Transcript The Modes Of The Major Scale

The Modes Of The Major
Scale
F. Markovich
Model Class Outline
Week Topic
1 Introduction - the 7 modes
3 Soloing in the Ionian Mode
Possible Tunes
N/A
Somewhere In Heaven - Santana, I IV II V to
Earth Angel
Somewhere In Heaven - Santana, I IV II V to
Earth Angel
4 Introduction to the Dorian Mode
5 Dorian Mode in Jazz
Evil Ways
So What, Chameleon
Study in analysis of Dorian Mode - Hamony in
6 4ths (Quartal Harmony)
So What, Chameleon
2 The Ionian Mode
7 Jam session on what learned so far
13 Aolean Mode - week 2
14 3 notes per string modes
15 3 notes per string modes
Any done so far and others
Mercy, Mercy - Freddie The Freeloader, 12- bar
Blues, BB King Intro, Feelin' Alright
Mercy, Mercy - Freddie The Freeloader, 12- bar
Blues, BB King Intro, Feelin' Alright
Mercy, Mercy - Freddie The Freeloader, 12- bar
Blues, BB King Intro, Feelin' Alright
Simpsons
All Along The Watchtower, Walk Don't Run,
Sultans of Swing
All Along The Watchtower, Walk Don't Run,
Sultans of Swing
All tunes above and others
All tunes above and others
16 Meloic Minor modes
Sugar, Softly as a Morning Sunrise
8 Mixolydian Mode
9 Mixolydian Mode week 2
10 Mixolydian Mode week 3
11 Lydian Mode
12 Aolean Mode
Comments
Start with the Theory
Get the mode and understand the hamony
Both solo and comping - how it applies to
jazz. Chord changes as numbers.
Using the Dorian mode in solo work for rock
songs.
Application of chords and notes to jazz
Study of solo of Miles Davis. Advanced
Comping and backup including use of Pedal
point.
Need to see how class is getting this
material.
Start with the Mode and work it into tunes.
Start with the Mode and work it into tunes.
Start with the Mode and work it into tunes.
Using this for major scales.
Spanish sounding Spanish sounding Useful in rock and modern fusion jazz
Useful in rock and modern fusion jazz
Used in jazz and modern progressive rock.
What Will Be Covered
• An overview and application of the modes of the major scale.
Emphasis on the Dorian, Mixolydian, and Aeolian modes.
• Songs to Include Evil Ways (Santana), So What (Miles Davis), All
Along The Watchtower (Dylan), Walk Don’t Run (Ventures – Johnny
Smith) and others in both rock and jazz idioms.
• Doesn’t mean a thing if it isn’t applied. So we will start with theory
and then go directly into application.
• Keep an open mind as this can be approached from many different
aspects. I intend on trying 2 of the main approaches.
• We will also talk about application of modes from other scales,
particularly the 7th degree of the melodic minor, called the super
locrian or the altered dominant scale, but it is a distinct mode.
Understanding it will help you with other modes and other ways of
organizing music.
• Lots of examples of tunes and solos.
• You must also listen!!
There are 7 modes of the major
scale.
• Each mode is just starting and ending on one of the 7 degrees of a major
scale.
• The mode refers to where the music is at rest in that mode.
• These can be used for soloing off of chord changes in many styles of music,
particularly off of Jazz and Rock.
• The major scale is actually a mode. It is the Ionian mode.
• The modes were originally named by the Greeks.
• This goes way back to Pathagorious.
• These modes can be expressed in terms of numbers relating to the major
scale.
• The Ionian mode (major scale) for example would contain the 1, 2, 3, 4, 5, 6,
7, and 8 notes. No altered notes. For example, in the key of C major the
notes would be C, D, E, F, G, A, B, and C.
• The chord that would represent home base for C Ionian would be a C major
chord.
• We will base our discussion off of the G major scale (E Form) as examples.
Modes
This is one of the easiest concepts in music to understand and apply, but many people have had trouble with it
making it more complicated than it needs to be. To start we will use a C major scale in the 7th position (G Ma
2nd position form). Each note of the scale can have a number applied to it. The scale goes C, D, E, F, G, A, B
etc. So if we apply a number then C = 1, D =2, E = 3, F =4, G = 5, A = 6, and B = 7. If you play a C major sc
then you are also playing the mode built off of 1 or an Ionian mode. If you played the same notes but started a
ended the scale on the 2 or D note, then you would have the Dorian Mode. That scale would be D, E, F, G, A
D. This would mode is used for a II chord or in the key of C a Dm (Dm7) chord.
A mode built off of the 3rd note in a major scale is a Phrygian Mode. In relation to C it would be as follows:
G, A, B, C, D, E. In this case use this against an Em chord
A mode built off of the 4th note in a major scale is a Lydian Mode. In relation to C it would be as follows: F,
B, C, D, E, F. This would be used against a F Maj7 chord.
A mode built off of the 5th note in a major scale is a Mixolydian Mode. In relation to C it would be as follow
B, C, D, E, F, G. This would be used against a G7 chord.
A mode built off of the 6th note in a major scale is a Aeolian Mode. In relation to C it would be as follows: A
D, E, F, G, A. Used in the key of C against an Am chord.
A mode built off of the 7th note in a major scale is a Locrian Mode. In relation to C it would be as follows: B
E, F, G, A, B. Used for a m7b5 (1/2 diminished) chord. Bm7b5 for this key.
Each of these modes has a use. The 4 that are used the most are the Ionian, Dorian, Mixolydian and Lydian.
Here are a couple of tips on how to remember what to use and find it on the guitar. For a major type chord us
the major scale of the same letter name or a major scale up a 5th (8 spaces clockwise on the chromatic scale).
C maj7 use a C major scale or a G major scale (5th above C).
For a minor 7th, 9th etc., use the Dorian mode built off of a major scale 1 whole step below (2 frets) the name
chord. For Dm7 use a D Dorian which is the same as a C major scale starting on D.
For a 7, 9 etc. chord use the major scale down a 4th (6 spaces counterclockwise on the chromatic scale). For G
a G Mixolydian scale which is comprised of the notes in a C major scale but starting and ending on a G.
The other modes are not used as much so don’t concentrate on them in the beginning. You will find that song
to revolve around key centers. With that you will find that you can apply on tonality to a number of chords. F
example, the following progression is all within the C major tonality:
4/4 ||: Dm7 | G7 | C Maj7 |
:||. You would be basically playing a D Dorian for the Dm7, a G Mixolydia
the G7 and a C Ionian for the C Maj7. All of which use the same notes but start on different pitches. During e
chord there are notes that work better than others. The chord tones always work and the 4 th of the mode many
does not work that well. Example, for the C Maj7 it is better to avoid the F (4 th) and the G7 it is better to avoi
(4th). While those notes can be used they should not be held for any period of time.
As a first step learn them off the
regular major scales
• Take each one slowly and listen to the
chord that is the center of the mode.
• The most important mode to master is the
Dorian mode. Make sure that you can do
it from the start.
• Just take your time.
• This is the first of about 3 sets for the
modes.
Uses of the Modes
• The Ionian mode is used for major chords.
It is the mode that most people start with.
For example, the G Ionian (G major scale)
would be used to solo against a G Major
type chord (G Major, GMaj7, GMaj9, etc.)
• This is a good place to start. Hear the
relationships to the chord and the scale.
Solo work using the Ionian Mode
• Play G to C and use the G Ionian Mode.
• For variety play a G Maj7 to C Maj7 and
notice how the mode works.
• Another progression that works well with
this mode is 4/4 ||: G | Em | Am | D7 : || or
a I VI II V progression (one of the most
used progressions in music).
• The notes are 1, 2, 3, 4, 5, 6, and 7. No
raised or lowered notes.
Some Chord Theory
Every major key has 3 principle chords. The ‘tonic’ or I chord, the ‘sub-dominant’ or IV chord and the ‘dominant’ or V
chord. Most simple songs can be harmonized using those three chords. The chords in any major key are as follows: I =
Major, II = minor, III = minor, IV = Major, V = dominant (7 th type of chord), VI = minor, VII = minor 7 flat 5. To extend
them into 7ths I = Major 7, II = minor 7 th, II = minor 7th, IV = Major 7th, V = Dominant 7th, VI = minor 7th and VII = minor
7 b5. Also chords that are closely related can be substituted. A relative minor can be used in place of a major chord. For
example, the relative minor to a I chord is the VI chord. So in the key of C the Am would be the relative minor to the C
chord. Other relations within a key are: Relative minor to a IV chord is a II chord and relative minor to a V chord is a III
chord.
The most common chord in any key is the I or tonic chord. It will appear most often. The dominant chord to any key will
most likely resolve to the I chord. So in the key of D the three main (principle chords) are D (I or tonic), G (IV or subdominant), and A7 (V or dominant). The V chord will most likely go to the I chord so an A7 in the key of D will most
likely go to a D chord. It could also go though to the relative minor of the D or Bm (VI in D). The V chord can sometimes
go to the IV chord such as a strong progression of I IV V IV (like Louie, Louie).
Chords will many times move to their relative minor. In the key of G the Em is the relative minor of the G and it is very
common to go from a G chord to a Em chord.
Chords also move in intervals of a 5th downward. The cycle of 5ths is as follows:
C, G, D, A, E, B, F#(Gb), C#(Db), Ab, Eb, Bb, F back to C.
They usually follow the key tonality. So for example in the key of C it is not uncommon to see the following progression:
Bm7b5, Em, Am, Dm, G7 to C or something similar. It may start at Em or even at Am. In jazz it is common to make some
of the chords dominant chords instead of minor when doing this type of progression. So it would be very stylistic to go E7,
A7, D7, G7 to C. Or even to make just some of them 7ths such as Em, A7, Dm, G7 to C. Even very early jazz did this.
The Charleston progression was: C, E7, A7, D7, G7, C, G7 over and over again. In country music it is common for the II
chord to be a dominant 7 chord. So in the key of C in a country tune it would be common to go C to D7 to G7 back to C, or
a I to a II7 to a V7 back to I.
This applies to the Ionian mode!!
Key
A
Bb
B
C
Db
D
Eb
E
F
F#
G
Ab
I Chord
A Maj
BbMaj
B Maj
C Maj
DbMaj
D Maj
Eb Maj
E Maj
F Maj7
F#Maj7
G Maj7
Ab Maj
II Chord
Bm
Cm
C#m
Dm
Ebm
Em
Fm
F#m
Gm
G#m
Am
Bbm
III Chord
C#m
Dm
D#m
Em
Fm
F#m
Gm
G#m
Am
A#m
Bm
Cm
IV Chord
D Maj
Eb Maj
E Maj
F Maj
GbMaj
G Maj
Ab Maj
A Maj
Bb Maj
B Maj
C Maj
DbMaj
V Chord
E7
F7
F#7
G7
Ab7
A7
Bb7
B7
C7
C#7
D7
Eb7
VI Chord
F#m
Gm
G#m
Am
Bbm
Bm
Cm
C#m
Dm
D#m
Em
Fm
Note that all minor chord extensions are m7, m9, m11, m13 no alteration. For Major it is Maj 7.
VII Chord
G#m7b5
Am7b5
A#m7b5
Bm7b5
Cm7b5
C#m7b5
Dm7b5
D#m7b5
Em7b5
E#m7b5
F#m7b5
Gm7b5
Chord Theory 1 - The Numbering System
Chords can be built on each note of the major scale. For example, in the key of ‘C’ Major the major scale is:
C
D
E
F
G
A
B
C
Each of these notes can have a chord built on them and each can be numbered as to what note in the scale they are: C
is 1, D is 2, E is 3, F is 4, G is 5, A is 6 and B is 7. When we build chords off of these notes we notate them as roman
numberals. So a chord off of a C in C major would be a ‘I’ chord, off of the D it would be a ‘II’ chord, off of E a ‘III’
chord, off of F a ‘IV’ chord, off of G a ‘V’ chord, off of A a ‘VI’ chord and off of B a ‘VII’ chord. The chords also
have a type associated with them. Following is the type of chord off of each degree - expressed as a type of 7th since
that will give you all the information you will need.
Degree
I
II
III
IV
V
VI
VII
Chord Type
Major 7
Minor 7
Minor 7
Major 7
Dominant 7
Minor 7
Minor 7 b5
In C Major
C Maj7
D min7
E min7
F Maj7
G7
A min7
B min7b5 (1/2 diminished)
This can then be used for telling a type of progression. For example:
4/4 ||: I IV| V :|| would equate to Twist and Shout in C major 4/4 ||: C F | G7 :||
A standard 12 bar blues would be:
4/4||: I | | | | IV | | I |
| V | IV | I | V :||
in C
4/4 ||: C |
|
| | F | | C | | G7 | F | C | G7 :||
The most common progression in jazz and standards as well as a very common progression in most types of music is the II
I progression. In the key of ‘C’ major it would be:
4/4 ||: Dm7
| G7
| C (Maj7) |
:||
Another common progression is:
4/4 ||: I | VI
| II
|V
:||
In C:
4/4 ||: C Maj7 | Am7
| Dm7
| G7
:||
In most jazz style tunes the VI will become a VI7 chord or in C major a A7 chord so the progression is as follows:
4/4 ||: I | VI7
| II
|V
:||
In C:
4/4 ||: C Maj7 | A7
| Dm7
| G7
:||
Dorian Mode
• This is the most talked about mode and in some ways the
most used mode.
• Almost everything that Carlos Santana does is using the
Dorian mode.
• Let’s look at playing Evil Ways in Am the chords would be:
4/4 ||: Am D : || over and over again. The Am is like home
base.
• You would play the A Dorian mode to this progression.
• The main notes you would stress in this are the A, C and E.
These are the notes in the Am Chord.
• Realize that it is this chord (Am) that is requiring the Dorian
mode for this song.
• Dorian notes are 1, 2, b3, 4, 5, 6, and b7 as related to the
major scale.
EVIL WAYS
Am D Am D
E7
Am D Am D
You got to change your evil ways, baby
Am
D
Am
D
Before I stop loving you
Am D
Am D
You got to change, baby
Am
D
Am
D
And every word that I say is true
Am
D
You got me runnin' and hidin'
Am
D
All over town
Am
D
You got me speakin' and believin'
Am
D
And runnin' you down
E
This can't go on
Am D
Am D
Lord knows you got to change, baby
When I come home, baby
My house is dark and my thoughts are cold
You hang around, baby
With Trina, Joan and a who knows who
I'm getting tired of waiting and fooling around
Go find somebody that won't make you feel like a clown
This can't go on
Lord knows you got to change
Repeat last verse
So What
This tune is totally in the Dorian Mode.
Solo and all starts in D Dorian and then
moves up to Eb Dorian.
Note all chord tones for the start. Remember the Chord Rules!!
Harmony for Dorian
• The harmony for modes works much the
same as for traditional harmony.
• In the last example the Am or Am7 is
home base. You need to come back to it
on a regular basis to ensure that it is
perceived as the home.
• So the harmony would be as follows:
I
II
III
IV
V VI VII
Am7 Bm7 CM7 D7 Em7 FM7 F#m7b5
•
•
•
•
•
•
•
Harmony
in
4ths
You can also harmonize this in intervals of a 4 . Then most of the chords
th
will be 11th type chords. For example, Am11, Bm11 etc.
Start on the first note and then go up a 4th for the 2nd note, up a 4th for the
3rd note and up a 4th for the 4th note.
For A it would be A, D, G, C as notes. Work this out.
One of the cool things to do with this is to play a pedal point and
harmonize it.
In A Dorian play the 5th string open. Then play the following a G on the D
String (4th string - 5th fret), a C on the 3rd string (3rd string - 5th fret) and an
E on the 2nd string (2nd string – 5th fret). Then move each of these up 2
frets. Go back and forth with those chords. A good rhythm to use is the
Charleston rhythm. (1 & 2) (& 3 & 4&). So you strike the chord on beat 1
and the & after beat 2.
From there you can go up one note in the scale on each string to get the
next chord.
In fact you can combine any 3 or 4 notes in the scale to work out other
chord voicings. Some will sound good and others won’t sound good to
you. You may also find that at one time a voicing sounds bad to you but
later on you accept it.
The Mixolydian Mode
• Another mode that is used quite a bit is the
Mixolydian mode. It is built off of the 5th
degree of the major scale.
• When you are playing a dominant chord
for a long period of time this is the mode
that is most used in traditional music.
• Even when playing a blues this is a mode
that needs to be emphasized along with
the blues scale.
• Notes are 1, 2, 3, 4, 5, 6, and b7 as
related to the major scale.
FEELIN' ALRIGHT
(Dave Mason)
C7
F7
Seems I got to have a change of scene
Cause every night I have the strangest dreams
Imprisoned by the way it used to be
Left here on my own or so it seems
I got to leave before I start to scream
But someone's locked the door and took the key
(Chorus) Feelin' alright
Not feelin' too good myself
Feelin' alright
Not feelin' too good myself
(Verse2) Boy you sure took me for one big ride
Even now I sit and wonder why
And when I think of you I start to cry
Got to stop belivin' in all your lies
Cause I got to much to do before I die
Before someone comes along and takes my place
With a different name and yes a different face
C7
F7
1
6th
Fret
2
1
2
4
X
3 8th
Fret
3
X
X
C7 Full Barre
1 1 1 1 1 18th
Fret
2
3
4
X
C7
1
2
4
X
3 8th
Fret
X
Application
• Play a D7 chord and solo using the
Mixolydian mode.
• Develop a vamp using this mode also. For
example playing Am7 to D7 will also work
very well with this mode.
• Try adding in harmony similar to what you
did in the Dorian Mode.
Lydian Mode
• This is a very modern sounding mode.
• Examples of songs that use it are: The
Simpsons Theme, Maria (from West Side
Story).
• It is exactly like a major but with a #4.
Pattern is 1, 2, 3, #4, 5, 6, 7.
• Use in jazz rather than just the major
scale.
Aeolian Mode
• This mode is built off of the 6th degree of
the major scale.
• It is used for ‘Spanish’ sounding songs.
• Some soloists use this quite a bit (Hendrix
used it in Watchtower).
• A common progression to use this to is
||: Em D | C B7 : || (Watchtower).
• Pattern is 1, 2, b3, 4, 5, b6, b7
Walk Don’t Run
Study in A Aeolian – Old Time
Rock Instrumental
Start With The Chords
• The progression is as follows:
4/4 ||: Am G | F E7 : ||
Best to do as E form of Barre Chords (6th string
root).
Start with learning these chords. Main chords in the song and the part
of the introduction. A bass line is in the music.
A 2nd guitarist would play this. These are only the root and the 5th of each
of the chords. Really just a simple power chord. This is played 2 times
during the intro. If you have an electric guitar turn the reverb up on this (all
the guitars used reverb on this). In any case palm mute the notes. Do that
by placing your picking hand palm lightly on the bridge so that just a small
part of your hand touches the strings right at the bridge nut.
Counting
Fingering
1
2
& 2 (&
0 2 3
3)
& 4 (&
0 2 3
1) &
2 (&
02 1
3)
&
0
This whole line is an A Aeolian mode. It also contains the C major scale (C to C).
Watch the timing and to learn the notes say them as you play them.
Counting
Fingering
1
2
& 2 (&
0 2 3
3)
&
0
4 (&
2 3
1) &
2
0 2
3
0
4
3
Now the whole fist line.
Count 1
&
2 (& 3 4) (1) & 2 & 3 4
1 2
3 (& 4) (& 1)
&
2 & 3 &
4 &
This whole first part is in 1st position so the fingering is 1st fret = 1st finger, 2nd fret = 2nd finger,
3rd fret = 3rd finger and 4th fret = 4th finger.
Be sure to get this whole part down before moving onto the next section!!
Count 1
& 2 & 3 & 4 & ( 1 & 2)
(& 3)
(4
1) (&2)
&
3 & 4
&
(1) (&2)
& (3 4)
4
( 1 2 ) (3 4 )
This part is using chords. First the C chord (1st position) then the Am Chord 1st position
Count (1 2 3 4 )
1&
2 (&
3) &
4 (&) 1
&
2 (& 3) &
Again this starts with the A minor chord in 1st position then for the 2nd measure it is an F chord broken up appreciated.
For the 3rd measure it is an E chord appreciated. Then it ends on an A minor chord (3rds).
All Along The Watchtower
Bob Dylan
Am
G
F
G
There must be some kind of way out of here
Am
G
F
G
Cried the joker to the thief
Am
G
F
G
There's too much confusion
Am
G
F
G
I can't get no relief
Am
G
F
G
Business men they drink my wine
Am
G
F
G
Plow men dig my earth
Am
G
F
G
None will live along the line
Am
G
F
Know what any of it is worth
No reason to get excited
The thief he kindly spoke
There are many here among us
Who feel that life is but a joke
But you and I we've been through that
And this is not our fate
So let us not talk falsely now
The hour's getting late
All along the watchtower
The Princess kept the view
While all the women came and went
Barefoot servants too
Outside in the cold distance
A wildcat did growl
Two riders were approaching
And the wind began to howl
All along the watchtower
All along the watchtower
All along the watchtower
Put all the parts together.
• If playing in a group
– 1st person does bass line.
– 2nd person does chords.
– 3rd person does the melody.
• Notice the sound of minor throughout this
song. This is very similar to many other
songs in rock, folk and ethnic styles.
Try it against a CMaj7
• This scale works really well against the
CMaj7 chord.
• Listen to how the #4 adds in some tension.
• This is key.
• Also harmonize the CMaj7 so that the #4
is in the chord.
Also fret 2
A bit of History and Background
Seven Modes of the Diatonic Scale
The system of modes is one of the most misunderstood, and mistaught area of practical theory.
The most common misconception is that the "modes are just different starting points of the Major
scale". Which is completely misleading. Truth is, each of the seven modes is a scale unto itself.
That's it! Just like any other scale, each mode has it's own tonic, or root. The only difference
between the modes is the degree of tonality. It's impossible for me to make a short
history report of the modes, so this article will be kind of crude, and to the point. Hope you enjoy
it.
Other than the seven tone Diatonic scale created by the Greek mathematician Pythagoras in 550
B.C. The first usage, and writings about the "musical modes" was approximately 350 B.C. That is
when the philosophy writings of Plato, and Aristotle included large sections that describe the
affect of the different musical modes on mood, and on character formation.
In Aristotle's "politics" he says that the Mixolydian mode can make you sad, and grave. The
Dorian mode settles the mind, and is gravest, and manliest, and avoids extremes. The phrygian
mode inspires enthusiasm, and is exiting, and emotional, and the best for expressing "Bacchic
fury". The relaxed modes are the lydian, and Ionian which make people stupid.
Plato identified the Lydian, and Mixolydian as being for Maudlin drinking songs. He called the
Ionian relaxing, the Dorian the real Greek mode, and said it creates a feeling of sincerity. Plato
also stated that the Dorian would remain legal for use in war, and crisis. The phrygian for peace,
dignity, temperance, and worship. Plato wanted to have government control using the modes,
and did not allow a multiplicity of notes, and instruments were only tuned to approved modes.
Modes of the Plato Aristotle Era were numbered mode 1, mode 2, and so on.
Four hundred years later (50 A.D.) the Christians begin using the modes in worship. Different
modes were used at different times for parts of their services. In 520 A.D. Manlius Boethius, an
Italian philosopher, translated Aristotle's on logic into latin. Boethius embraced Arisotle's concept
of mood creation, and character formation using the modes, and what was now called "the church
modes" were matched up against ancient Greek modes for ascribed meanings, which were then
used for church services.
In 600 A.D. Pope Gregory the Ist, classified all the music used in the church. While it is likely that
Gregory knew of Boethius assignment of ancient Greek names to the modes used for church
music. The church continued to use the numbered system. It was not until about 900 A.D. that
other authors began to apply Boethius's ancient Greek names to the medieval church modes.
The later Middle Ages, or Gothic Era, which lasted from 1150 to 1450, saw the rise of music with
multiple voices called "polyphonic music". Trouble in the church gave rise to non-religious music.
Towards the end of the Gothic Era, the character of music changed. Composers began to use
imitative techniques, together with harmonies crafted from thirds, and sixths.
The Renaissance (1450-1600) i thought to be a "period of awakening", and music continued to
evolve. Instrumental music became an art form. The church modes now consisted of eight
modes, evenly split authentic, and plagal modes of the "Gregorian Chant". They consisted of the
Dorian(authentic), HypoDorian(plagal), Phrygian(authentic), HypoPhrygian(plagal),
Lydian(authentic), HypoLydian(plagal), Mixolydian(authentic), and the HypoMixolydian (plagal).
All of the Medieval church music was based on the HypoLydian mode which is known today as
the Ionian or natural major scale. The other seven modes were used for meditative chant, and to
tell sad stories. It wasn\'t until the 16th century that the Aoelian, HypoAoelian, Ionian, and
HypoIonian were added to the modes. The sixthteenth century is known as the "golden age of
polyphony" because of the emergence of the polyphonic (vocal) music. There was now a definite
tendency toward major, and minor, which system formulated after 1600.
In roughly 1675, the modes were considered to be permutations of the Ionian, and Aoelian, which
the Western Major/Minor scale system was based. That's when the modes became familiarized
into what we know, and use today. The Greek names became convenient labels for particular
scales. Although the Locrian mode was not used much at all prior to this, the Locrian was
incorporated into the modal system. Many books talk about the ancient modal system, and do not
acknowledge this black sheep mode, except to say "it was not used because of it's diminished
5th", and nothing more is said. The Locrian was only a theoretical possibility till this time in
history.
Although it took several hundred years to move from polyphonic music to the homophonic idea of
the major-minor scale system, centuries were needed to move from open fifths, fourths, and
octaves to emphasis on the thirds, and sixths. Melody became asymmetrical, tonality moved to
polytonality, and the twelve-tone system, and serial technique were invented.
The names of all the modes in this new system became commonly known as the Ionian, Dorian,
Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. Although seven modes still exist up to this
time, only the Major(Ionian), and Minor(Aeolian) are considered suitable for Western Music. The
composition of polyphonic vocal music put the church modes under the impact of standardization.
The major and minor modes were the only modes thought to be capable of exerting a tonic
function.
The Ionian mode is very effective at producing a strong tonic function. The Aeolian is often used
as the final in a deceptive cadence. It brings resolution, but the feeling is still there that a full
resolution has not occurred, and that the only way to achieve this is by the arrival of the Ionian.
Thus the tendency of the Diatonic is toward the Ionian, rather than the aeolian mode. So once we
are in the Aeolian it is quite natural to drift back to the Ionian.
The Aeolian mode is generally avoided in common practice classical music, because it's cadence
is less decisive than the Harmonic Minor scale's. But the softer, and more relaxed sound of the
Aeolian tonality, has been used by many twentieth century composers. The Aeolian is also found
in modern pop, and dance music. The Harmonic minor is well known in classical music, because
it is the harmonic foundation of minor mode music. It's tonality is very powerful, and
unambiguous. There are seven modes of the Harmonic minor just as with the Diatonic, but none
of the modes in the Harmonic minor have common names, and it is only the Harmonic minor (in
it's Aeolian form) that is tonally effective. The tonality of the Melodic minor is even weaker than
that of the Aeolian. However the two modes of the Melodic scale (ascending melodic minor, and
the descending melodic major scale) can both be considered "melodic improvements to the
Harmonic minor. Classical composers have still mostly ignored the Melodic major.
Well what about the other five Diatonic modes? And why do people still choose to use them in
spite of the Major/Minor system? Well, Jazz players like to use the Dorian to improvise on minor
seventh chords, oh, and "Thriller by Michael Jackson is in the Dorian mode. Play this scale over a
min7, or min6th(13) chord. And it sounds very good. Jazz players use the Mixolydian scale to
improvise on Dom 7 chords. The Mixolydian is very major sounding until you get to the seventh
degree. Use 7th or Dom 7 chords when playing in the Mixolydian. The Lydian mode is difficult to
use for a
melody, unless you only use the subdominant as a leading tone for the dominant Bartok wrote a
short piece in the Lydian mode. I read once that the theme to the "Simpson's" was made with the
Lydian mode in mind. Play the Lydian over Maj7, or Maj7(#11) chords. As for the Locrian, we
referred to as the "black sheep" mode earlier. The dead-center position of the dominant make this
mode very unmusical. I read that not one folk song in the Locrian mode had ever been
documented by an ethnomusicologist. But without this mode the symmetry of the Major/Minor
system would be destroyed. Play the Locrian over a min7flat 5 chord. Next, and last, we have the
Phrygian mode, which has been called the Flamenco mode, because of it's Spanish sound.
Modern artists like Al DiMiola, and Ritchie Blackmore(Gates of Babylon) use this very special
sounding scale. This scale works best when played over a suspended 4th chord, or Dom 7(sus4)
chords.
So it seems we have not completely banned these five modes from The Major/Minor system.
They are open for experimentation by anyone. However the Major/Minor system has changed
music forever. It has made us less modal, as the use of chromatic notes increased to facilitate the
advent of equal temperament.
The Modes and their scale degrees with G as the root.
G Ionian (major)
1, 2, 3, 4 ,5, 6, 7
G Dorian
1, 2, b3, 4, 5, 6, b7
G Phrygian
1, b2, b3, 4, 5, b6, b7
G Lydian
1, 2, 3, #4, 5, 6, 7
G Mixolydian
1, 2, 3, 4, 5, 6, b7
G Aeolian (minor)
1, 2, b3, 4, 5, b6, b7
G Locrian
1, b2, b3, 4, b5, b6, b7