Understanding Modes

Applying modal theory requires associating different keys to be of any use to me. If I am considering modes of G, I am seeking different key signatures, starting from our G note.

G Ionian contains the same notes as G Major: G A B C D E F#

G Dorian contains the same notes as F Major: G A Bb C D E F

G Phrygian contains the same notes as Eb Major: G Ab Bb C D Eb F

G Lydian contains the same notes as D Major: G A B C# D E F#

G Mixolydian contains the same notes as C Major: G A B C D E F

G Aolian contains the same notes as Bb Major: G A Bb C D Eb F

G Locrian contains the same notes as Ab Major: G Ab Bb C Db Eb F

From this point can we choose the appropriate substitute key (or mode), to play over a given chord or piece of music. Comparing each mode to the Ionian mode will reveal the notes that have been changed:

Dorian gives us the lowered 3rd and 7th.

Phrygian gives us a lowered 2nd, 3rd, 6th and 7th.

Lydian gives us a raised 4th.

Mixolydian gives us a lowered 7th.

Aolian gives us a lowered 3rd, 6th and 7th.

Locrian gives us a lowered 2nd, 3rd, 5th, 6th and 7th.

Using this information requires some understanding of chord structure. For instance, a minor7 chord and a dominant 7 chord have lowered 7ths. A minor 7 chord has a lowered 3rd, as well. Therefore, we can determine from above that Dorian will be a good substitution over a minor 7 chord and Mixolydian for a Dominant 7 chord.

Perhaps this will start a dialogue on uses for modes.
Here's a good link I found: http://www.guitar9.com/columnist344.html

Cheers,
SarinaJ :)

Would it be possible to compose a progression in A Dorian?

A Dorian would mean the notes of the G Major scale, starting from the A, or A B C D E F# G. (I remember Dorian as whatever it is the 2 of, if this helps.)

The chords in G Major are:

GMaj7, Am7, Bm7, C Maj7, D7 (dominant 7), Em7, F#m7b5

If you played a ii V I in G Major, you have Am7, D7, GMaj7

Am7 - A C E G
D7 - D F# A C
GMaj7 - G B D F#

All these notes exist in this key of course, as they are built from the G Major scale. (Remember this is the same as your A dorian mode.)

However, if you were playing A blues, your basic chord structure would contain A7, D7 and E7.

A7 - A C# E G
D7 - D F# A C
E7 - E G# B D

Our blues scale in A is A C D Eb E G (no C#, F# or G#).

In the mode of A Dorian (A B C D E F# G), or G Major scale, the F# gives us the 3rd of our IV chord.

Our A Mixolydian mode (or D Major scale) would be
A B C# D E F# G, giving us the C# and F#, the 3rds for our I and IV chords.

Our A Lydian mode (or the E Major scale), would be
A B C# D# E F# G#, giving us the C#, F# and G#, the 3rds of our I IV and V chords, as well as our 'blue' D#/Eb note.

This is perhaps a convoluted explanation, but my point was to break down the scales/modes to relate them to chord tones, rather than trying to create a new scale/chord theory to compound our study. Modes are simply our major scales starting from different points in the scale.


If you practice from the A of your D Major scale, you will be practicing A Mixolydian.

If you practice from the A of your E Major scale, you will be practicing A Lydian.

If you practice from the A of your G Major scale, you will be practicing A Dorian; start the same scale from the D and you are playing D Mixolydian!

I would still prefer to hear 'play the key of x over this section'; modes seem to complicate matters.

Here's some links I've found:
http://www.petethomas.co.uk/jazz-minor-harmony.html
http://chrisjuergensen.com.hosting.domaindirect.com/modes_2.htm

Cheers,
SarinaJ :) http://www3.telus.net/public/wsalter/guitar/

If I were playing an A blues progression; A7-D7-E7---Couldn't I just play an A Mixolydian over A7, a D Mixo over D7 and an E Mixo over E7?

Yes, this works great!

A Mixolydian (D Major) gives us:

A B C# D E F# G

A C# E G is our A7
B is the 9,
D is the 11
the F# is the 13....

Can't go too far wrong with all that colour! I guess the modes we pick just depend on the shades we like.

Cheers,
SarinaJ :)

This song is in the ancient sounding Phrygian mode. In the key of C, it resolves to the E note. It is in E Phrygian mode.



;)

I may get shot down in flames for this, but here goes.................
I view the use of Modes as their own entity, or a way to emphasize between something that's not Diatonic with a certain Key. The more Diatonic a progression is, the less Modal sounding it is to me. Studying Modes in Diatonic Theory gives the reasoning behind where the Mode originated from, but doesn't necessarily give an understanding on how it's best used.
To me, Modes sound their best when used in non-diatonic function.
Example; If a progression went ....A---A---Am---Am---
I would use A Ionian over the Amaj and A Dorian over the Am Chords.
To really make an emphasis, I could use Amaj9 and Am7 chords. This is a Modal progression......

I think of the two modes we know best: Ionian and Aeolian, and realize that they are 'modes' and that chords that we call 'diatonic' (which I understand as 'containing the natural notes of the scale from which they are built' ...or something to that effect), are predictable and consonant sounding to our 'tertially-geared' ears.

Modes, as a means to extend or alter chords, (as you pointed out), gives us a strategy to play other relevant scales over a given chord or piece of music and break out of the diatonic box of a one given key. Perhaps this is a different thing all together, but the notes are still derived from one of the major scales.

I understand your statement of modes being entities in their own right, but the bottom line is what colours we get (and what colours we want).

So, my question is: if we build our chords in quartal harmony, do we get new modes or a new diatonic structure, or both?

SarinaJ :confused: