In the beginning.....


lets talk about the C major scale:
notes are: C D E F G A B

Chords inherent in this Scale:
C
Dm
Em
F
G7
Am
B

You can use any of the following modes against any of these chords:

C Ionaian (r,2,3,4,5,6,7)
D Dorian (r,2,b3,4,5,6,b7)
E Phrygian (r,b2,b3,4,5,b6,b7)
F Lydian (r,2,3,#4,5,6,7)
G Mixolydian (r,2,3,4,5,6,b7)
A Aeolian (r,2,3,4,5,b6,b7)
B Locrian (r,b2,b3,4,b5,b6,b7)

all of these modes are the same notes as the C major scale:

Learning these modes is equivalent to learning the C major scale in every position.

If you are playing a C major scale, you are playing all of these modes at the same time...

If you are playing a G Mixolydian scale, you are playing a C major (also referred to as Ionian) scale and all of these other modes at the same time.

They all share the same notes.

so... what's the point of talking about modes?

Well, when you are improvising over changes, they don't list C aeolin, A locrian etc.. as scales to draw from (sometimes they do with the jamey aebersold recordings), so it's your job to learn how these scales match up with chords:

here's tha rundown (Only using the major scale):

Major Chords (r,3,5,(7))
use Ionian or Lydian

Minor Chords (r,b3,5,b7)
Use Dorian, Phrygian, or Aeolian

Dominant chords: (r,3,5,b7)
Use mixolydian (if we're only talking about the major scale right now.. you get more options with other scales like melodic minor and harmonic minor scales..)

Half diminished chords (r,b3,b5,b7)
use locrian

Q: What's the difference between using Dorian, phrygian, or aeolian against a minor chord?

A: each mode provides all of the chord tones of whatever parent chord (your minor chord you are about to shred on..) BUT! each different mode provides you with different extensions.

Q: what are extensions?

A: each chord contains chord tones and extensions. Chord tones define how each chord sounds: for example a major triad/chord is R 3 5
(my advice is to memorize these)
basic chord construction:

for major chords: r 3 5 7 (related to ionian)

for minor chords: r b3 5 b7 (sometimes a natural 7 and related to dorian, phrygian, and aeolian)

for dominant chords: r 3 5 b7 (related to mixolydian)

for half diminished chords: r, b3,b5,b7 (related to locrian)

each major scale has 7 tones: for each chord, only four tones are listed- the other 3 are your extensions (9,11,13)

Think of it like this: R 3 5 7 9 11 13
the 9 is also the 2, the four is also the 11, and the 6 is also the 13

(ie... r,2/9,3,4/11,5,6/13,7)
C D E F G A B

in this case (^^^^^^) we are talking about a C major chord (CEG are your R 3 5 and DFA are your extensions (9,11,13)

if i wanted to use C lydian against a C major chord it would look like this:
r, 2/9, 3, #4/#11, 5, 6, 7
C D E F# G A B
(notice the F#- it's not a part of the c major scale. now you are using a G major scale against a C major chord)

extensions are the notes between chord tones that you can use, and sometimes you can change them (by choosing a different mode).


that's one way to do it..

another way, is to reference back to something you know- say the original C major scale..

say the chord of a song you are trying to solo over is G7- you can think- G7 is G mixolydian. G mixolydian is a part of C major(ionian) - I can use all of my C major fingerings against a G7.

Beware!!! these chords are also contained in other scales too (hence the reason the C lydian thing works- both the c major scale and the g major scale contain C major chords)!

All of these chords are found in other major scales too..

hope this sheds SOME light on this subject.. many people are confused by it.. this is only a small part of the larger picture of music theory, but it's worth knowing and understanding if you like to improvise...

peace and good tones fellas!

That's a pretty good explanation of the Modes.

Although I've found other uses, I find the Modes most useful for composing. Here's an example of what I'm talking about.

http://forums.musictoyz.com/eve/forums/a/tpc/f/7816020191/m/9841012624

quote:

Originally posted by rsmeets:
In the beginning.....


lets talk about the C major scale:
notes are: C D E F G A B

Chords inherent in this Scale:
C
Dm
Em
F
G7
Am
B

You can use any of the following modes against any of these chords

Good explanation, though one of your chords is off: the B should be listed as a Bm7b5. (b,d,f,a). A straight B chord would contain both a C# and an F#, neither of which are in the C Ionian scale (and thus, in the harmonized scale).

quote:

Originally posted by Mongoose Eyeball:

quote:

Originally posted by rsmeets:
In the beginning.....


lets talk about the C major scale:
notes are: C D E F G A B

hords inherent in this Scale:
C
Dm
Em
F
G7
Am
B

You can use any of the following modes against any of these chords

Good explanation, though one of your chords is off: the B should be listed as a Bm7b5. (b,d,f,a). A straight B chord would contain both a C# and an F#, neither of which are in the C Ionian scale (and thus, in the harmonized scale).

Well, sort of ... that would be " D# " and F#. But yes, it's a Bm7b5 for that leading tone chord in a C major scale.
You guys slay me! .

Great post!

That's actually how I learned these things... like I always say to my students... some of this doesn't make much sense at first(lots of new words to grasp at first) but it does with time and it's quite important to have that informations down if only as a reference of something you heard of.

Messing around with formulas and making all those funny drawings is what are gonna make someone "click" over time. That's what so fun about teaching, you get to do those funny drawings and click on something else that makes you research and look for more on your own!

quote:

Originally posted by klasaine:
Well, sort of ... that would be " D# " and F#. But yes, it's a Bm7b5 for that leading tone chord in a C major scale. .

Duh! that's what I meant! Never post, IM chat and phone text at the same time--it's typos galore!

yeah, good catch on the Bm7b5- typo. it's also commonly changed to a B7#5 as a leading chord to Em..