The Modes - Part 2

Mixolydian Mode

The Mixolydian mode is based on the fifth degree of the major scale and is a major/dominant sounding mode. This is because it is built from the fifth degree of the scale, which harmonises to a major or dominant chord. The G Mixolydian is as follows:

Mixolydian Formula

Another way to work out the Mixolydian mode, and what we consider to be the best way to do it, is to learn the formula. The formula for this scale is:

Mixolydian Scale

To help you put this into practice, in the fretboard diagrams, there is a shape for the G Mixolydian scale. Notice that these are the exact same notes as in C major, just starting and ending on G.

Aeolian mode

The Aeolian mode is based on the sixth degree of the major scale and is a minor sounding mode (more commonly known as the relative minor or natural minor scale). This is because it is built from the sixth degree of the scale, which harmonises to a minor chord. The A Aeolian is as follows:

Aeolian Formula

Another way to work out the Aeolian mode, and what we consider to be the best way to do it, is to learn the formula. This formula should be familiar to you as it's the natural minor scale. The formula for this scale is:

Aeolian Scale

To help you put this into practice, in the fretboard diagrams there is a shape for the A Aeolian scale. Notice that these are the exact same notes as in C major, just starting and ending on A.

Locrian Mode

The Locrian mode is based on the seventh degree of the major scale and is a diminished sounding mode. This is because it is built from the seventh degree of the scale, which harmonises to a diminished chord. The B Locrian is as follows:

Locrian Formula

Another way to work out the Locrian mode, and what we consider to be the best way to do it, is to learn the formula. The formula for this scale is:

Locrian Scale

To help you put this into practice, in the fretboard diagrams there is a shape for the B Locrian scale. Notice that these are the exact same notes as in C major, just starting and ending on B.

Grouping Major Modes

The reason to group modes into families like this is that we gain a far better understanding of how they relate to each other, and therefore how to use them practically when playing the guitar. We have three 'major' modes (modes based on major chords). These modes are Ionian, Lydian & Mixolydian. Here are those scale formulas:

When we put them side by side like this we can take the Ionian (which is the basic major scale) as our base scale and see that by simply sharpening the 4 we get the Lydian sound, or by flattening the 7 we get the Mixolydian sound. These notes in each scale are the notes we should aim to target to really hear the difference between the scale.

The Three Modes

So to put this into practice we can take a two-octave, popular position for the C major scale, and easily edit it to create the Lydian and the Mixolydian. As you walk through these scales try and really target that #4 for Lydian and b7 for Mixolydian.

Grouping Minor Modes

The reason to group modes into families like this is that we gain a far better understanding of how they relate to each other, and therefore how to use them practically when playing the guitar. We have three 'minor' modes (modes based on minor chords). These modes are Aeolian, Dorian and Phrygian. We use the Aeolian as the base scale because it is the natural minor scale, and therefore the most commonly used. Here are those scale formulas:

When we put them side by side like this we can take the Aeolian as our base scale and see that by simply sharpening the 6th we get the Dorian sound, or by flattening the 2nd we get the Phrygian sound. These notes in each scale are the notes we should aim to target to really hear the difference between the scale.

The Three Modes

So to put this into practice we can take a two-octave, popular position for the C minor scale (Aeolian), and easily edit it to create the Dorian and Phrygian modes. As you walk through these scales try and really target that #6 for Dorian and b2 for Phrygian.