so lets just use the key of c for example
C d e f g a b c is C ionian. And D e f g a b c d is D dorian correct? Is that Mode called D dorian? Or is it the dorian mode of the c scale? Or are you just sposed to know by D dorian that ur in the key of c bc d is the second step of the c major scale?
Very good question. Yes D, E, F, G, A, B, C is called D Dorian. It is not the D major scale as that is D, E, F#, G, A, B, C#. D Dorian has a F and a C or you have flatted the 3rd and 7th degree of the D major scale to get D Dorian. You are on the right track D Dorian is unique unto itself.
Second question are the mode "box shapes" the same for both major and minor keys?
Another good question. No the box shapes for a major scale, or mode is different than the box shape for a minor scale or mode. Hang on; we love to make major and minor scales and then the modes of those scales complicated and they are really very simple. Most mode strings will probably run for 75 to 100 posts, all saying what modes are and all going about it differently. We love to make it complicated. I'll try and make it simple.
Modes are the moods of a scale. Let's not get off into modes of the melodic minor or the pentatonic scales right now. Lets first understand how modes of the major scale are used. And that brings us to the question; why use modes? Answer IMO - modes are for when you want to play melodically. Melodically as in a solo or melodically as in a bass line. If you do not plan on taking solo breaks or adding non chord tones into your bass lines - right now - you do not need to get off into modes right now.
But someone has told you about modes and you now want to know more about them.
C Ionian and then the same notes started on the D will give you D Dorian as we spoke of above. That is called relative modes. There is another way of looking at this and this way is called the parallel mode way. Relative keeps the same notes and changes the key. Parallel keeps the same key and changes the notes. They both get to the same spot, they just take different roads getting there. Read that again. And walks us into the box shape for a major thing is different than the box shape for a minor thing - scale, mode, arpeggio, whatever. Let's get why out of the way first. Natural minor takes the major scale and flats the 3, 6 & 7. So as Natural minor is home base for all minor scales that flatting of the 3, 6 & 7 becomes a factor in what is major and what is minor. Or put another way if it is minor there will be a b3 involved. If it is major there will be a natural 3 involved.
Some of the posts you may receive will talk in Relative mode and some will talk in Parallel mode and most do not identify which way. So it does get confusing.
I left Relative modes years ago and have used parallel modes ever since. And yes I use just one box for them all. The box I use is the major scale box.
Major scale box showing scale degree numbers and the root note on the 4th string. Place the box's R over your root note and gather the spelling for what you want from within the box.
Code:
G~~|---2---|-------|---3---|---4---| 1st string
D~~|---6---|-------|---7---|---8---|
A~~|---3---|---4---|-------|---5---|
E~~|-------|---R---|-------|---2---|4th string
The spelling for the Major modes are:
C Ionian R-2-3-4-5-6-7 same as the major scale
C Lydian R-2-3-#4-5-6-7 Change one note
C Mixolydian R-2-3-4-5-6-b7 Change one note
The spelling for the minor modes are:
C Aeolian R-2-b3-4-5-b6-b7 same as the natural minor scale
C Dorian R-2-b3-4-5-6-b7 change one note
C Phrygian R-b2-b3-4-5-b6-b7 Add the b2
C Locrian R-b2-b3-4-b5-b6-b7 yes here you change two notes.
Now the one thing that drops between the chairs. Each mode has a mood.
- Ionian = up beat and happy. So does the major scale, why not just play tonal and use the major scale?
- Lydian = is so close to the major scale I seldom use it, however if you will add a b7 to that #4 then you do get a unique kinda half way between Ionian and Mixolydian sound. It's called Lydian dominant.
- Mixolydian = a latin sound. Is used quite a bit over a dominant seven chord, however, I do not recommend changing modes over each chord. That will end up changing the mood of the song several times and IMO we should decide on the mood we want and then use the mode that gives that mood for the entire piece.
- Aeolian = is supposed to give a sad sound I do not hear sad, I do hear minor sound if you want a minor sound help your self to Aeolian. Here again I raise the question why not just stay tonal and use the natural minor scale?
- Dorian = an attractive minor sound. If I am going minor Dorian is my mode of choice.
- Phrygian - Middle eastern, if you want Middle Eastern, Phrygian is your mode.
- Locrian - dark and tense. Locrian is best used over a vamp of the m7b5 chord.
Now to hear all that you have to have a modal vamp droning for the modal mood to develop. Begs the question, are the guys going to be droning a modal vamp for your modal efforts? Here is some more of the story.
Modal Harmony
Because you asked, that's modes 101. Don't waste your practice time right now on modes, there are other things you need to be working on. Copy and paste this string in your study binder for later. You will receive a lot of really good information, but, it will take some study time to digest it all. Don't let modes rob your study time - right now.
