Kind of Blue was my first and favorite Miles cd (though the first time I got stoned and heard Nefertiti was just as monumental)
I've been getting back into learning music theory; when I had general training last time at school it was too fast for me, but now at least I can learn it at my own pace.
Synthetic modes sound interesting since the majority of stuff I write is more Minor (though I'll be mixing it up more per song)
Anyway I don't have anything useful to say but good thread:)
Quick questions and answers on modes
-
- KVRist
- Topic Starter
- 70 posts since 24 Jan, 2007
Source: http://www.guitar-dreams.com/guitarless ... wex-1.html
I started this Modes chart using this web page, so I thought it would be good to give you the URL. This way you know I'm not inventing this. I will take the info from this web site a bit further to have each synthetic mode connected to their original mode from the major scale. Your help in simplifying this or adding to it to form a complete chart of modern modes theory would be greatly appreciated.
Legend:
bX = lower the (x)th note of the mode by half step
#X = raise the (x)th note of the mode by half step
w = M2 interval (1 tone)
h = m2 interval (half tone)
+2 = One tone and a half interval or Augmented 2nd interval.
A.MODES OF THE MAJOR SCALE CHART
Modes of the Major scale:
1st mode - Ionian (aka The Major Scale): w w h w w w h
For the next modes, you can find out how to play them by picturing the major scale with the same Tonic and adding the accidentals that are writen after AA (this stands for Added Accidentals). It's very important that you understand that these accidentals need to be added to the Major Scale with the SAME TONIC. So even though the Dorian mode, for example, plays the Major Scale in this order: (2.3.4.5.6.7.1.2), if I say, AA (#3,#7)... it doesn't mean (2.#3.4.5.6.#7.1.2), it means (2.3.#4.5.6.7.#1.2). Basically, I'm writing #X and it means, take the Major Scale with the same tonic, and from this scale, raise the 3rd note of the Mode. (If someone knows how to say this in less words, please help me)
2nd mode - Dorian: w h w w w h w - AA (b3,b7)
3rd mode - Phrygian: h w w w h w w - AA (b2,b3,b6,b7)
4th mode - Lydian: w w w h w w h - AA (#4)
5th mode - Mixolydian: w w h w w h w - AA (b7)
6th mode - Aeolian (aka The Natural Minor Scale): w h w w h w w - AA (b3,b6,b7)
7th mode - Locrian: h w w h w w w - AA (b2,b3,b5,b6,b7)
Now these are the modes, but thanks to the Aeolian mode, aka the natural minor mode, we can make more modes called Synthetic Modes (non-diatonic scales).
"Synthetic modes are modes that are not clearly derived from the major scale. Whereas the seven major modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian) are all based around the major scale and therefore can coincide with each other (i.e. B Locrian, A Aeolian, and D Dorian all coming to be the notes of the C Major Scale), synthetic modes work differently." (quote from Wikipedia)
The Harmonic Minor and Melodic Minor scales are derived from the 6th mode of the Major Scale (Aeolian). Because of this, we can create 14 others modes (modes 1 to 7 of those 2 different scales). Each of these new modes will be from the Melodic Minor (MM) or Harmonic Minor (HM) wich come from a mode in the Major Scale (the 6th mode - Aeolian). And somehow, thanks to this close relationship between the 14 new modes and the modes of the major scale, we can get all of these 14 modes by adding an accidental in the basic 7 modes. So read the following chart naming these 14 new modes (which are Synthetic Modes), and then, at the bottom of these 2 charts, you will see a more simple chart making all of these synthetic modes into simple alterations of the Basic 7 modes. Enjoy!
B.SYNTHETIC MODES CHART:
B.1 Harmonic minor modes:
A word before we look at the modes: As you may already know, the Harmonic Minor scale is the Aeolian mode aka Natural Minor scale with a raised step 7. This was created for harmonic reasons, since tendency tones are very important to tonal music. (Step 7 in the major scale would have a strong tendency to resolve to step 1 (the tonic), making a great progression or cadence. This is one of the things that makes the V - I progression so strong.) Doing this creates an Augmented interval between step 6 and 7 though (a tone and a half). This was seen as a problem to some theorists and this is mostly why they created the Melodic Minor scale. But this is unique and it doesn't have to be a problem. Having this augmented interval in your scales can make them sound exotic, it gives them a unique sound (in my opinion). So using any of the 7 modes from the Harmonic Minor scale will basically result in having a Mode from the major scale altered with one accidental to give it this unique sound.
-1st mode (AKA Aeolian #7): w h w w h +2 h
closely related: the natural minor scale or Aeolian mode (6th mode of the Major Scale)
HM1 = Aeolian intervals: w h w w h w w + raise 7th note = w h w w h +2 h
-2nd mode (AKA Locrian Natural 6 or Locrian #6): h w w h +2 h w
closely related: the Locrian mode (7th mode of the Major Scale)
HM2 = Locrian intervals: h w w h w w w + raise 6th note = h w w h +2 h w
-3rd mode (AKA Harmonic Major or Ionian #5): w w h +2 h w h
closely related: the major scale or the Ionian mode (1st mode of the Major Scale)
HM3 = Ionian intervals: w w h w w w h + raise 5th note = w w h +2 h w h
-4th mode (AKA Harmonic Dorian or Dorian #4): w h +2 h w h w
closely related: the Dorian mode (2nd mode of the Major Scale)
HM4 = Dorian intervals: w h w w w h w + raise 4th note = w h +2 h w h w
A note about this mode: Somehow, this as been know as the Spanish Phrygian mode or Romanian mode, but if you follow the logic going on here, its much less confusing to call it the Harmonic Dorian instead of the Spanish Phrygian.
-5th mode (AKA Phrygian Dominant or Spanish Gypsy or Phrygian #3): h +2 h w h w w
closely related: the Phrygian mode (3rd mode of the Major Scale)
HM5 = Phrygian intervals: h w w w h w w + raise 3rd note = h +2 h w h w w
-6th mode (AKA Lydian #2): +2 h w h w w h
closely related: the Lydian mode (4th mode of the Major Scale)
HM6 = Lydian intervals: w w w h w w h + raise 2nd note = +2 h w h w w h
A note about this mode: You may find that my source for this calls it the Lydian b3, but to me that does not make sens, so I changed it to Lydian #2. The point here is not to name the modes correctly but to understand them easily. (And it could even be a typing mistake)
-7th mode (AKA Harmonic Mixolydian or Mixolydian #1): h w h w w h +2
closely related: the Mixolydian mode (5th mode of the Major Scale)
HM7 = Mixolydian intervals: w w h w w h w + raise 1st note = h w h w w h +2
B.2 Melodic minor modes:
A word before we look at the modes: Well, if you know about the melodic minor scale, you already know that if you play a line, this scale is made to be preferably played on ascending parts (and when on descending parts, you would play the natural minor). The same thing would apply to the 7 modes of melodic minor, and since the natural minor is derived from the major scale (6th mode), you could say that if you are using Melodic Minor Modes, what you could be doing is actually playing Modes on descending parts and Altering them on ascending parts. So you are playing a Mode, but altering it from times to times, and with the following chart, you'll see that mostly all alterations are not random but come from the melodic minor modes. And therefore, if you understand how the melodic minor scale works, you will better understand how to use your accidentals in minor modes.
-1st mode (AKA Dorian #7): w h w w w w h
closely related: the Dorian mode (2nd mode of the Major Scale)
MM1 = Dorian intervals: w h w w w h w + raise 7th note = w h w w w w h
-2nd mode (AKA Dorian b2): h w w w w h w
closely related: the Dorian mode (2nd mode of the Major Scale)
MM2 = Dorian intervals: w h w w w h w + lower 2nd note = h w w w w h w
-3rd mode (AKA Lydian #5): w w w w h w h
closely related: the Lydian mode (4th mode of the Major Scale)
MM3 = Lydian intervals: w w w h w w h + raise 5th note = w w w w h w h
-4th mode (AKA Lydian b7): w w w h w h w
closely related: the Lydian mode (4th mode of the Major Scale)
MM4 = Lydian intervals: w w w h w w h + lower 7th note = w w w h w h w
-5th mode (AKA Mixolydian b6): w w h w h w w
closely related: the Mixolydian mode (5th mode of the Major Scale)
MM5 = Mixolydian intervals: w w h w w h w + lower 6th note = w w h w h w w
-6th mode (AKA Locrian #2): w h w h w w w
closely related: the Locrian mode (7th mode of the Major Scale)
MM6 = Locrian intervals: h w w h w w w + raise 2nd note = w h w h w w w
-7th mode (AKA Super Locrian or Locrian b4): h w h w w w w
closely related: the Locrian mode (7th mode of the Major Scale)
MM7 = Locrian intervals: h w w h w w w + lower 4th note = h w h w w w w
C. SIMPLE CHART - MODES and SYNTHETIC MODES.
Lets look at the 7 modes of the Major Scale:
1. IONIAN
2. DORIAN
3. PHRYGIAN
4. LYDIAN
5. MIXOLYDIAN
6. AEOLIAN
7. LOCRIAN
Now lets see what alterations can be made to these modes...
Each new mode will be a synthetic mode derived from either the Harmonic Minor (HH) or Melodic minor (MM). Remember that you can very well play the modes derived from MM in 2 different ways, depending on if you are playing an ascending or descending passage.
1. IONIAN
1.a Ionian #5 (HM3)
2. DORIAN
2.a Dorian #4 (HM4)
2.b Dorian #7 (MM1)
2.c Dorian b2 (MM2)
3. PHRYGIAN
3.a Phrygian #3 (HM5) aka Phrygian Dominant or Spanish Gypsy
4. LYDIAN
4.a Lydian #2 (HM6)
4.b Lydian #5 (MM3)
4.c Lydian b7 (MM4)
5. MIXOLYDIAN
5.a Mixolydian #1 (HM7)
5.b Mixolydian b6 (MM5)
6. AEOLIAN
6.a Aeolian #7 (HM1)
7. LOCRIAN
7.a Locrian #6 (HM2)
7.b Locrian #2 (MM6)
7.c Locrian b4 (MM7) aka Super Locrian
PS: there is probably a few other ways to name them but I just wanted to point out that the Phrygian Dominant and the Super Locrian have cool names that are easy to remember.
D. Conclusion
I think its important that I mention that there are many other modes out there, in our modern way of treating modes, mode 1 only means that you start on note 1 of a scale, so any exotic scale you can find out there, lets say it's pentatonic (5 notes), then it has 5 modes. But these scales, in my opinion are way enough if you realy want to use modal theory. You will get many different sounds out of these scales, some might be weird or hard to play one, like the locrian modes since they work over a diminished chord. But now by using this chart you have 21 modes clearly derived from our lovely major scale.
This has been writen thanks to lots of inputs from this forum, so thanks to everyone, and also thanks to many sources who helped me understand modes. I realy hope some one you will see a purpose in this because I know I will. If you can add a part of your knowledge on modes to this chart, that would be great, so just let us know, and we can then try to make a more complete chart, to eliminate all this confusion about modes.
Thanks, I'd like to hear what you think of this!
I started this Modes chart using this web page, so I thought it would be good to give you the URL. This way you know I'm not inventing this. I will take the info from this web site a bit further to have each synthetic mode connected to their original mode from the major scale. Your help in simplifying this or adding to it to form a complete chart of modern modes theory would be greatly appreciated.
Legend:
bX = lower the (x)th note of the mode by half step
#X = raise the (x)th note of the mode by half step
w = M2 interval (1 tone)
h = m2 interval (half tone)
+2 = One tone and a half interval or Augmented 2nd interval.
A.MODES OF THE MAJOR SCALE CHART
Modes of the Major scale:
1st mode - Ionian (aka The Major Scale): w w h w w w h
For the next modes, you can find out how to play them by picturing the major scale with the same Tonic and adding the accidentals that are writen after AA (this stands for Added Accidentals). It's very important that you understand that these accidentals need to be added to the Major Scale with the SAME TONIC. So even though the Dorian mode, for example, plays the Major Scale in this order: (2.3.4.5.6.7.1.2), if I say, AA (#3,#7)... it doesn't mean (2.#3.4.5.6.#7.1.2), it means (2.3.#4.5.6.7.#1.2). Basically, I'm writing #X and it means, take the Major Scale with the same tonic, and from this scale, raise the 3rd note of the Mode. (If someone knows how to say this in less words, please help me)
2nd mode - Dorian: w h w w w h w - AA (b3,b7)
3rd mode - Phrygian: h w w w h w w - AA (b2,b3,b6,b7)
4th mode - Lydian: w w w h w w h - AA (#4)
5th mode - Mixolydian: w w h w w h w - AA (b7)
6th mode - Aeolian (aka The Natural Minor Scale): w h w w h w w - AA (b3,b6,b7)
7th mode - Locrian: h w w h w w w - AA (b2,b3,b5,b6,b7)
Now these are the modes, but thanks to the Aeolian mode, aka the natural minor mode, we can make more modes called Synthetic Modes (non-diatonic scales).
"Synthetic modes are modes that are not clearly derived from the major scale. Whereas the seven major modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian) are all based around the major scale and therefore can coincide with each other (i.e. B Locrian, A Aeolian, and D Dorian all coming to be the notes of the C Major Scale), synthetic modes work differently." (quote from Wikipedia)
The Harmonic Minor and Melodic Minor scales are derived from the 6th mode of the Major Scale (Aeolian). Because of this, we can create 14 others modes (modes 1 to 7 of those 2 different scales). Each of these new modes will be from the Melodic Minor (MM) or Harmonic Minor (HM) wich come from a mode in the Major Scale (the 6th mode - Aeolian). And somehow, thanks to this close relationship between the 14 new modes and the modes of the major scale, we can get all of these 14 modes by adding an accidental in the basic 7 modes. So read the following chart naming these 14 new modes (which are Synthetic Modes), and then, at the bottom of these 2 charts, you will see a more simple chart making all of these synthetic modes into simple alterations of the Basic 7 modes. Enjoy!
B.SYNTHETIC MODES CHART:
B.1 Harmonic minor modes:
A word before we look at the modes: As you may already know, the Harmonic Minor scale is the Aeolian mode aka Natural Minor scale with a raised step 7. This was created for harmonic reasons, since tendency tones are very important to tonal music. (Step 7 in the major scale would have a strong tendency to resolve to step 1 (the tonic), making a great progression or cadence. This is one of the things that makes the V - I progression so strong.) Doing this creates an Augmented interval between step 6 and 7 though (a tone and a half). This was seen as a problem to some theorists and this is mostly why they created the Melodic Minor scale. But this is unique and it doesn't have to be a problem. Having this augmented interval in your scales can make them sound exotic, it gives them a unique sound (in my opinion). So using any of the 7 modes from the Harmonic Minor scale will basically result in having a Mode from the major scale altered with one accidental to give it this unique sound.
-1st mode (AKA Aeolian #7): w h w w h +2 h
closely related: the natural minor scale or Aeolian mode (6th mode of the Major Scale)
HM1 = Aeolian intervals: w h w w h w w + raise 7th note = w h w w h +2 h
-2nd mode (AKA Locrian Natural 6 or Locrian #6): h w w h +2 h w
closely related: the Locrian mode (7th mode of the Major Scale)
HM2 = Locrian intervals: h w w h w w w + raise 6th note = h w w h +2 h w
-3rd mode (AKA Harmonic Major or Ionian #5): w w h +2 h w h
closely related: the major scale or the Ionian mode (1st mode of the Major Scale)
HM3 = Ionian intervals: w w h w w w h + raise 5th note = w w h +2 h w h
-4th mode (AKA Harmonic Dorian or Dorian #4): w h +2 h w h w
closely related: the Dorian mode (2nd mode of the Major Scale)
HM4 = Dorian intervals: w h w w w h w + raise 4th note = w h +2 h w h w
A note about this mode: Somehow, this as been know as the Spanish Phrygian mode or Romanian mode, but if you follow the logic going on here, its much less confusing to call it the Harmonic Dorian instead of the Spanish Phrygian.
-5th mode (AKA Phrygian Dominant or Spanish Gypsy or Phrygian #3): h +2 h w h w w
closely related: the Phrygian mode (3rd mode of the Major Scale)
HM5 = Phrygian intervals: h w w w h w w + raise 3rd note = h +2 h w h w w
-6th mode (AKA Lydian #2): +2 h w h w w h
closely related: the Lydian mode (4th mode of the Major Scale)
HM6 = Lydian intervals: w w w h w w h + raise 2nd note = +2 h w h w w h
A note about this mode: You may find that my source for this calls it the Lydian b3, but to me that does not make sens, so I changed it to Lydian #2. The point here is not to name the modes correctly but to understand them easily. (And it could even be a typing mistake)
-7th mode (AKA Harmonic Mixolydian or Mixolydian #1): h w h w w h +2
closely related: the Mixolydian mode (5th mode of the Major Scale)
HM7 = Mixolydian intervals: w w h w w h w + raise 1st note = h w h w w h +2
B.2 Melodic minor modes:
A word before we look at the modes: Well, if you know about the melodic minor scale, you already know that if you play a line, this scale is made to be preferably played on ascending parts (and when on descending parts, you would play the natural minor). The same thing would apply to the 7 modes of melodic minor, and since the natural minor is derived from the major scale (6th mode), you could say that if you are using Melodic Minor Modes, what you could be doing is actually playing Modes on descending parts and Altering them on ascending parts. So you are playing a Mode, but altering it from times to times, and with the following chart, you'll see that mostly all alterations are not random but come from the melodic minor modes. And therefore, if you understand how the melodic minor scale works, you will better understand how to use your accidentals in minor modes.
-1st mode (AKA Dorian #7): w h w w w w h
closely related: the Dorian mode (2nd mode of the Major Scale)
MM1 = Dorian intervals: w h w w w h w + raise 7th note = w h w w w w h
-2nd mode (AKA Dorian b2): h w w w w h w
closely related: the Dorian mode (2nd mode of the Major Scale)
MM2 = Dorian intervals: w h w w w h w + lower 2nd note = h w w w w h w
-3rd mode (AKA Lydian #5): w w w w h w h
closely related: the Lydian mode (4th mode of the Major Scale)
MM3 = Lydian intervals: w w w h w w h + raise 5th note = w w w w h w h
-4th mode (AKA Lydian b7): w w w h w h w
closely related: the Lydian mode (4th mode of the Major Scale)
MM4 = Lydian intervals: w w w h w w h + lower 7th note = w w w h w h w
-5th mode (AKA Mixolydian b6): w w h w h w w
closely related: the Mixolydian mode (5th mode of the Major Scale)
MM5 = Mixolydian intervals: w w h w w h w + lower 6th note = w w h w h w w
-6th mode (AKA Locrian #2): w h w h w w w
closely related: the Locrian mode (7th mode of the Major Scale)
MM6 = Locrian intervals: h w w h w w w + raise 2nd note = w h w h w w w
-7th mode (AKA Super Locrian or Locrian b4): h w h w w w w
closely related: the Locrian mode (7th mode of the Major Scale)
MM7 = Locrian intervals: h w w h w w w + lower 4th note = h w h w w w w
C. SIMPLE CHART - MODES and SYNTHETIC MODES.
Lets look at the 7 modes of the Major Scale:
1. IONIAN
2. DORIAN
3. PHRYGIAN
4. LYDIAN
5. MIXOLYDIAN
6. AEOLIAN
7. LOCRIAN
Now lets see what alterations can be made to these modes...
Each new mode will be a synthetic mode derived from either the Harmonic Minor (HH) or Melodic minor (MM). Remember that you can very well play the modes derived from MM in 2 different ways, depending on if you are playing an ascending or descending passage.
1. IONIAN
1.a Ionian #5 (HM3)
2. DORIAN
2.a Dorian #4 (HM4)
2.b Dorian #7 (MM1)
2.c Dorian b2 (MM2)
3. PHRYGIAN
3.a Phrygian #3 (HM5) aka Phrygian Dominant or Spanish Gypsy
4. LYDIAN
4.a Lydian #2 (HM6)
4.b Lydian #5 (MM3)
4.c Lydian b7 (MM4)
5. MIXOLYDIAN
5.a Mixolydian #1 (HM7)
5.b Mixolydian b6 (MM5)
6. AEOLIAN
6.a Aeolian #7 (HM1)
7. LOCRIAN
7.a Locrian #6 (HM2)
7.b Locrian #2 (MM6)
7.c Locrian b4 (MM7) aka Super Locrian
PS: there is probably a few other ways to name them but I just wanted to point out that the Phrygian Dominant and the Super Locrian have cool names that are easy to remember.
D. Conclusion
I think its important that I mention that there are many other modes out there, in our modern way of treating modes, mode 1 only means that you start on note 1 of a scale, so any exotic scale you can find out there, lets say it's pentatonic (5 notes), then it has 5 modes. But these scales, in my opinion are way enough if you realy want to use modal theory. You will get many different sounds out of these scales, some might be weird or hard to play one, like the locrian modes since they work over a diminished chord. But now by using this chart you have 21 modes clearly derived from our lovely major scale.
This has been writen thanks to lots of inputs from this forum, so thanks to everyone, and also thanks to many sources who helped me understand modes. I realy hope some one you will see a purpose in this because I know I will. If you can add a part of your knowledge on modes to this chart, that would be great, so just let us know, and we can then try to make a more complete chart, to eliminate all this confusion about modes.
Thanks, I'd like to hear what you think of this!
-
- KVRist
- Topic Starter
- 70 posts since 24 Jan, 2007
Something worth adding:
How do you know which one of the 7 Major Modes you are playing?
Well, in theory, it would depend on what chord you are playing, or what chord your progression resolves to (see theory on chords progression and modes). But what if you aren't playing chords and you don't want to... Someone on this forum said (and it makes a lot of sens), try to have the start, end, or both start and end of your melodies play on note 1 of the the mode, or close to it. Getting away from that center to develope the melodie but coming back to it in the end.
One of the most simple example of this I can make out (something I found out analysing a Psy Trance song). Lets say your are making trance and through-out the whole song you have one note being played by the bass (you could see this on an offbeat bass). Well lets say you want the 3rd mode (Phrygian), use the C major scale and have the bass pound on E (the 3rd note of the C Major Scale). This will give you melodies in E Phrygian since chances are the melodie will revolve around the bass.
Same thing for Dorian, play the C major scale, Every offbeat, put a bass note on D (2nd note of the C major scale), build your melody around that bass note and you will get D Dorian.
Hope this tip helps.
How do you know which one of the 7 Major Modes you are playing?
Well, in theory, it would depend on what chord you are playing, or what chord your progression resolves to (see theory on chords progression and modes). But what if you aren't playing chords and you don't want to... Someone on this forum said (and it makes a lot of sens), try to have the start, end, or both start and end of your melodies play on note 1 of the the mode, or close to it. Getting away from that center to develope the melodie but coming back to it in the end.
One of the most simple example of this I can make out (something I found out analysing a Psy Trance song). Lets say your are making trance and through-out the whole song you have one note being played by the bass (you could see this on an offbeat bass). Well lets say you want the 3rd mode (Phrygian), use the C major scale and have the bass pound on E (the 3rd note of the C Major Scale). This will give you melodies in E Phrygian since chances are the melodie will revolve around the bass.
Same thing for Dorian, play the C major scale, Every offbeat, put a bass note on D (2nd note of the C major scale), build your melody around that bass note and you will get D Dorian.
Hope this tip helps.