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 1st Modal Method
The Relative Approach:
C D E F G A B
C Ionian (Major scale)
D E F G A B C
D Dorian
E F G A B C D E Phrygian
F G A B C D E F Lydian
G A B C D E F G
Mixolydian
A B C D E F G A Aeolian
(Relative minor scale)
B C D E F G A B Locrian
The
relative approach is the most common way of presenting
the modes. It is good for analytical purposes but has no
direct, practical application. The key of “C” is
commonly used for example because it’s the only natural
key, requiring no sharps or flats. After learning the
modes in this way, many guitar students say, "It sounds
like the same old scale only starting on different
notes?" This is one of the major drawbacks of this
method, although it
clearly illustrates modal origins. While
not commonly taught, the Major scale is actually
heptatonic in nature. Hepta, a Greek prefix meaning
seven, and tonic meaning the first note in a scale,
suggests the seven modes
or
scales in the same way the term Pentatonic suggests five
scales or modes. Perhaps a more descriptive name for the
Major scale would be the Heptatonic Ionian Major scale.
2nd Modal Method
Formulas to calculate
the equivalent Major Scale:
Ionian:
= (Major scale) Dorian: Whole step down
Phrygian: 2 Whole steps
down
Lydian: 5th
up (3˝ steps)
Mixolydian:
4th up (2˝ steps)
Aeolian: 1˝ steps up
Locrian: ˝ step up
These
formulas can be useful for isolated scale or relative
key signature calculation. However, they require Major
scale orientation, despite the fact that most
guitarists' orientation is towards pentatonic or blues
scales.
3rd Modal Method
Modes of the Major
scale,
Conventional Modal Formulas:
1-2-3,4-5-6-7,1 Ionian
2-3,4-5-6-7,1-2 Dorian
3,4-5-6-7,1-2-3 Phrygian
4-5-6-7,1-2-3,4 Lydian Notice:
all half steps are between 3,4
and 7,1
5-6-7,1-2-3,4-5 Mixolydian
6-7,1-2-3,4-5-6 Aeolian
7,1-2-3,4-5-6-7 Locrian
The above intermediate
step is typically not shown, too bad, it's
great on guitar for single string playing. And also,
each tonic or root number reflects the mode number,
double cool! But unfortunately these formulas are
redefined to start with number 1, creating 7
Conventional Modal Formulas, bummer. The following list
is how these conventional formulas are ordinarily shown,
with 7 intervallic patterns to remember instead of
simply one. This conventional modal method clutters and
over complicates the issue unnecessarily.
7 Conventional Modal Formulas:
Half
Steps
1-2-3,4-5-6-7,1
Ionian
3,4
and 7,1
1-2,3-4-5-6,7-1 Dorian
2,3
and 6,7
1,2-3-4-5,6-7-1
Phrygian 1,2
and 5,6
1-2-3-4,5-6-7,1
Lydian 4,5
and 7,1
1-2-3,4-5-6,7-1
Mixolydian 3,4
and 6,7
1-2,3-4-5,6-7-1
Aeolian 2,3
and 5,6
1,2-3-4,5-6-7-1 Locrian
1,2 and
4,5
These
may be useful for someone in this form? Using these
formulas require a lot of extra memorization
and reorientation to apply for scale usage. It seems that these formulas were more useful in
the previous form?
4th Modal Method
Comparative formulas:
1 2 3 4 5
6 7 Ionian
1 2 b3 4 5 6 b7 Dorian
1 b2 b3 4 5 b6 b7
Phrygian
1 2 3 #4 5 6 7
Lydian
1 2 3 4 5 6 b7 Mixolydian
1 2 b3 4 5 b6 b7
Aeolian
1 b2 b3 4 b5 b6 b7
Locrian
These intervallic
definitions show how the modes vary from the Major
scale.
This
comparative
approach, while informative, also requires Major
scale orientation. Fact is, the majority of guitarists’
are orientated towards pentatonic or blues scales.
5th and 6th
Modal Methods
Dedicated Finger
Patterns:
(found
anywhere, usually standard major scale finger-patterns)
These modes are
commonly shown in 2 different ways for guitar,
string/fret grids and musical notation (standard or
tablature). Both methods are very inefficient since no
differentiation is made between finger-patterns and
scales, hence, only one scale per finger-pattern is
shown in contrast to a possible 14 scales (modes) per
finger-pattern.
Ordinarily,
in all the methods teaching the modes, only seven
modes are recognized.
The
remaining seven modes have been
completely overlooked, including
The most renowned mode
of all time, the notable
pentatonic
minor
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1h: Ionian major scale (a.k.a.
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1p:
Pentatonic Ionian Major scale (a.k.a.
The Pentatonic Major scale)
2h: Dorian minor scale
2p:
Pentatonic Dorian minor scale
3h: Phrygian minor scale
3p:
Pentatonic Phrygian minor scale
4h: Lydian Major scale
4t:
Root-less Lydian-7 Major scale
5h: Mixolydian Major scale
5p:
Pentatonic Mixolydian Major scale
6h: Aeolian minor scale (a.k.a.
The Natural, Pure, or Relative, minor scale)
6p:
Pentatonic Aeolian minor scale (a.k.a.
The Pentatonic minor scale
or Blues scale)
7h: Locrian diminished scale
7t:
Root-less Locrian-4 diminished scale
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14
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- Charles Mingus
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