The Modes of the Major Scale
The major scale that you play has 7 different notes and that is something to know when you start to learn, The Modes of the Major Scale.
The Ionian Mode
Also known as the major scale, the Ionian mode is of course a major sounding scale. This is because of the major third.
The formula is 1, 2, 3, 4, 5, 6, 7, before starting over with the root note 8 an octave higher than the root note.
How to Construct the Major Scale
Use 1/2 steps and whole steps to build or construct the major scale. A 1/2 step on guitar is only 1 fret. A whole step is two frets.
The major scale starts with two whole steps. So from the third fret sixth string go to the fifth fret for the first whole step. The next whole step will lead from the fifth fret to the seventh fret.
Next is the first 1/2 step. From there play three more whole steps. Finally finish with a 1/2 step landing exactly 12 frets higher than the third fret, ending on the 15th fret.
W-W-1/2-W-W-W-1/2
Use the Major Scale formula to compare the rest of the modes of the major scale to
This is the scale that all chords, scales, and arpeggios will be compared.
For example, a simple minor triad is spelled 1, b3, and 5. When compared to this major scale formula in the key of G, you must know the G major scale which is G, A, B, C, D, E, F#, G.
Then take the minor triad formula and adjust it for a G minor triad. This becomes G, Bb, D, instead of G, B, D which is a major triad.
Another example is the G augmented triad and G diminished triad. Take the major scale formula and adjust these new triads compared to the major scale.
G augmented equals 1, 3, #5. Compared to the G major scale this is, G, B, D#, instead of G, B, D.
G diminished equals 1, b3, b5. Compared to the G major scale this becomes G, Bb, Db, instead of G, B, D.
The same idea will follow for the other mode formulas, just adjust the formula for each new mode.
For the modes to follow, we will compare them to this G major scale using a G root for each new mode. It will be a parallel view of the modes for example G major to G Dorian, G major to G Phrygian, etc.
Chords that you may play
The following are a few examples of chord choices.
Some important notes about these chords. As a guitarist, we do not have to play all the notes of these formulas. The important tones are the 3rds and 7ths.
The third tells you if your chord is minor or major. The seventh can tell you if you are playing a major seventh or dominant seventh.
You can add the root note. You can easily add a 9th, 11th, or 13th. If you add these notes, keep the seventh, but drop the 5th of the chord, unless it is altered.
The fifth is one of the first to go when making room for the extended chord tones. The next note to go could be the root, since the bassist may imply the root sound.
My example for playing the 13th chord is root note G if in the key of G. F# for the major seventh. B for the major third. Finally, play E for our 13th.
Notice you can leave out the ninth and eleventh, and no fifth in the chord.
Use the first finger for the G, second finger for F#, third finger for B, and fourth finger for the E.
Mute string 5 with the first finger laying on it and the first string with your fourth finger doing the same. This way you can strike all 6 strings and only the fretted notes will sound.
Dorian Mode
The formula for this mode is, 1, 2, b3, 4, 5, 6, and b7. The notes for G Dorian, when compared to G major, are G, A, Bb, C, D, E, and F. Please note that the b7 is not necessarily flat, just lowered by a half step. This mode is considered a minor sounding scale due to the b3, or minor third.
Scale construction: W-1/2-W-W-W-1/2-W
Chords that you may play
The following are a few examples of chord choices.
Phrygian Mode
The formula for this mode is 1, b2, b3, 4, 5, b6, and b7. The notes for G Phrygian, when compared to G major, are G, Ab, Bb, C, D, Eb, and F. This mode is considered a minor sounding scale due to the b3, or minor third.
Scale construction: 1/2-W-W-W-1/2-W-W
Chords that you may play
The following are a few examples of chord choices.
Lydian Mode
The formula for this mode is 1, 2, 3, #4, 5, 6, and 7. The notes for G Lydian, when compared to G major, are G, A, B, C#, D, E, and F#. (Notice we keep the F# from G major since F# is the major seventh from the G major scale). This mode is a major sounding scale due to it having a major third.
Scale construction: W-W-W-1/2-W-W–1/2
Chords that you may play
The following are a few examples of chord choices.
Mixolydian Mode
The formula for this mode is 1, 2, 3, 4, 5, 6, and b7. The notes for G Mixolydian, when compared to G major, are G, A, B, C, D, E, and F. (Notice this mode is the same formula as G major with the exception of the seventh lowered a half step to F instead of F# from the G major scale). This mode is a major sounding scale due to it having a major third.
Scale construction: W-W-1/2-W-W-1/2-W
Chords that you may play
The following are a few examples of chord choices.
Aeolian Mode
The formula for this mode is 1, 2, b3, 4, 5, b6, and b7. The notes for G Aeolian, when compared to G major, are G, A, Bb, C, D, Eb, and F. This mode is considered a minor sounding scale due to the b3, or minor third.
Scale construction: W-1/2-W-W-1/2-W-W
Chords that you may play
The following are a few examples of chord choices.
Locrian Mode
The formula for this mode is 1, b2, b3, 4, b5, b6, and b7. The notes for G Locrian, when compared to G major, are G, Ab, Bb, C, Db, Eb, and F. This mode is considered a minor sounding scale due to the b3, or minor third.
Notice this mode has the most altercations with the exception of the 1 and 4. It also has the b5 in it known as the flat five or tritone.
This divides the octave from G to G evenly. The tritone has been referred to as the devil’s interval.
To hear this play any G to Db on your instrument and you will hear why it might be considered by this name.
Scale construction: 1/2-W-W-1/2-W-W-W
Chords that you may play
The following are a few examples of chord choices.
My chord choice is the m7b5. This is built from the scale’s root. If G Locrian is the scale, you would play Gm7b5.
In Closing
We have covered a lot of material here. If this is new to you, don’t worry, let it soak in after some time. Just keep coming back to it. Absorb what you can little by little.
As always, have fun practicing, and see you next time!