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Modes

joe satriani

Modes are used for melodic variation in music. They look the same as scales only the root note starts somewhere else.
You can use the modes as an alternative for the scales for your improvising. A lot of famous guitarists like Steve Vai Yngwie Malmsteen and Joe Satriani use modes for there improvisation. In the beginning it looks quite difficult. Just start with the most common modes like the ionian and the aeolian mode. After that practise the more difficult ones like the lydian mode. The mixolydian mode is like the pentatonic scale mostly used in blues.

Check the following tables with the right intervals. C is the root note coloured in blue:

Ionian mode:

This mode has the same intervals like the C major scale.

1 2 3 4 5 6 7 8
C D E F G A B C

-
Rootnote on 6th string

ionian mode

Dorian Mode:

This mode is a minor mode. It differs from the minor scale by adding the sixth note one step higher

1 2 3 4 5 6 7 8
C D Eb F G A Bb C

-
Rootnote on 6th string

dorian mode

Phrygian Mode:

This is a minor mode mostly used in Flamenco

1 2 3 4 5 6 7 8
C Db Eb F G Ab Bb C

-
Rootnote on 6th string

phrygian mode

Lydian Mode:

1 2 3 4 5 6 7 8
C D E F# G A B C

-
Rootnote on 6th string

lydian mode

Mixolydian Mode:

This mode is commonly used in Jazz and Blues

1 2 3 4 5 6 7 8
C D E F G A Bb C

-

mixolydian mode

Aeolian Mode:

This mode has the same interval as the A minor scale

1 2 3 4 5 6 7 8
C D Eb F G Ab Bb C

-

aeolian mode

Locrian Mode:

1 2 3 4 5 6 7 8
C Db Eb F Gb Ab Bb C

-

locrian mode

An easier way to understand the modes with the right intervals is like this:

C D E F G A B C   From C to C Ionian Mode C major Scale

D E F G A B C D   From D to D Dorian Mode

E F G A B C D E   From E to E Phrygian Mode

F G A B C D E F   From F to F Lydian Mode

G A B C D E F G   From G to G Mixolydian Mode

A B C D E F G A   From A To A Aeolian Mode A minor Scale

B C D E F G A B   From B to B Locrian Mode

Written by www.guitarstart.org

Written by admin on December 22nd, 2007 with no comments.
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