Now the Major pentatonic scale. Again, quite simply, play the Major pentatonic scale that shares the same root note as the Major root note of the key you are soloing in. This is exactly the same scale as the minor pentatonic scale sharing the same relative minor key note but, as discussed in previous parts, it’s the root note that you resolve to that creates the Major pentatonic or minor pentatonic effect. Always remember that!

The Major pentatonic scale is favoured by Country musicians.

Now we’ll look at the minor and Major Hexatonic scales. These are used in much the same manner as the minor and Major pentatonic scales. Use the minor hexatonic scale sharing the same root note as the minor root note of the key you are working with. This is common in Rock. Check out the main solo of Led Zeppelin’s epic Stairway to Heaven and notice the F note used to great effect, the F is the note added to the A minor pentatonic scale that turns it into A minor hexatonic.

The Major hexatonic scale is popular in Country music in a similar context as the Major pentatonic scale. Play the Major hexatonic scale with the same root note as the Major root note of the key.

As with the pentatonic scales, the minor and Major hexatonic scales are identical if used in the same key, but the application and subsequent effect is relative to their relationships with the key (Major or minor).

The hexatonic scales are slightly more "colourful" than the pentatonic scales. The hexatonic scales are not Blues scales.

The 7 Pure modes are next on the list to utilise. These are IONIAN, DORIAN, PHRYGIAN, LYDIAN, MIXOLYDIAN, AEOLIAN and LOCRIAN.

We’ll discuss each mode individually.

The IONIAN mode or Major scale. This mode can be used over a key sharing the same root note as the mode to produce a melodic or country sound. However, to exploit the sound of the mode more use it over any of the following chords: 5, Major, Maj.6, Maj.7, Maj.9, Maj.13, Maj.6/9 or Maj.7/6.

The Ionian mode and the chord need to share the same root note . This means you can change key mid-solo should the chord progression allow it.

i.e. Chord Progression:

The Dorian mode can be used over a key sharing the same minor root note as the mode being used. i.e. key of solo section is A minor - A Dorian can be used.

You can also play chordally, as discussed above with the Ionian mode relative to the chord being played. Some of the chords that can be improvised over with the same root note as the mode are: 5, minor, min.6, min.7, min.6/9, min.9, min.11, min.13, min.7sus, 7, 9, 11, 13, 7#9, or starting on the root note, 4th tone, 5th tone or 7th tones of 7sus4 chords. (i.e. C7sus4 = C F G Bb, therefore C Dorian (root note), F Dorian (4th tone), G Dorian (5th tone) or Bb Dorian (7th tone) could be used over this chord).

Of course, you could combine the key concept (i.e. key of G minor, use G Dorian) and the chordal theory in one solo, dependant upon the chord progression.

The Phrygian mode, a minor mode like the Dorian mode, can be used in a key context (key with the same minor root note as the mode) or chordally, or a combination of the two. Chordally the Phrygian mode can be used over these chords, among others, with the same root note as the mode: 5, minor, min.7, min.7b9.

Here is an example of combining the two concepts:

The Mixolydian mode is a Major mode and, as it’s built on the 5th (dominant) degree of the Major scale, it’s the mode with the same characteristics as Dominant chords. Very widely used for a Jazz/Blues sound. As in the examples demonstrated with the other pure modes, the Mixolydian mode can be used in a key or chordal context, or a combination of the two. The key must share the same root note as the Mixolydian mode to be used. The chords that can be improvised over with the Mixolydian mode in a chordal context are simple Dominant chords such as 7, 9, 11 or 13 with the same root note as the mode.

The Aeolian mode, or Natural minor scale, is constructed on the relative minor to the Major scale and, as such, is the strongest of the minor modes. The Aeolian mode is used in the same way as the minor pentatonic or minor hexatonic scales (key sharing the same minor root note as the mode) and is the most commonly used of all pure modes. You can play every mode in existence and then some, but it’s always nice to come back to this old gem. It is also a very attractive mode to appeal to the listener’s senses after bombarding them with "outside" sounds created by many of the other modes. The chordal application of this mode is simple. Play over any of the following chords with the same root note as your mode: 5, minor, min.6, min.7, min.9, min.11, min.13, min.add9 or min.7add11 to name a few.

Now the last of the pure modes, the Locrian mode. This mode is easier to grasp and apply when thought of in a chordal context only. Play the Locrian mode sharing the same root note as any min.7b5 (half-diminished) chord or (this is where all you should have learnt will be useful) any minor, min.6, min.7, min.9, min.11 or min.13 chord which has a root note a minor third above the root note of the Locrian mode to be played. The following chart shows all 12 notes and the note a minor third above each of them:

Now for some more exotic sounds. This is in no way a comprehensive coverage of the exotic modes, but a good range of them nevertheless.

Firstly, let’s look at each of the more exotic modes that were covered in the Altered modes lesson.

The Harmonic minor scale - all fans of Yngwie Malmsteen will be familiar with this one. This mode is so powerful when compared with the Natural minor scale (Aeolian mode) because of it’s #7, the final note before resolving to the root note. The #7 is a tone and a half above the previous note in the scale. The combination of the wide interval between the last two tones and the semi-tone interval from the last tone to the root note serve to create a very dark and evocative tension, capturing the listener’s attention as the sound teeters on the brink of resolution to the root. Another reason this is such a stand-out mode is it’s ability to create a feel with or without a complimentary backing. Play the mode on it’s own and immediately you can sense it’s characteristics, particularly if you pause on the #7th before hitting the root note.

The Harmonic minor mode is also very easy to use. The easiest way is to play it over any minor triad with the same root note as the scale. i.e. C minor - play C Harmonic minor. In this manner, you can slip effortlessley between the Natural and Harmonic minors. Be careful not to overdo the Harmonic minor as it’s effect can be quickly spoilt with over use. Ever wondered what to play over a min.(Maj.7) chord? The Harmonic minor is your scale, start the scale on the root note of the chord and you’ve got it. The Melodic minor scale can also be played over any min.(Maj.7) chord with the same root note as the scale.

Remember the concept of Melodic minor and Jazz minor as discussed in the Altered modes lesson? From an improvisation viewpoint, the Jazz minor (which we will refer to herein as the Melodic minor scale) is the one to go for. The Melodic minor scale comes in handy for a stack of other chords besides the min.(Maj.7). For starters, minor triads and min.6 chords with the same root note as the scale. Also, any dominant 7, 9, 11, 13, 7#5, 7b5, 7#9, 7b9, 7#5#9, 7b5b9, 7#9#11, 7b9#11 chords with a root note one semi-tone lower than the root of the Melodic minor scale. Also, with the same principle for diminished triads, the root note of the triad must be one semi-tone lower than the root of the scale. You can also root the Melodic minor scale a perfect fifth above the root notes of dominant 7, 9, 11, 13, 9#11 and 13#11 chords for a great effect.

Now the Lydianb7 mode. This mode takes the inherent nature of the scale tone it is built on in it’s natural form (the Lydian mode), the 4th tone (sub-dominant) but mixes with the dominant tone by way of the b7 giving it a strange bluesy edge that’s somewhat unexpected initially. So, therefore, it stands to reason that this scale would fit well over dominant chords. It does fit well over dominant chords, in particular dominant 7, 9, 11, 13, 7#9, 7#11, 9#11, 13#11 chords with the same root note as the mode.

The effects described for each mode can only be achieved when palying over a complimentary backing, don’t blame me if you can’t get the sounds described.

The Dorianb2 mode. In my opinion this mode really isn’t very useful. It works O.K. over minor triads with the root note of the mode, but it doesn’t have a very powerful hook. The b2 component is very much a throw away note that can be easily incorporated into any Dorian licks for a change of style, but not much would come of it.

Moving right along to the Phrygian Dominant or Phrygian #3 mode. A remarkable mode with an interval of a semi-tone between tones 1 and 2, followed by a huge interval of a tone and a half (3 semi-tones) to the next scale tone, then another small interval of a semi-tone to the fourth scale tone. This interval sequence occurs because the Phrygian Dominant mode is actually directly relative to the Harmonic minor mode. A mode within an altered mode so to speak. If you were to start the Harmonic minor mode from it’s 5th tone and play an octave to the 5th tone again you would also have played the Phrygian Dominant mode of the same note. Also, as a result of this relationship, the Phrygian Dominant mode creates 7b9 and b13 effects. So the Phrygian Dominant mode is best suited to Domiant 7, 7b9 and 7b13 chords built on the same root note as the mode.

So those are just a few of the more exotic modes and their applications, there are countless other modes and applications but we can address them later. Your grasp of the theory should be great enough by now, if you’ve kept up, for you to develop your own theories and ideas anyway. If you have kept up but still don’t believe you are capable of developing these things, the next section will definitely give you that grasp.

The following is, I believe, the most important knowledge you need to fully grasp modes and put any mode you wish to use effectively. The concept involves selecting a scale (either an existing scale or one you’ve concocted) and harmonizing that scale to see exactly which chords are produced from the notes within the scale. Just as in the Chord/Key Relationships lesson - Method 2 of determining chords within a key. You’ll then need the Chord Construction lesson to be able to put names to the chords you build from the scale. If you then play those chords, the mode has no choice but to work because the chords are built purely from the notes you are playing, really there can be no such thing as a wrong note when using this concept correctly.

Let’s try an existing scale we’ve not yet covered to explain the theory of harmonizing modes.

The Whole tone scale. As it’s name implies, the whole tone scale is built only with intervals of a tone. Start from any note and step up a tone at a time until you reach the octave of the chosen root note. This is a six note scale (seven if you include the octave).

i.e.C Whole tone scale:

                                       C     D     E       F#      G#      A#     C

|_____| |___| |_____| |_____| |_____| |_____|

Write out the scale and harmonize it with the notes of the scale only (you can construct triads or four-note chords). In the following example I’ve used four-note chords for the whole scale except for the root. This is due to it being a six note scale.

(Simply "stack" the notes on lines or spaces depending on the note each chord is built on. If the root is on the line use the notes on the lines above it until you reach the octave of the root note. If the root note is in a space use the notes in the spaces above it until you reach the octave of the root. It isn’t necessary to write in the octave of the root note.) In the above example (because it’s a six note scale) the C can be thought of as B# to allow enough notes to complete some of the chords.

If we re-write the harmonized scale with B# in place of C in the chords built on the 3rd and 5th tones this will make the chords easier to name.

You will need the Chord Construction lesson of Part 3 to determine the names of each of these chords:

You can also harmonize into triads to make the chords simpler to work out, then add on a fourth note if desired from one of the scale tones and name it accordingly. This can also make it easier to use more of the chords you construct in a practical capacity.

i.e C whole tone scale harmonized in triads:

                                            C+      D+    E+  F#(b5) G#(b5) A# dim.    

(N.B. The C is represented as B# in the E+ and G#b5 chords).

So now you can use the whole tone scale confidently over those chords. Because you’re using the scale tones to build the chords you can’t go wrong. If you had to transpose the chords they would change relative to the change in the root note of the scale. For instance, if you wanted to play the Eb whole tone scale - the Eb scale is 3 semi-tones above C, so each chord also moves up 3 semi-tones.

Now, let’s say you’ve got a scale you like the sound of but you don’t know what it’s called or how to use it. You could also have a scale you’ve made up yourself and just don’t know how to use it. All you need to do is harmonize the scale and you’ve got an instant rhythm part to best showcase the sound of the scale.

There is only one rule when constructing your own scale. I can hear some of you saying, "But there’s no rules when you’re making up your own thing!" I hate to say it, but if you want to be able to harmonize your scale and, subsequently, use it to it’s full potential, you need to follow one rule. You can’t have two notes of the same letter, even if one is sharp or flat and the other is natural, i.e. F# and F in the same scale makes it impossible to work out the chords. If you have an F# and an F natural in the same scale which one do you use in the harmonizing process? Try it and you’ll see where I’m coming from. If you wanted F# and F natural in the same scale you would have to call the F# a Gb, now you have the same sound but two notes with discernable roles within the scale. However, once you’ve included Gb in the scale you can’t use G natural for the same reasons as just covered. Make sense?

So let’s make up a scale.

Let’s call this the "C Whacked out" mode, play it and you’ll see how applicable the name is.

Now to harmonize the mode, firstly in triads:

Killer chords!

You could harmonize to four-note chords but working out the chord names would be even more difficult than the last effort.

So we can play the C Whacked out mode over a complimentary backing. The scale may sound weird, as will the chords, but there is a difference between those sounds and the sounds of playing completely wrong notes. The C Whacked out mode is suited perfectly to it’s harmonized chords, playing them together may sound weird, but it’s totally correct and the two parts put together captures the sound of the mode perfectly.

Harmonizing modes is useful for creativity. You may have a scale you think has a certain mood about it and it’s very powerful. Can you imagine a melody constructed with that scale played over a chord progression constructed from chords that take their notes directly from the scale tones. The resultant sound would be a huge extension of the original mood of the scale - perfect use of the scale you could say. This sort of concept is extremely useful for film score styled music. Those incidental pieces of music that are played in movies. Like when someone’s carrying an ice pick and a rubber hose and they creep into the star’s bedroom in the dead of night (in the middle of a thunderstorm too). There are an unlimited amount of scenarios and there’s a scale somewhere that, used over the correct backing, would serve best to compound the effect of the situation.

Of course, you can also harmonize existing modes that you would like to use in a different way to the methods explained in this lesson. Harmonizing will also extend your grasp and understanding of the modes.

All the "rules" and "chords that work" I’ve talked about are but a few of the possibilities. There are also a colossal amount of scales I’ve not even touched on yet. The best advice I can give you is, if you see a scale/mode you’re not familiar with harmonize it. This way you’ll be assured of at least some of the chords the scale is best suited to. The more you do this the more you’ll develop your own concepts and rules when it comes to modes. You may be surprised at the theories you develop yourself, and there is no better method of remembering theories than to work out your own (provided they are correct, of course).

Well, that’s the end of the sixth and final part to "Unravelling the Mystery of Modes". I hope you learnt something and wish you all the best in your playing. Hopefully you’ll have plenty of ideas to draw on in the future.

Shane Bailey.