This is the first of two lessons covering the popular topic of Modes.
What Are Modes?
Modes are scales that begin on different degrees of the major scale. Let’s take the C major scale for example:
C D E F G A B
If we play this scale from the 2nd degree (D), we get:
D E F G A B C
This is known as the Dorian mode.
There are seven modes and each one begins on a different degree of the major scale. Here are all the modes, the degrees they are built from and an example of each one in C major:
Mode 1 – Ionian – 1 2 3 4 5 6 7 – C D E F G A B
Mode 2 – Dorian – 2 3 4 5 6 7 1 – D E F G A B C
Mode 3 – Phrygian – 3 4 5 6 7 1 2 – E F G A B C D
Mode 4 – Lydian – 4 5 6 7 1 2 3 – F G A B C D E
Mode 5 – Mixolydian – 5 6 7 1 2 3 4 – G A B C D E F
Mode 6 – Aeolian– 6 7 1 2 3 4 5 – A B C D E F G
Mode 7 – Locrian – 7 1 2 3 4 5 6 – B C D E F G A
Constructing The Modes
Each mode is made up of a different set of intervals, which gives each one its own unique sound and characteristics. Some of the modes contain usual intervals, which is interesting because they actually already exist within the major scale. Hearing it from a different perspective makes the unusual intervals stand out and broadens your options when it comes to writing music.
Ionian – 1 2 3 4 5 6 7
Dorian – 1 2 b3 4 5 6 b7
Phrygian – 1 b2 b3 4 5 b6 7
Lydian – 1 2 3 #4 5 6 7
Mixolydian – 1 2 3 4 5 6 b7
Aeolian– 1 2 b3 4 5 b6 b7
Locrian – 1 b2 b3 4 b5 b6 b7
Modes Of The Major Scale in One Position
These patterns are all played in a single C major shape at the 8th fret of the E string
This exercise takes you through all seven modes of C major while staying in one position. Work through every scale and notice how the only thing that changes is the starting note. This is a useful exercise because it allows you to extend scales past the original box shape and connect more areas of the neck together.
Modes Of The Major Scale
A string Tonic
Here is the same exercise again but starting on the A string every time. It is really important to practice every scale you learn in multiple positions and areas of the neck so you will be prepared to use them in any situation.
Modes Of The G Major Scale
E string Tonic
Modes Of The Major Scale
In isolation on C Root
Now, try practising every mode using C as the tonic every time. This will enable you to compare the scales so you can understand the construction, sound and application of each mode.
Similarity Between Modes
As you work through each scale in isolation, you will notice that some of them are similar to each other. We can split these up into two groups – major type scales and minor type scales.
Major Type Scales:
C Major – C D E F G A B – 1 2 3 4 5 6 7
C Lydian – C D E F# G A B – 1 2 3 #4 5 6 7
C Mixolydian – C D E F G A Bb – 1 2 3 4 5 6 b7
Minor Type Scales:
C Natural Minor – C D Eb F G Ab Bb – 1 2 b3 4 5 b6 b7
C Dorian – C D Eb F G A Bb – 1 2 b3 4 5 6 b7
C Phrygian – C Db Eb F G Ab Bb – 1 b2 b3 4 5 b6 b7
C Aeolian (same as Natural Minor) – C D Eb F G Ab Bb – 1 2 b3 4 5 b6 b7
C Locrian – C Db Eb F Gb Ab Bb – 1 b2 b3 4 b5 b6 b7
As the same suggests, major type scales are more suited to being played in a major key, and minor type scales are more suited to being played in a minor key.
Chords Built From Modes
The application of each mode correlates to the chord that can be built from its tonic note. For example, we know that the fifth chord in a major key is always dominant. This means that the chord is major but contains a minor 7th. We also know that the Mixolydian mode is a major type scale, the only difference it has from the major scale is a flattened 7th. Therefore, the Mixolydian mode must fit over the dominant 5th chord in a major key. Here is a list of the chords that each mode is related to:
Relationship between Modes and Chords within a Major Key
Riff Examples
Here are some examples of riffs created using different modes so you can hear how the scale influences the sound.
Characteristic Scale Steps
As we already discussed, each scale is made up of a different set of intervals and this is what gives each one a unique sound. Every mode uses either the major or minor scale as a base and has one or two notes different to make it unique. Here are the scales the modes are based on and the intervals that give them their characteristics:
Major Type Scales
Lydian – #4
Mixolydian – b7
Minor Type Scales
Dorian – 6
Phrygian – b2
Aeolian – b6
Locrian – b2, b5
Difference between Dorian, Aeolian, Phrygian
Each scale shares a Cm7 root chord: C Eb G Bb. The 2nd and 6th degrees are the differentiating factors. This is due to the characteristic scale steps.
Exercises
1. Create 5 riffs for each mode from any root note in any feel or tempo
2. Create a melody for each mode. Any number of bars. Try using the riffs or a backing track for inspiration
Key Signatures
Method 1: Use the parent major scale. Eg. D Dorian uses C major key signature. No need for accidentals.
Method 2: Use the closest major or minor scale to the mode. Eg. D Dorian uses D minor key signature and use Bb accidental where necessary
Lessons straight to the point, no much yakiriyak!… good work.
Yakiriyak…..that’s gold!
Yakiriyak…. thats gold!
Hands down the greatest single explanation of Modes that I’ve found anywhere. I have been trying to wrap my head around this stuff for a long time. I have this bookmarked and ready to be recommended at a moment’s notice for whoever needs it.
Wishes for continued success for you Mark! Thank you for your time and effort.
WOW, what a excellent lesson. Really enjoyed it. After watching ALL OF THE VIDEO, things are starting the make sense. Thanks
Wow, what a excellent lesson. Really enjoyed it. After watching ALL OF THE VIDEO, things are starting to make sense. Thanks
The seven seals of modal scales have been unlocked for me with these two lessons. Great job. I’m thankful for the rest of my life. This really had an impact on my playing.
Nice job of explaining how to build modes into your bass lines, riffs or solos. I have listened to other YouTube tutors, jazz instructors and even tried to get an understanding from jazz lesson books. But none of them compared to the simple and no frills explanation you gave! I am heading for the next lesson now.
I think it will be of good help to also teach using SOLFAs. Some of us really do understand it better when you use SOLFAs. Thanks
WOw awesome i’m good with this thanks
This is a great unit to go through not only in understanding the various modes but also notes on the keyboard. It really makes you think I hope that i can become 30% as efficient as you.
So nice
Thanks Mark! This is a great lesson. So many “ah ha” moments!
Great lesson as always. Just the right amount of detail clearly explained. I think there’s a typo in Phrygian description. Should be a b7.
Just watched this lesson. What a great explanation. That solo improv starting at 31:10 of the video is $$$!
great great fantastic lesson, like all the Others..great Professor….thanks Mark..greeting from Naples Italy
Fantastic lesson on modes from an A1 teacher – Mark Smith!
Talkingbass.net is a one-stop shop for all-things bass guitar online. Mark: You’ve done the bass player community, earthwide, a great service through your website, and by your masterful manner of teaching! Every lesson taught via your website, from the essentials (the basics of the bass guitar) to the more advance topics (into mastery) are steller!
All your efforts in the production of your website, and every lesson within, have enlighten bassists all-over in gaining a richer satisfaction in one’s own playing of the bass guitar (Talkingbass.net students become mentally sharper when laying out their grooves, and the student’s focus is more in-tune while playing – when anchoring the motion of the groove in time.) You teach that…! You teach all that through your website very well Mark!
Talkingbass.net heightens- in each of us – our deep love of the bass, and its very vital role in the song/music being preformed. One’s bond (connection) to the bass flows deeper because one gains (by following the insights presented in Talkingbass.net) better control of motion while in-the-pocket; not only with the drummer, but with all the other elements that make-up the song. Note: those other – frontal – elements blossom forth from the low-end motion delivered in the bass line created by the player, student.
High praises Mark! Good job!!
CRIOS
Miami, Florida USA
i usually use the 1-4-5-1-6 pattern how would i mix in these modes?
So amazing… My mind is now open I’m rehearsal untill
I always thought the major modes were T-T-S-T-T-T-ST always no matter what
No. Every mode has a totally different intervallic construction. If they all had the same construction they’d be the same scale.