MUSIC THEORY BOOTCAMP

Lesson 09: Modes Modes

• One of the most (needlessly) confusing music theory concepts • What is mode? • If you google the definition or go to the Mode page on Wikipedia, you are going to get a lengthy description that doesn’t make any sense (to me). Modes

• What is a mode? According to wikipedia… • “A type of scale coupled with a set of characteristic melodic behaviors” – Uh…you mean like every other SCALE? – Keep reading and there’s a good chance that you will get a headache Modes

• What’s the difference between a MODE and a SCALE? • If you are asking me, I’m going to tell you that there really isn’t one. – To me, you can change the name of all the modes to “Scales” and absolutely nothing would be different. • To me, this is why modes are needlessly confusing to so many musicians trying to learn them. • But…since EVERYONE calls them modes, I’m not going to argue… Modes

• If you understand the concept of Relative Keys (which you totally should by now) then Modes are a piece of cake • ALL OF THE MODES ARE RELATED TO A • THEY CONTAIN THE EXACT SAME NOTES BUT HAVE A DIFFERENT ROOT Modes

• There are 7 Modes. Each mode is built off a scale degree of the major scale (7 notes of the Major Scale = 7 Modes) and they all have weird names • Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian • Way to remember the order of them: I Don’t Play Lame Music Any Longer

• The Ionian Mode is the EXACT same thing as the MAJOR SCALE. There is literally NO difference other than it has a weird sounding name. • Major Scale = C A • C Ionian Mode = C D E F G A B • The C Ionian Mode is harmonized the exact same way as the Major Scale…same chords, same extensions…however there is a little bit more of a specific definition of MODAL KEYS that I’ll talk about in a bit.

• The Dorian Mode is built off of the SECOND scale degree of the Major Scale • C Major Scale = C D E F G A B • D Dorian Mode = D E F G A B • SAME notes, different ROOT • You could say that the D Dorian Mode is RELATIVE to the C Major Scale – The A Dorian Mode would be RELATIVE to the G Major scale and so on… Dorian Mode

• You can also look at the Dorian Mode as a formula to see how it compares to the ROOT Major Scale • Dorian Formula = 1 2 b3 4 5 6 b7 • D MAJOR = D E F# G A B C# • D DORIAN = D E F G A B C

• The Phrygian Mode is built off of the THIRD scale degree of the Major Scale • C Major Scale = C D E F G A B • E Phrygian Mode = E F G A B C • SAME notes, different ROOT • You could say that the E Phrygian Mode is RELATIVE to the C Major Scale – The B Phrygian Mode would be RELATIVE to the G Major scale and so on… Phrygian Mode

• You can also look at the Phrygian Mode as a formula to see how it compares to the ROOT Major Scale • Phrygian Formula = – 1 b2 b3 4 5 b6 b7 • E MAJOR = E F# G# A B C# D# • E PHRYGIAN = E F G A B C D

• The Lydian Mode is built off of the FOURTH scale degree of the Major Scale • C Major Scale = C D E F G A B • F Lydian Mode = F G A B C D E • SAME notes, different ROOT • You could say that the F Lydian Mode is RELATIVE to the C Major Scale – The C Lydian Mode would be RELATIVE to the G Major scale and so on… Lydian Mode

• You can also look at the Lydian Mode as a formula to see how it compares to the ROOT Major Scale • Lydian Formula = 1 2 3 #4 5 6 7 • F MAJOR = F G A Bb C D E • F LYDIAN MODE = F G A B C D E

• The Mixoydian Mode is built off of the FIFTH scale degree of the Major Scale • C Major Scale = C D E F G A B • G Mixolydian Mode = G A B C D E F • SAME notes, different ROOT • You could say that the G Mixolydian Mode is RELATIVE to the C Major Scale • The D Mixolydian Mode would be RELATIVE to the G Major scale and so on… Mixolydian Mode

• You can also look at the Mixolydian Mode as a formula to see how it compares to the ROOT Major Scale • Mixolydian Formula = 1 2 3 4 5 6 b7 • G MAJOR = G A B C D E F# • G MIXOLYDIAN MODE = G A B C D E F

• The Aeolian Mode is the EXACT same thing as THE NATURAL . • Built off of the SIXTH degree of the Major Scale • Formula = 1 2 b3 4 5 b6 b7 • A Aeolian (aka Natural Minor) = • A B C D E F G Locrian Mode

• The Locrian Mode is built off of the SEVENTH scale degree of the Major Scale • C Major Scale = C D E F G A B • B Locrian Mode = B C D E F G A • SAME notes, different ROOT • You could say that the B Locrian Mode is RELATIVE to the C Major Scale • The F# Locrian Mode would be RELATIVE to the G Major scale and so on… Locrian Mode

• You can also look at the Locrian Mode as a formula to see how it compares to the ROOT Major Scale • Locrian Formula = 1 b2 b3 4 b5 b6 b7 • B MAJOR = B C# D# E F# G# A# • B LOCRIAN MODE = B C D E F G A Using Modes

• Now that you understand what Modes are in terms of how to define them, how to find them, and how they relate to the Major Scale…it’s easier to move to the next section of Modes…which is how to use them. Using Modes

• The great confusion that I have personally experienced (and I know that countless other musicians have experienced) when it comes to modes is the application of them. It’s easy to regurgitate the information, but you don’t really know something until you can use it. Why Modes Are Confusing • 1) We don’t understand that it’s the chords that tells us what scales we could use or are “appropriate” • If you know the notes of the chords in the progression, you can choose scales that match those notes or clash with those notes. • There is no “right way” or “wrong way” to approach composing or improvising. You could literally do anything you want, use any scale you want over any chord progression. The question is though…is that what you INTENDED to play? Why Modes Are Confusing • 2) We don’t fully grasp what makes a mode different than a major or minor scale • 3) We overcomplicate composing in modes by creating longer chord progressions • 4) We forget that we already know what chords go in these modes. • If you can harmonize a major scale, you can harmonize any mode as long as you understand what major scale it’s relating to. Why Modes Are Confusing • 5) Often times when a song is referenced as being in a mode, it’s not JUST the chord progression that makes it be in a modal key • Especially true if it’s a short progression • The other instruments can imply a modal key • Example: Chord progression = Dm-Em – D Minor (D Aeolian) could be played – D Dorian could also be played What Makes Each Mode Unique? • Let’s start with understanding what makes each mode unique • Break into 2 Categories: Major Modes (modes that have a natural 3rd degree) and Minor Modes (modes that have a flatted 3rd degree) Major Modes

• Major Modes • Ionian, Lydian, Mixolydian • Example: Taking the chords of C Major, if we create a 4 chord progression that starts with C, our ear always wants to take us back to the C Major Modes

• What I tried to do…and what many others try to do…is create a 3 or 4 chord progression but start it with the chord that makes it “Lydian” or “Mixolydian” • For example: • G – Am – F – Dm would use the chords of G Mixolydian Major Modes

• For one, when you listen to this progression, it kind of just goes all over the place • And two, what makes this really all that much different than G major? Yeah, the F and Dm chords don’t belong…but it still feels like a G major progression with borrowed chords Major Modes

• This approach does make sense at first glance, because it works pretty well with the relative minor scale • The problem that you run into...as soon as you introduce a C chord, your ear identifies that as the home base….or…you create chord progressions that don’t sound “complete” Ionian Mode

• We don’t need to look too hard at the Ionian Mode. It’s the exact same thing as the major scale and we’ve covered that already. • The only thing that I think could be argued as a way to differentiate being in the key of C Major vs C Ionian is the reinforcement of the root note via Slash Chords. (as you will soon see…Slash Chords are very much a staple of creating chord progressions in these Modal Keys.) Ionian Mode

• For example, I would say that if you had a chord progression of C – G – Am – F , then you are in the key of C Major • If you take those same chords and keep a “C” in the bass at all times (ie. C, G/C, Am/C, F/C) then that makes a tad bit more sense to call it C Ionian • But really, you are splitting hairs. Lydian Mode

• Let’s look at what makes the Lydian Mode unique when compared to the Major Scale of the SAME root note • F Major = 1 2 3 4 5 6 7 (F G A Bb C D E) • F Lydian = 1 2 3 #4 5 6 7 (F G A B C D E) • What’s the difference? • The # 4 Lydian Mode

• The # 4 (the B in this case) is the note that makes this scale and gives it the “Lydian” sound. • So…when you are trying to bring home the sound of F Lydian …you want to… • Prominently feature chords & melodies that have an “F” and “B” in them because those notes are the defining characteristics of the “Lydian” sound for that key. Lydian Mode Chord Options • F Lydian Triads & 7th Chords • Fmaj (F A C) - I • Fsus2 (F G C) – Isus2 • Fmaj7 (FACE) – Imaj7 • Gmaj (G B D) - II – Played in an inversion with the B in the bass • G7 (G B D F) – II7 – Played in an inversion with the F in the bass or in an version with B in the bass • The “Lydian Triad” • 1 #4 5 (F B C) – I#4 – Often played on guitar in an inversion of 5 1 #4 (C F B) Lydian Mode Chord Options • Cmaj7 (C E G B) –Vmaj7 • Played in an inversion with the B in the bass • Csus4 (C F G) - Vsus4 • Played in an inversion with the F in the bass • Dm (D F A) - vi • Played in an inversion with the F in the bass Lydian Mode Chord Options • Slash Chords • Remembering that C Major is the RELATIVE major scale to F Lydian…take a I – V Progression in the Key Of C (which would be a C – G progression) and put an F in the Bass of both chords • C / F – G / F would be the progression – This is a great example because a I – V progression is such dominant progression that establishes the I as the home base – But when you put the F in the bass of both of those chords, you are establishing F as the tonal center and not C. Lydian Mode Chord Options • Add Chords • Fadd#11 • Fmaj7add#11 • Cadd11 • Cmaj7add11 – Example Lydian Chord Progressions • Fmaj7 – G7/F • F#4 – Em/B Lydian Mode Chord Options Lydian Mode Chord Options • Implying Lydian in melodies and solos • Again, you just want to focus on the characteristic notes of the mode. If you treat each chord in a progression as it’s own thing, you can imply a modal sound. • For instance if you played over an F –C progression (which is very much a Major/Ionian progression) you could imply that it’s Lydian, if you use that #4 note in the melody. Lydian Mode Examples

• The Jetsons Theme • The Simpsons Theme • Flying in a Blue Dream – Joe Satriani • Steve Vai and Joe Satriani LOVE the Lydian mode Mixolydian Mode

• Now let’s compare the Mixolydian Mode to the Major Scale of the same ROOT. • G Major = 1 2 3 4 5 6 7 (G A B C D E F#) • G Mixolydian = 1 2 3 4 5 6 b7 (G A B C D E F) • What’s the difference? • The b7 Mixolydian Mode

• The b7 is what gives this the Mixolydian “flavor”, so like we did with the #4 in Lydian, we want to feature the b7 note and the root note as much as we can if we want to drive home the Mixolydian sound. Mixolydian Mode

• Options • I7 • G7 (G B D F) – Great chord for Mixolydian because it has the root and the b7. • Slash chords! • Put a G in the Bass of any of the chords that are in the Relative Major to the Mixolydian Mode (C, in this case) • Example: F/G, C/G Mixolydian Mode

• Examples • Ramblin Man – Allman Brothers • Clocks – Coldplay • Dark Star – Grateful Dead • Sweet Home Alabama – Lynyrd Skynyrd • Sweet Child O’ Mine (the verse sections) – Guns N Roses All Major Modes All Major Modes All Major Modes The Minor Modes

• First, know that the Aeolian mode is the EXACT same thing as the Natural Minor Scale. Same notes, same chords, same harmonization. • Like we talked about with Ionian vs Major…the only real difference I would say between Aeolian vs Minor is if your chord progression has a lot of Slash chords that focus on the Aeolian Root. Dorian Mode

• Let’s look at what makes Dorian different then The Natural Minor Scale • D Natural Minor = 1 2 b3 4 5 b6 b7 (D E F G A Bb C) • D Dorian Mode = 1 2 b3 4 5 6 b7 (D E F G A B C) • The difference is the NATURAL 6th • Like we have talked about with the other modes, you want to feature the characteristic notes of the mode. Dorian Mode

• Minor 7th chords are great (Dm7 – Em7 is a very common type of Dorian Progression) • Minor 9ths, 11ths, and 13ths are common as well • Particularly in jazz • And of course…SLASH CHORDS! • Take the IV – V of C (the Relative Major to D Dorian) which is an F – G • Put a D in the bass and you get F / D (really a Dm7) – G / D Dorian Mode

• Examples • Oye Como Va – Santana • Wicked Game – Chris Issac • Mad World – Tears For Fears Phrygian Mode

• E Natural Minor = 1 2 b3 4 5 b6 b7 (E F# G A B C D) • E Phrygian = 1 b2 b3 4 5 b6 b7 (E F G A B C D) • The difference is the b2 • A very common mode in Heavy Metal • Riffs where the open E string is “pedaled” with the notes of the E Phrygian Mode Phrygian Mode Phrygian Mode

• Slash Chords! • F / E is a very signature Phrygian sound. • Examples • Wherever I May Roam – Metallica • Symphony of Destruction (main riff) - Megadeth Locrian Mode

• Locrian is a very tricky monkey because the home base chord is a DIMINISHED chord and we know that Diminished chords are very dissonant and sound “unresolved” • Because of this…you don’t really see whole songs or entire pieces of music being written in a Locrian Mode. It’s used much more in little “moments” in songs, specifically as transitional pieces. Locrian Mode

• B Natural Minor = 1 2 b3 4 5 b6 b7 ( B C# D E F# G# A#) • B Locrian = 1 b2 b3 4 b5 b6 b7 (B C D E F G A) • The difference is the b2 and the b5 • The b5 is really the key because the b2 is the characteristic note of the Phrygian Mode Locrian Mode

• Examples • The bass line to “Juicebox” by The Strokes • The main riff to “Chemical Warfare” by Slayer • Sections of Wherever I May Roam Sad But True and Enter Sandman feature small little sections of the Locrian mode All Minor Modes All Minor Modes All Minor Modes Quiz

• 50 Questions • Multiple Choice • What mode is this? • What note makes the mode? • What note differentiates this mode from that mode?