CHAPTER 5
ALTERED MODES

The modes we studied in Chapter 4 were Pure Modes, meaning theywere derived wholly from the notes within the Major scale. Altered Modes,by comparison, are based on these same Pure modes but have undergone eitherchanges to, or omissions of, some of the notes within those modes. Forthe most part it is necessary to have a good understanding of Pure modesbefore tackling Altered modes. The first examples we’ll look at are modes that are altered by omittingcertain notes of the pure mode from which they are derivatives. The first of these are Major and minor pentatonic scales.Mostguitarists will be familiar with at least one of these scales but theyare of equal importance to all musicians. The Major pentatonic scale is derived from the Major scaleor Ionian mode. Simply take the Major scale and omit it’s4thand 7th tones. i.e. C Major scale (All scales in regular notation and tab are shown over two octaves).

Omit the 4th and 7th tones of the above scale to produce C Majorpentatonic:

This scale could also be referred to as the C Ionian pentatonic mode,depending on how up yourself you are. This scale is common to Countrymusic.

The minor pentatonic scale is derived from the Natural minorscale or Aeolian

mode. Simply omit the 2nd and 6th tones from theNaturalminor scale.

For instance, G natural minor is:

Omit the 2nd and 6th tones to produce G minor pentatonic:

This G minor pentatonic scale or G Aeolian pentatonic mode,call it whichever you wish, is used extensively, particularly in Rock,Pop and Blues.

The remaining 5 Pure modes can also be made pentatonic. i.e.Dorian,Phrygian, Lydian, Mixolydian and Locrian.

However, the Lydian pentatonic is the most popular of these scales.This is produced by removing the 2nd and 5th tones of the Lydianmode.

For instance, the A Lydian mode is:

A Lydian pentatonic is:

This scale is often used in Jazz for a free floating, non-obtrusivefeel excellent for creating a pleasant non-resolving effect.

Two other Altered modes produced by omitting notes that are also popularare the Major hexatonic and minor hexatonic scales. Theseare used in much the same way as the Major and minor pentatonic scalesbut they contain one more note, useful for "colouring" the sound of a soloa little more.

The Major hexatonic scale is produced by omitting the 7thtoneof the Major scale (Ionian mode).

i.e. F Major scale is:

Therefore, F Major hexatonic is:

The minor hexatonic scale is produced by omitting the 2ndtone of the natural minor scale (Aeolian mode).

i.e. C natural minor scale:

Therefore, the C minor hexatonic scale is:

Now onto Altered modes produced by altering notes withina Pure mode.

The most popular of these altered modes within contemporary music is,without a doubt, the Blues scale. This scale is produced by alteringthe Major scale (Ionian mode) using a simple formula.

The formula used is:

Take a Major scale, let’s say the B Major scale:

Apply the fomula to the scale and you have the B Blues scale:

An interesting footnote to this scale is that if you remove the #4note from the Blues scale it will be identical to the minor pentatonicscale sharing the same root note.

Another widely used Altered mode produced by altering notes is the Harmonicminor scale. This scale is the first minor scale taught in classicaltheory, the natural minor scale in only introduced in later studies.I’m yet to hear a satisfactory explanation as to why this is so, but that’sa whole other subject.

So, to the Harmonic minor scale. It is produced by raising thepitch of the 7th tone of the natural minor scale (Aeolian mode)byone semi-tone.

For instance, the A natural minor scale is:

Sharpen the 7th tone (G) by one semi-toneand you have the A Harmonic minor scale:

This scale is prevalent in Classical music and is also the cornerstoneof Yngwie Malmsteen’s unmistakeable "neo-classical" style.

Another mode closely associated with the Harmonic minor scaleis the Melodic minor scale. A curiosity of this scale is that itascendswith the altered tones as dictated by it’sformula, yet it descends with the notes of the natural minorscale it’s derived from.

The Melodic minor scale is produced by raising the pitchof the 6th and 7th tones of the Natural minor scale by onesemi-tone when ascending.

For example, the E natural minor scale is:

The ascending E Melodic minor scale is:

Remember, however, to descend without the #6 and #7,i.e. descending E Melodic minor scale:

The scale, used in the manner just described, is of of a classicalnature. The scale can also be used ascending and descending withthe #6 and #7. Used in this way the scale is known as the Jazzminor and is, obviously, used in Jazz. Most often over dominant7, 9, 11, 13, 7#5, 7b5, 7#9, 7b9, 7#5#9, 7b5b9, 7#9#11, 7b9#11 anddiminishedtriads a semi-tone below the root note of the melodic minor scale.
 
 

The Altered modes covered thus far are the more common ones. You mayor may not have realized the possibilities of different modes are endless.To begin with there are seven modes within each major scale, these sevenmodes can then be altered in a myriad of ways by omitting notes and/orsharpening and/or flattening notes. There can also be modes withinaltered modes, just as pure modes are to the major scale.

Just imagine the possibilities. The chances of modes being discoveredthat are not yet named or recognized are still quite high. You can inventyour own modes quite easily, however, it’s one thing to invent your ownmode, it’s another thing to use it successfully. This is not as difficultas it sounds but that will be covered in Chapter 6. That chapter will,hopefully, tie together all the chapters studied thus far (Circle of 5ths- Scale Construction, Chord/Key Relationships, Chord Construction, Puremodes and this chapter).

Next we will look at a few more Altered modes which are alterationsof some of the Pure modes studied in Chapter 4. These modes are interestingin both sound and character and, among other things, can help to stimulateyour creativity should you be in a rut.

Firstly the Lydian b7 mode. This is produced, as it’s name wouldsuggest, simply by flattening the 7th tone of any Lydianmode by one semi-tone.

For instance, the notes of the G Lydian mode are:

Therefore, the notes of the G Lydian b7 mode are:

This mode works well over any dominant 7th or dominant 9thchord. It is also useful over a dominant 13th chord withor without a sharp 11th, that shares the same root note asthe mode.

The next mode we’ll study is the Dorian b2 mode. This mode israrely used but, as mentioned earlier, might be just the thing to sparka flagging creativity. As with the Lydian b7 mode just discussed,the name of the Dorian b2 mode explains it’s formula. Simply flattenthe 2nd tone of any Dorian mode by one semi-tone.

For instance, the notes of F Dorian are:

So the notes of the F Dorian b2 mode are:

The Dorian b2 mode will work for any minor seventh chordwith the same root note as the mode.

The Phrygian #3 mode, often called the Phrygian Dominant mode,is equally simple to construct. As the name of the mode implies, simplysharpenthe 3rd tone of any Phrygian mode by one semi-tone.

For instance, the notes of the C Phrygian mode are: