Modes Part Two
If you missed Modes Part One Click Here
Now that you hopefully understand what modes are let’s have a look at how you can use them.
You remember in last month’s article we were looking at the intervals contained in the modes. We also looked at how some of these modes might fit over the intervals in chords.
eg: in the last article we looked at the following example:
C major chord:
C—–E——-G
R—-M3——5
C major scale (C Ionian mode)
R-2–M3–4–5–6–M7
I then went on to discuss the fact that you might prefer the sound of the #4 as opposed to the 4 over a major or major 7 chord.
This is the essence of how you want to look at and HEAR modes, ie: you need to listen to them one note at a time over the chord you are playing over. You need to get to know their sounds over variuos chord types.
You can draw up a basic set of guidelines as to which mode sounds good over which kind of chord. I will include a guide later in this article. But this is no replacement for actually LISTENING to them yourself and coming up with your own guidelines.
But in a way, this task is not as difficult as it might sound. First we need to remember that there are 3 main families of chords. About 80 to 90 percent of the chords most people actually play over, fall into these three categories. So all you have to do is learn which modes fit (and what they sound like of course) over these three families of chords.
What are these three families of chords?
Major
Minor
Dominant
Let’s have a look at what intervals are contained in these three chord types; then we will be able to see which modes might fit over each of them.
But first a little sidestep for a moment. I just want to clear something up. You remember from last month’s article that the 7 modes are derived from the parent major scale by using each of its 7 notes as a root note. Don’t forget, that your root note is determined by the root note of the chord you are playing over.
What I don’t want you to think about, and its a common enough thought, is the fact that all the modes generated by a particular parent major scale, fit into the same key. This is true, they do, but this is not a fact that you should concern yourself with when playing modes. There are a lot of “facts” about music theory that are totally irrelevant, depending on what you are doing at the time. The fact that the 7 modes that come from a parent major scale, fit into the same key is one of these irrelevant facts. Its true yes, but this knowledge adds nothing to your understanding of how modes work, on the contrary it is a very common cause of confusion amongst people trying to understand modes.
So let’s look at what types of chord each of the modes will fit over and why. From this you’ll see what an incredibly powerful tool modes are, and how they greatly expand your pallet of colours. Keep in mind though, that what I list here are just suggestions and examples of common usage, they are in no way meant to dictate what you can and cannot do with modes. In the end it is up to your own ear to decide what you like and don’t like.
Breaking chords down into the three big families is a good place to start. As I said, these three families: major, minor and dominant cover 80 to 90 percent of the chords most people end up playing over. Once you have learned how various modes sound over them, you’ll find it will be fairly easy to deal with the occasional chord that doesn’t fit into one of the three families.
So first I’ll list out which modes are commonly used over the three families of chords, then I’ll go through the list again giving a more detailed explanation:
Major 7:
R——M3——-5——M7
Ionian mode I
R—2–M3–4—5—6–M7
Lydian mode IV
R—2–M3–#4–5—6–M7
Minor 7:
R——b3——–5——b7
Dorian mode II
R—2–b3—4—5—6–b7
Aeolian mode VI
R—2–b3—4—5–b6–b7
Dominant 7:
R——M3——-5——b7
Mixolydian mode V
R—2–M3–4—5—6–b7
Dorian mode II
R—2–b3—4—5—6–b7
Aeolian mode VI
R—2–b3—4—5–b6–b7
Phrygian mode III
R–b2–b3—4—5–b6–b7
Now let’s look at these mode choices individually.
Major 7:
R——M3——-5——M7
Ionian mode I
R—2–M3–4—5—6–M7
There’s a problem with the 4 here to many people’s ears. As a passing note it may be acceptable, but to sustain, it is a tense uncomfortable sounding note to many people. (There are those who disagree with this).
Major 7:
R——M3——-5——M7
Lydian mode IV
R—2–M3–#4–5—6–M7
Jazzier sounding it could well be said, but to many the #4 is a big improvement over the 4. The #4 is a nice note to sustain as opposed to the 4 which sounds tense. (There are those who disagree with this). These days, the Lydian mode is a popular choice not only in jazz, but in modern rock as well.
Minor 7:
R——b3——–5——b7
Dorian mode II
R—2–b3—4—5—6–b7
The characterising note here is the 6. By that, one thing I mean, is that the 6 is the interval that differentiates the Dorian mode, from the its very similar cousin the Aeolian mode. The 6 in the Dorian is for most people a colourful passing note, though it can be sustained.
Minor 7:
R——b3——–5——b7
Aeolian mode VI
R—2–b3—4—5–b6–b7
Here the characterising note ie: the interval that differentiates the Aeolian mode, is it’s b6. Remember the only difference between the Aeolian and Dorian modes is the 6. Aeolian has a b6 while Dorian has a 6. To many, the b6 is also a passing note, but in contrast to the Dorian, the b6 gives the Aeolian a more poignant tragic edge.
Dominant 7:
R——M3——-5——b7
Mixolydian mode V
R—2–M3–4—5—6–b7
This mode fits the dominant chord perfectly, with no tension notes. A popular choice for melodies. Commonly used by both rock and jazz players.
Dominant 7:
R——M3——-5——b7
Dorian mode II
R—2–b3—4—5—6–b7
Traditionally this has been a popular choice for jazz musicians. The b3 giving a bluesy edge and the 6 a colourful slant. I think you’ll find though that the Aeolian is fast becoming as popular a choice amongst jazz players.
Dominant 7:
R——M3——-5——b7
Aeolian mode VI
R—2–b3—4—5–b6–b7
This is becoming increasingly popular. The b3 gives the bluesy edge of the Dorian, but the b6 adds a slightly eastern flavour.
Dominant 7:
R——M3——-5——b7
Phrygian mode III
R–b2–b3—4—5–b6–b7
Here’s where you get your classic Spanish sounding scale. The only difference between this and the Aeolian is the b2 of the Phrygian… but this is a very strong sounding interval as you will hear.
Some people noting that on paper, the Phrygian mode is a minor scale ie: it contains a b3 and a b7, suggest that it be used over a minor chord. Try it. Do you like the sound of the b2 over a minor chord?
Dominant 7:
R——M3——-5——b7
Locrian mode VII
R–b2–b3—4–b5–b6–b7
This mode is sometimes used over a dominant chord. It contains a lot of tension or ‘out notes’. So if you want an ‘out sound’ or want to create momentary tension the Locrian mode might me worth experimenting with.
A more common use of the Locrian mode however is over minor 7 b5 chord (sometimes called half diminished 7th). Its the perfect scale for this chord, which does come up occasionally.
Generally speaking if any chords from of the three main families of chords have extensions added eg: Major 9, Minor 9, Dominant 9 etc.. the same modes will work.
But the important thing is to USE YOUR EAR. You may or may not agree with my suggestions above. It doesn’t matter. What I’ve written here are just suggestions based on popular usage, certainly not rules you have to follow.
So to sum it up so far: modes are a set of very useful scales derived from the major scale. If you need a scale for a chord, there’s almost always a mode that will fit. So let’s finish off by looking more closely at how you actually use modes in everyday playing.
Chord progressions often break down into two types.
1) The chords in the progression fit into a key. Even if the song changes key here and there, at any given point, the chords you are playing over fit obviously into a key.
2) The chords in the progression don’t stick to a key. This may be a progression which was based on a key, but has been so altered that many of the chords in the final progression no longer fit together in a key. Or it may be a progression that was never based on a key in the first place.
Let’s look a bit more at these two categories of chord progressions.
Chord progression type one (basically in a key)
Eg:
CM7 FM7 Dm9 Am9 Dm9 G9 CM7
This clearly fits into the key of C.
You can treat this type of progression in two ways when it comes to using modes.
1) Use the ‘correct’ mode for where you are in the key.
2) Ignore the key and choose the mode you want to hear over each chord.
CM7–FM7–Dm9–Am9–Dm9–G9–CM7
—I—-IV——II—–VI—-II—–V—–I
The Roman numerals below the chord symbols indicate where these chords are in the key. ie: I means the root note of the chord is the 1st note in the key, in this case C; VI means the root note of the chord is the 4th note in the key in this case F.
Chords are often referred to by these numbers (often called degrees) so its worth getting used to this idea, if you aren’t already familiar with it.
So using the 1st method above, playing the mode that corresponds to where you are in the key, let’s look at our chord progression again.
CM7–FM7–Dm9–Am9–Dm9–G9–CM7
—I—-IV——II—–VI—-II—–V—–I
Here we can simply match the number of the mode to the number of the chord in the key ie: for the CM7 (I) chord play C 1st mode (C Ionian), for the FM7 ( IV) chord play F 4th mode (F Lydian) etc…
This method is fine, but you could be tempted to see all these modes as just the same thing as staying in the C major scale over all these chords. I hope you can see the VERY important difference though. If you just stay in the C major scale, if you think of it like that, you won’t be able to see the relationships between the notes you play and the changing chords.
So you might start by playing a major 3rd (E) over the CM7 chord in our progression above. Then the chord changes to FM7 and that E you just played has now become the major 7 in relation to the FM7 chord. When the Dm7 comes along the E you are playing becomes a 2nd in relation to the Dm7 chord. As the chords change, your E (3rd in your original C Major scale) changes its relationships to each chord entirely, and therefore its sound. The E will sound like a major 3rd over the CM7 chord, like a major 7 over the FM7 chord, and like a 2nd over the Dm9 chord. How can you keep track of all this and be able to really choose the notes you want to hear and play? Not easy if you think of it as all one key ie: in this case the key of C which is the same as the C major scale.
Where as, if you think in terms of each chord separately, and you use modes, it all becomes very clear and easy. This is because although the root notes of the chords are changing, you are changing your reference point with them, as you follow the root notes and change modes. So your reference stays the same, even visually (if you are a guitarist the scale shape stays the same), you just move it with the chord.
So to reemphasise this point about you’re reference point staying the same. Let’s look at our example again:
CM7–FM7–Dm9–Am9–Dm9–G9–CM7
—I—-IV——II—–VI—-II—–V—–I
When the CM7 chord comes along, you use C as your root, and your ear hears it as a reference point. You might choose to play C Ionian mode (1st mode) or C Lydian mode (4th mode). You can see (and hear) all the other intervals in your mode from the reference point of the C (even if you never actually play the C). When the chord moves to FM7, you move your reference point to the F and choose perhaps F Lydian mode (4th mode). You can now see and hear the intervals in your F Lydian mode relative to the F. Looking at it like this makes it all so much simpler and more manageable for your ear.
You always have the root note of the chord as your reference point, so you are always in a position to hear and choose intervals (notes) in that context, which let’s face it, is the context in which the listener will hear it.
This brings us on to the second way in which you might choose to play over a chord progression that is very much in one key:
You can ignore the key. Just choose the mode you’d like to hear over each chord, forget about where that chord is in the key.
CM7—FM7—Dm9—Am9—Dm9—G9
C lyd–F lyd–D aeol–A dor–D dor–G aeol
So here modes have been chosen, not by the position of the chord in the key, but by personal preference. This is, by the way, a very popular way of using modes.
Finally, on to the second type of chord progression where the chords don’t fit into any particular key.
Here you just do exactly the same thing, you choose the mode for each chord purely by personal taste.
What I’ve covered here (and in last month’s article which is also available by clicking at the beginning of this article) are just the mechanics of what modes are and how to use them. Playing well over chord changes is an art in itself however, and the subject of another article. There are various ways of connecting chords through what you play. You can weave tapestries through the chords or use them as launch pads for your solo.
Modes are terribly useful for playing over chord changes, but don’t forget the importance of using the chord tones (ie: Root, 3rd, 5th etc…) as reference or pivot points, as well as the modes. It might be useful to think of the chord tones as a skeleton around which the mode is built to flesh things out.
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All content © copyright 2011 Mark Wingfield, Dark Energy Music Publishing