Modes of the Major Scale
In this issue I would like to talk about modes. It is a very important tool for creating interesting bass lines and solos. There are modes for Major Scales, Minor Scales, Pentatonic Scales, Blues Scale etc.
Let us start with the Major scale C • D • E • F • G • A • B • C
This collection of notes, played in this fashion, is a mode of the C major scale and is called Ionian. However, you don't necessarily have to play the notes from C to C.
You could play them from D to D. In this case, the notes to play are:
D • E • F • G • A • B • C • D
This scale is still comprised of notes from the C major scale, but it has a different sound because we started on D instead of C. This scale is the second mode of the C major scale and is called Dorian.
You could also play them from G to G. In this case, the notes to play are:
G • A • B • C • D • E • F • G. This is the fifth mode of the scale and is called Mixolydian
Here are all modes for the C major scale:
1. Ionian: C • D • E • F • G • A • B • C
2. Dorian: D • E • F • G • A • B • C • D
3. Phrygian: E • F • G • A • B • C • D • E
4. Lydian: F • G • A • B • C • D • E • F
5. Mixolydian: G • A • B • C • D • E • F • G
6. Aeolian: A • B • C • D • E • F • G • A
7. Locrian: B • C • D • E • F • G • A • B
If you play A to A as you can see it will be called the Ionian mode.
It is also called the Pure or Natural Minor Scale.
(You can work out the patterns for the other 3modes by yourself.)
The C Ionian Mode can be used over the following chords:
Cmaj, Cmaj7, C6, Cmaj9, C6/9, etc
The D Dorian Mode can be used over the following chords:
Dmin, Dmin7, Dmin6, Dmin9, Dmin11, etc
The E Phrygian Mode can be used over the following chords:
Emin, Emin7, Emin9, Emin11, etc
The F Lydian Mode can be used over the following chords:
Fmaj, Fmaj7, Fmaj9, Fmaj7#11, etc
The G Mixolydian Mode can be used over the following chords:
Gmaj, G7, G9, G11, G13 etc
The A Aeolian Mode can be used over the following chords:
Amin, Amin7, Amin9, Amin11, etc
The B Locrian Mode can be used over the following chords:
Bdim, Bmin7b5.
Dmin7 G7 Cma7
The above exercise is an example of how to use the modes.
The chords Dmin7-G7-Cmaj7 as you know is a ii-v-i progression
You can make up you own lines and get them “under your fingers”
I used different intervals, but started with the root of the chords. It will obviously also work for Dmin-G-C.
Here is a nice funky bass line for G-Emin-Amin-D7 (i-vi-ii-v) progression.
G Emin Amin D
Although I have done the modes over one octave only, it goes without saying that one has to know them over two octaves as well. If you use a six string bass then three octaves will become a necessity.
It obviously has to be practiced in all the keys as well.
Remember that the modes are only one of the tools and it is important to have as many “weapons” in your playing “arsenal” as possible.
I wrote out the exercises in standard notation instead of TAB, because it is important to read music. How else would I be able to write down the rhythms of the funky bass line?
Till next time “Keep it LOW !!!
Alistair Andrews
Alistair Andrews recently created and launched the CAPE TOWN BASS CENTRE – an excellent and much-needed social networking site.
http://ctbasscentre.ning.com/
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