Modes: Clearing up the confusion

[r0g3r]

There seems to be quite a bit of confusion with regard to modes. So being the nice guy that I am, I'm going to try and explain them in the simplest possible way.

 

All scales have modes. Each mode of a scale has a unique tonality. Early on modes were used much like scales. In species counterpoint for instance, the main melody (called the cantus firmus) begins and ends on the root note of whichever diatonic mode was selected for the piece. This is similar to the way in which the relative minor scale (the Aeolian mode) is used in modern forms like Rock. Modern modal theory is a bit more encompassing than this though, and hopefully you'll have a good understanding of modes by the end of this post.

 

Let's try a simple exercise that will give you an immediate sense of how each mode of the major scale sounds. For the purposes of the exercise, download this small clip of me playing the C major scale: C Major Scale MP3 (128 kb)

 

If we harmonize the C major scale (build chords from each note of the scale) we get the following sequence of chords:

 

C, Dm, Em, F, G, Am, Bdim

 

If you play each of these chords behind the C major scale mp3 you downloaded, you'll be hearing all 7 modes of the major scale. Each chord you play will represent one mode. Do them one a time, repeating each until you're familiar with it's sound (notice how each mode has it's own unique vibe). Even though I'm still playing the same notes, in the same position on my guitar in the mp3 clip, the modes are still changing as you change chords. Here is a list of the modal names for each mode you're playing:

 

C major chord: Ionian

D minor chord: Dorian

E minor chord: Phrygian

F major chord: Lydian

G major chord: Mixolydian

A minor chord: Aeolian

B diminished chord: Locrian

 

 

Derivative Application

 

There are two distinct ways that you can use modes. The first is the one mentioned above that is used in species harmony. This type of modal use is called "derivative." These modes are relative to the parent scale. They are derived from the same notes of the parent scale. This is the same reason that the relative minor (aeolian mode) is called "relative." It is a derived mode.

 

Here is an example:

 

Download this short riff (from an old unfinished song of mine):

 

F# Phryigan Riff (219 kb)

 

Now over that riff, improvise using the notes of the D major scale.

 

 

 

(EDIT: D Dorian b2 = D Eb F G A B C)

 

This is a mode from a different scale. The addition of the b2 to the name means we're not dealing with the dorian mode that is relative to the diatonic major scale. This is the 2nd mode of the Melodic minor scale. This is likely to be an excellent choice to play over the ii chord in our hypothetical C major harmony. The C melodic minor scale harmonization contains our D minor 7th chord at it's 2nd scale degree.

 

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

 

One reason the Dorian b2 mode is useful over our minor 7th chord, is because it gives us an "upper leading tone" that allows us to resolve to the root of this chord more smoothly. Since the dorian normally has a minor 7th, and therefore lacks a leading tone, this is useful.

 

Another example of the usefulness of parallel modes is to play the lydian mode over major chords. For instance, over a C major chord, you could play C Lydian (same notes as G major). The benefit of this is that the Lydian mode has a raised 4th, and the 4th is an "avoid note" when playing over major chords. By using the Lydian mode, in place of the major scale (ionian mode) the 4th is automatically avoided.

 

Hopefully these examples have helped some of you better understand modes. The basic concept isn't that hard to understand, but there are a lot of misconceptions about modes that unfortunately get passed on in various ways.

[babybatter]

I mean this in the nicest way....

 

...your post has told me its time for bed. Im too tired to read it.

 

 

But im TOTALLY gonna sift it over tomorrow. I really dont understand the modes, as there seem to be so many explanations of it. A quick read, and Im a bit lost. The exercise of playing over the c scale helps though.

 

My chord book totally botched the diminished chord, for every key. Can I be a dumb-ass and ask for the fingering for any voicing of B dim? (or any diminished....)

 

Thanks for the post. Im going to take advantage of it.

[r0g3r]

Originally posted by babybatter I mean this in the nicest way.... ...your post has told me its time for bed. Im too tired to read it. But im TOTALLY gonna sift it over tomorrow. I really dont understand the modes, as there seem to be so many explanations of it. A quick read, and Im a bit lost. The exercise of playing over the c scale helps though. My chord book totally botched the diminished chord, for every key. Can I be a dumb-ass and ask for the fingering for any voicing of B dim? (or any diminished....) Thanks for the post. Im going to take advantage of it.

 

Heh Here ya go:

 

[WattsUrizen]

Sorry Roger, but I think there's a problem there. If you are in C major and you play the notes from D Phrygian, or D Dorian b2 (D Phrygian #6), the lead will not actually function as these modes. It will be heard relative to C major, not the Dmin7 chord, since C major is the fundamental tonality, and the most structurally significant entity present.

 

What you will get is the leads sounding as chromatic alterations. Playing 'modes' over tonal accompaniment does not make your leads 'modes'. A piece of music can not be tonal and modal in the same instance. One will be heard relative to the other. In this case, I think the modal patterns will be heard as chromatic alterations of diatonic scales.

[r0g3r]

Originally posted by Anomandaris Sorry Roger, but I think there's a problem there. If you are in C major and you play the notes from D Phrygian, or D Dorian b2 (D Phrygian #6), the lead will not actually function as these modes. It will be heard relative to C major, not the Dmin7 chord, since C major is the fundamental tonality, and the most structurally significant entity present. What you will get is the leads sounding as chromatic alterations. Playing 'modes' over tonal accompaniment does not make your leads 'modes'. A piece of music can not be tonal and modal in the same instance. One will be heard relative to the other. In this case, I think the modal patterns will be heard as chromatic alterations of diatonic scales.

 

I think you're hindered by your classical background The parallel concept of modes is a common application in jazz etc.

 

Though you're correct that these could be interpreted as alterations to the major scale, I don't see it as a problem with my explanation.

[r0g3r]

Let me clarify here: Different modes or scales played over a particular chord will highlight different possible alterations and extensions of said chord. This is an entirely different concept from the derivative modal concept used in classical and earlier music.

 

Any of the 3 options I gave for playing over the Dmin7 chord above is perfectly valid.

[WattsUrizen]

Originally posted by r0g3r I think you're hindered by your classical background The parallel concept of modes is a common application in jazz etc. Though you're correct that these could be interpreted as alterations to the major scale, I don't see it as a problem with my explanation.

 

Damn Schenker!

 

You're right though, I don't think I'm on the same wavelength as you.

 

I take it you are talking about using modal patterns in an improvisation sense?

[r0g3r]

Originally posted by Anomandaris Damn Schenker! You're right though, I don't think I'm on the same wavelength as you. I take it you are talking about using modal patterns in an improvisation sense?

 

Exactly. That is why I used the term improvisation when describing the concept

[WattsUrizen]

Originally posted by r0g3r Exactly. That is why I used the term improvisation when describing the concept

 

I have to get out more often.

[r0g3r]

Originally posted by Anomandaris I have to get out more often.

 

LOL, actually what you said was correct. You probably know 5 times what I know about classical theory man.

[WattsUrizen]

 

Originally posted by r0g3r LOL, actually what you said was correct. You probably know 5 times what I know about classical theory man.

 

 

Probably not, and I think you realise as well that classical theory is a different kettle of fish. Improvisation isn't a strong point of mine.

[J the D]

I have to say my first response to this post mirrored Anomandaris and I want to see the notes to better understand it. Is there any chance we can get the original post with notation instead of tab for us Phillistines that don't play guitar?

[WattsUrizen]

Originally posted by J the D I have to say my first response to this post mirrored Anomandaris and I want to see the notes to better understand it. Is there any chance we can get the original post with notation instead of tab for us Phillistines that don't play guitar?

 

Sorry Roger, I'll hijack your thread for a moment.

 

J the D, what instrument do you play? I'm guessing piano, given your familiarity with a keyboard, shown in the other mode thread?

[r0g3r]

 

Originally posted by J the D I have to say my first response to this post mirrored Anomandaris and I want to see the notes to better understand it. Is there any chance we can get the original post with notation instead of tab for us Phillistines that don't play guitar?

 

 

Ok, I went and edited the post to include the notes for each mode in the tablature examples. I haven't slept all night and didn't feel like opening a notation program, and taking screenshots etc etc, so that will have to do.

[J the D]

Originally posted by Anomandaris Sorry Roger, I'll hijack your thread for a moment. J the D, what instrument do you play? I'm guessing piano, given your familiarity with a keyboard, shown in the other mode thread?

 

Bass player, upright primarily but I do play the Fender a lot. I do not play the piano in public but use use my $300 electronic keyboard to figure out the chords on songs I am trying to notate or do a lead sheet for, to work on alternative harmonies or songwriting.

[WattsUrizen]

Originally posted by J the D Bass player, upright primarily but I do play the Fender a lot. I do not play the piano in public but use use my $300 electronic keyboard to figure out the chords on songs I am trying to notate or do a lead sheet for, to work on alternative harmonies or songwriting.

 

Heh, I was a little right.

[Reeko2]

I agree with R03GR,

 

Until I started studying Jazz, the whole modal thing really did not seem important.

 

In Jazz it is very common to play different modes over chord changes that do not follow the overall tonality (if there even is one) to a song.

I tend to think of this (in my simplistic mind) as temperary key changes from chord to chord. Many times in Jazz (a good example is a 5 of 5 progression that walks around the circle of 5ths) the key is changing measure to measure. The easiest way to play this is to play a mode over each chord. (or maybe playing each mixolydian mode realative to each V chord)

 

But, I am pretty new to Jazz, so I might be stating this wrong.

[ninjaaron]

good stuff, I never looked at some of it quite like that before!

[Scuttlebuttin]

Very interesting stuff everyone..In my simple mind I translate different modes as "wildcard notes". Basically..I think in terms of sounds rather then patterns. Each mode presents a "wild card" a note sound or two that deviates from the initial major/minor scale. But somehow it still fits.

 

I have read various books regarding different modes and their applicability to certain chords. Practiced the modes/scales..etc and to be honest, this bores the heck out of me. I can handle maybe an hour of doing that if I'm lucky. I find it more refreshing to work in reverse. Play a set of chords and search and peck for different notes other then the "box" type that fit..but yet don't fit..then look in a book and say "Hey, I was just playing an A dorian/mixolydian scale..cool!" I find I'm more attentive that way. Then again..I'm so naive when it comes to the technical aspect of the guitar..it could just be plain ignorance.

 

My biggest problem..like I said before..I'm not a technical thinker. So I have a hard time finding different modes that apply to different chord changes..without spending the time searching and pecking. So when I perform live improv..I find myself stuck in the simplistic major/minor stuff. Unless I know the mode very well, I generally do not deviate. Or I run the risk of playing an off note or two..which=bad. Hopefully I can progress to a point where i can say.."Key of A..huh,well lets try a dorian mode" Basically an arsenal of modes for my choosing during improvisation.

 

Thanks again

 

SB

[J the D]

 

Originally posted by Reeko2 Many times in Jazz (a good example is a 5 of 5 progression that walks around the circle of 5ths) the key is changing measure to measure.

 

 

Have you tried doing it backward as a circle of 4ths.

[babybatter]

Hey Roger.

 

Just wanted to say I spent a good 40 mins on modes today, and my overall perspective on modes now has at least a small chunk of your tutorial in there.

 

Im gonna come back to modes sometime tomorrow and see if I can turn your tutorial from a chunk to a 'stream'.

 

Excellent post!

 

Darryl

[r0g3r]

Originally posted by babybatter Hey Roger. Just wanted to say I spent a good 40 mins on modes today, and my overall perspective on modes now has at least a small chunk of your tutorial in there. Im gonna come back to modes sometime tomorrow and see if I can turn your tutorial from a chunk to a 'stream'. Excellent post! Darryl

 

Cool man, I'm glad you found it useful

[J the D]

Originally posted by J the D I have to say my first response to this post mirrored Anomandaris and I want to see the notes to better understand it. Is there any chance we can get the original post with notation instead of tab for us Phillistines that don't play guitar?

 

[LynGrey]

Originally posted by r0g3r

 

Heh Here ya go:

 

 

DUDE... that what that chord is.. i play that chort alot.. heh.. and never knew what it was called.. one of my favorite chords.. and don't ask me how i know what Emjr7+11 chord is..cuz i dunno i just fretted it and it sounded cool.. just like my Dmin13no9 chord... i know i like big chords.. hehe.. unlike most muscians... i commite to using big chord.. rather than saying yeah i like big chords and the biggest chord some one plays is a N7no5 chord.. you know.. i am like damn.. that ain't big... big is all six strings.. maybe five strings... heh.. anybody else have some chord voicings in D-drop that are BIG!?  
 

Also this is how i have approched MODES... F!@# them.... to complex.. but i really think of them as... down a note on the fretboard... same number of SHARPS/FLATs.... like C and D ionaian.. i never get the names right.. but C D E F G A B C.. and D ionaian would be D E F G A B C D.. versus D mjr would be D E F# G A B C# D.. its a  flat 3 and flat 6... but its not the notes you play.. its how your progressions interlock with the note you play.. its sooooooooo confusing i know!! but thats on par right?

[r0g3r]

Bump