ionian Mode = (F, G, A, Bb, C, D, E, F)

2nd scale degree root – Dorian (G, A, Bb, C, D, E, F, G)

(notice this scale differs from G major (G A B C D E F# G) by
substituting a b3 & b7)

DORIAN SCALE PATTERNS TO PRACTICE

3rd scale degree root – Phrygian (A, Bb, C, D, E, F, G, A)

(notice this scale differs from A major (A B C# D E F# G# A) by
substituting a b2, b3, b6 & b7)

PHRYGIAN SCALE PATTERNS TO PRACTICE

4th scale degree root – Lydian (Bb, C, D, E, F, G, A, Bb)

(notice this scale differs from Bb major (Bb C D Eb F G A Bb) by
substituting a #4)

LYDIAN SCALE PATTERNS TO PRACTICE

5th scale degree root – Mixolydian (C, D, E, F, G, A, Bb, C)

(notice this scale differs from C major (C D E F G A B C) by
substituting a b7)

MIXOLYDIAN SCALE PATTERNS TO PRACTICE

6th scale degree root – Aeolian (D, E, F, G, A, Bb, C, D)

(notice this scale differs from D major (D E F# G A B C# D) by
substituting a b3, b6 & b7)

AEOLIAN SCALE PATTERNS TO PRACTICE

7th scale degree root – Locrian (E, F, G, A, Bb, C, D, E)

(notice this scale differs from E major (E F# G# A B C# D# E)by
substituting a b2, b3, b5, b6 & b7)

LOCRIAN SCALE PATTERNS TO PRACTICE

(Note – Each mode is named based on the first note of the mode scale,
so even though all these modes in this example are in the Key of F
Major, the modes would be named F Ionian (or the F Major scale), G
Dorian, A Phrygian, Bb Lydian, C Mixolydian, D Aeolian, and E Locrian.
…. This method of naming the modes is really important to remember!)

Modes are simply an alteration of the major scale of the root note to
accommodate diatonic chords from the key of the song that you’re
playing over (or choosing to work with for a particular segment of the
song). More simply, all the modal scales must include all the notes of
the major scale on which the mode is constructed – and only those
notes!

In this case or key that we’re using for study purposes in this article, the
major scale on which our modes are based & must always
accommodate is F.
Major (Ionian) scale for guitar
The major scale, identical to the Ionian mode, is the cornerstone of western music. As other diatonic scales, the
major scale is made up of seven notes (eight if you include the octave). The Ionian scale, or mode, is the first of
the seven musical modes. E.g. C major consists of the notes C, D, E, F, G, A and B (all the white keys on a piano
keyboard).

Intervals: 1 - 1 - 0.5 - 1 - 1 - 1 - 0.5

Chord fit: Major triads, maj7

Dorian scale for guitar

The Dorian scale, or mode, is the second of the seven musical modes. It is similar to the natural minor except for
the raised sixth. The Dorian scale is the minor scale that appears when a major scale is started from the second
note (second scale-degree). Thus, a C major scale played from "D" is a D Dorian scale. This is why the term
"mode" is more appropriate than "scale".

The D Dorian mode is the same as a C major. So what's the difference? There is no difference; it's the chords
that create the magic. Playing a D Dorian scale over a C major chord will sound exactly like playing a C major
scale (because they are identical). However, playing a D Dorian scale over a D minor chord will sound "Dorian".

Intervals: 1 - 0.5 - 1 - 1 - 1 - 0.5 - 1

Chord fit: Minor triads, m7, m9

Phrygian scale for guitar

The Phrygian scale, or mode, is the third of the seven musical modes. It is similar to the natural minor except for
the lowered second. The Phrygian scale is the minor scale that appears when a major scale is started from the
third note (third scale-degree). Thus, a C major scale played from "E" is an E Phrygian scale. This is why the term
"mode" is more appropriate than "scale".

The E Phrygian mode is the same as a C major. So what's the difference? There is no difference; it's the chords
that create the magic. Playing an E Phrygian scale over a C major chord will sound exactly like playing a C major
scale (because they are identical). However, playing an E Phrygian scale over an E minor chord will sound
"Phrygian".

Intervals: 0.5 - 1 - 1 - 1 - 0.5 - 1 - 1

Chord fit: Minor triads, m7

Lydian scale for guitar
The Lydian scale, or mode, is the fourth of the seven musical modes. It is similar to the major scale except for the
raised fourth. The Lydian scale is the scale that appears when a major scale is played with the fourth note (fourth
scale-degree) as the root. Thus, a C major scale played from "F" is an F Lydian scale. This is why the term
"mode" is more appropriate than "scale".

The F Lydian mode is the same as a C major. So what's the difference? There is no difference; it's the chords that
create the magic. Playing an F Lydian scale over a C major chord will sound exactly like playing a C major scale
(because they are identical). However, playing an F Lydian scale over an F major chord will sound "Lydian".

Intervals: 1 - 1 - 1 - 0.5 - 1 - 1 - 0.5

Chord fit: maj7, maj7#11

Mixolydian scale for guitar

The Mixolydian scale, or mode, is the fifth of the seven musical modes. It is similar to the major scale except for
the lowered seventh. The Mixolydian scale is the scale that appears when a major scale is played with the fifth
note (fifth scale-degree) as the root. Thus, a C major scale played from "G" is a G Mixolydian scale. This is why
the term "mode" is more appropriate than "scale".

The G Mixolydian mode is the same as a C major. So what's the difference? There is no difference; it's the
chords that create the magic. Playing a G Mixolydian scale over a C major chord will sound exactly like playing a
C major scale (because they are identical). However, playing a G Mixolydian scale over a G major chord will
sound "Mixolydian".

Intervals: 1 - 1 - 0.5 - 1 - 1 - 0.5 - 1

Chord fit: 7th, 9th, 13th

Natural minor (Aeolian) scale for guitar

The natural minor scale, identical to the Aeolian mode, is a diatonic scale made up of seven notes (eight if you
include the octave). The Aeolian scale, or mode, is the sixth of the seven musical modes. E.g. C natural minor
consists of the notes C, D, Eb, F, G, Ab and Bb.

Intervals: 1 - 0.5 - 1 - 1 - 0.5 - 1 - 1

Chord fit: Minor triads, m7, m9

 Locrian scale for guitar

The Locrian scale, or mode, is the seventh of the seven musical modes. It is similar to the natural minor scale
except for the lowered second and fifth. The Locrian scale is the minor scale that appears when a major scale is
played with the seventh note (seventh scale-degree) as the root. Thus, a C major scale played from "B" is a B
Locrian scale. This is why the term "mode" is more appropriate than "scale".

The B Locrian mode is the same as a C major. So what's the difference? There is no difference; it's the chords
that create the magic. Playing a B Locrian scale over a C major chord will sound exactly like playing a C major
scale (because they are identical). However, playing a B Locrian scale over a Bmb5 chord will sound "Locrian".

Intervals: 0.5 - 1 - 1 - 0.5 - 1 - 1 - 1

Chord fit: m7b5

https://gosk.com/scales/

https://gosk.com/chords/