Chet May 18th, 2007
Before we discuss the modes of a scale let me first explain how a major scale is made. There are two rules:
- You need one of each note in the musical alphabet(A, B, C, D, E, F, and G).
- The intervals between the notes must follow this pattern in steps:
whole(2 frets), whole, half(1 fret), whole, whole, whole, half.
So if we start with F we end up with F, G, A, B(flat), C, D, and E. We call it a B flat instead of an A# because of rule 1 and we need a half-step there according to rule 2. We can build a major scale from any note by following these rules.
Playing those notes in that order results in a F Ionian mode. When you start from G and play up an octave (G-A-Bflat-C-D-E-F-G) you have the G Dorian mode. Remember it’s not a G major because you a using the notes in F major. Thus for each of the 7 notes in a major scale you have a corresponding mode. All of the modes built in the key of F are below.
Chet May 11th, 2007
Scales modes were first categorized by the Greeks in the time of … ancient Greece. While they can be a source of confusion for guitarists both in their use and pronunciation they’re essentially simple variations of a major scale. For example if you take a C major scale with the notes C – D – E – F – G – A – B – C, the Ionian mode can be played by using those notes in the same order starting from C. When you start on the 2nd note in the scale “D” and play D – E – F – G – A – B – C – D you are playing the Dorian mode in C major. For each note in a major scale there is a corresponding mode that goes with it. Each mode mode has a distinct tonality and can add variety to your improvisation.
Describing the characteristics of each mode is beyond the scope of this post so we will instead focus on a mode created from the 4th note of a major scale, the Lydian mode. I first became interested in the Lydian mode after learning the philosopher Plato suggested that in order to create a perfect state the Lydian mode should be outlawed. Here’s what he had to say in Republic:
… so we may now banish the
mixed Lydian harmonies, which are the harmonies of lamentation; and as our
citizens are to be temperate, we may also banish convivial harmonies, such as the Ionian and pure Lydian.
Interesting.
Below is a chord progression for which the G and C Lydian modes are suitable tools for improvisation. Try G Lydian over the first two bars and C Lydian over the next. If the scales seem familiar its probably because you can use scale shapes you (should) already know. Since a G Lydian is built off of the 4th note in the D major scale, you can use a C Shape D major in 2nd position. Likewise a G major E shape will give you a C Lydian scale if you start on a C. Pay attention to the C# in the first two bars and the F# in the second two, those are the notes that make your improvising sound distinctly “Lydian”.
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Chet April 16th, 2007
This is the last shape in the CAGED scale system. The form below represents a C major scale with roots on the 4th string 10th fret and the 2nd string 13th fret. The scale is predominantly played in 10th position but shifts back to 9th position to play notes on the 3rd and 4th string.
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Chet April 16th, 2007
Here’s another shape from the CAGED system. To play a C major with this shape, use your 4th finger on the 8th fret of the 6th string. You can also get the root of the scale on the 5th fret of the 2nd string as well as the 8th fret of the 1st string. Note that you will shift your fingers back one fret to play the notes on the 3rd string. Once you get to the 2nd string you will resume the normal 5th position fingerings.
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Chet April 16th, 2007
Here is the C Shape for a major scale. The root is played on the 5th string with the 4th finger and on the 2nd string with the 2nd finger. Like the other shapes listed this is a movable shape as well. Whevever you place your 4th finger on the 5th string is the root. Playing the C Shape with the root on the 5th fret of the 5th string will get you a D major scale. Moving the root up a whole step to the 7th fret will result in an E major scale.
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Chet April 13th, 2007
This scale is played in second postition and is the second shape in the C-A-G-E-D scale system. Remember that the name of the shape describes the fingering and the name of the scale (in this case C Major) is the actual scale that you you play when you apply the shape fingering in second position. If you were to move the shape up a whole step or two frets you would then be able to play an A Shape D major scale.
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Chet April 6th, 2007
This is one of the easier scale forms from the CAGED scale system. The root of this scale is played on the 6th string with the second finger. Playing the form below in 7th position (meaning your 2nd finger covers notes played on the 8th fret) would make this a C Major scale since the note “C” is located on the 8th fret of the 6th string. Learn all of the note names for all of the frets on the 6th string and move the form accordingly by placing your 2nd finger on whatever major scale you’d like to play. So there you go, a shape that you can use to play a major scale in all 12 keys.
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