Guitar Modes
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A melodic scale is a progression of notes a particular order.
The idea of "mode" in Western music theory has three progressive stages: in Gregorian chant theory, in Renaissance polyphonic theory, and in apparent symphonious music of the common practice period. In each of the three settings, "mode" joins the possibility of the diatonic scale, however contrasts from it by additionally including a component of song type. This means that repertories of short melodic figures or gatherings of tones inside a specific scale, so that, contingent upon the perspective, mode assumes the significance of one or the other a "particularized scale" or a "generalized tune". Present day musicological practice has stretched out the idea of mode to prior melodic frameworks, like those of Ancient Greek music, Jewish cantillation, and the Byzantine arrangement of octoechoi (the eight mode system), just as to other non-Western sorts of music.
By the mid nineteenth century, "mode" had taken on an extra significance, regarding the distinction among major and minor keys, indicated as "major mode" and "minor mode". Simultaneously, arrangers were starting to consider "modality" as something outside of the major/minor framework that could be utilized to summon religous sentiments or to propose folk music figures.
Major and minor intervals on C.
Modes for Chords - Chords for Modes
How do we go about applying a mode to a set of chords, or alternatively, how do we apply a chords to a given mode?
Chords are made up from the root note, the third and the fifth of a scale - this is a triad. A major triad is made up of the root, major third and the perfect fifth. A minor chord is made up of the root, the minor third and the perfect fifth. Within the first octave of the scale, if we take root, third, fifth and the seventh, we get the 'proper' quality of the chord by adding the minor or major seventh note.
Taken from Wikipedia, this shows modes and highlights the notes within each mode, based on the C Ionian mode, the first degree of the C major scale:-
The first three modes are sometimes called major, the next three minor, and the last one diminished (Locrian), according to the quality of their tonic triads. The Locrian mode is traditionally considered theoretical rather than practical because the triad built on the first scale degree is diminished. Because diminished triads are not consonant they do not lend themselves to cadential endings and cannot be tonicized according to traditional practice.
- The Ionian mode corresponds to the major scale. Scales in the Lydian mode are major scales with an augmented fourth. The Mixolydian mode corresponds to the major scale with a minor seventh.
- The Aeolian mode is identical to the natural minor scale. The Dorian mode corresponds to the natural minor scale with a major sixth. The Phrygian mode corresponds to the natural minor scale with a minor second.
- The Locrian is neither a major nor a minor mode because, although its third scale degree is minor, the fifth degree is diminished instead of perfect. For this reason it is sometimes called a "diminished" scale, though in jazz theory this term is also applied to the octatonic scale. This interval is enharmonically equivalent to the augmented fourth found between scale-degrees 1 and 4 in the Lydian mode and is also referred to as the tritone.
From the above chart you may be able to deduce that all the notes from the C major scale are in the associated mode, starting on the 'white note' (this is taken from the piano keyboard). For example, the F Lydian mode contains all the notes from the first degree of the C major scale - the Ionian mode.
So let's have a quick look to see how we make a chord from the above chart. Let us take a look at the G Mixolydian mode. Let's ask ourself, 'is it a major or minor scale, and what would the first chord be?'
We know we must take the root, third and fifth, to see if it is a major/minor chord, then lets add the seven, to add the quality. Following this routine we can see that the chord is a major chord, it has a major third, with a flattened seventh note. If you have read my other article explaing modes, you will know that the flattened seventh note is what distinguishes the Mixolydian mode!
So we can have a look at the Phrygian mode. the minor third note makes this a minor scale. It also has a minor second note which is the distinguishing feature of the Phrygian mode and a flattened seventh note. Unless we are looking further into scales, all minor scales in this sequence have minor sevens - other minir modes, like the Harmonic, or Melodic Minor do have major seventh notes contained within them.
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