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What Are Modes: (Source: Samurai Guitarist Video) : TH ST TH ND RD TH TH TH TH

The document discusses musical modes and how they relate to major scales and 7th chords. It defines the 7 modes - Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian - and their associated 7th chords. It provides an example of how the Dorian mode can be used over a C minor 7th chord. The document also discusses how to determine which mode to use based on the musical context and genre, and notes that compositions can be written using different modes.

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Bill E Moon
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59 views

What Are Modes: (Source: Samurai Guitarist Video) : TH ST TH ND RD TH TH TH TH

The document discusses musical modes and how they relate to major scales and 7th chords. It defines the 7 modes - Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian - and their associated 7th chords. It provides an example of how the Dorian mode can be used over a C minor 7th chord. The document also discusses how to determine which mode to use based on the musical context and genre, and notes that compositions can be written using different modes.

Uploaded by

Bill E Moon
Copyright
© © All Rights Reserved
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
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What Are Modes: (Source: Samurai Guitarist Video)

With respect to the major scales

Mode Name Associated 7th Chords


1st/8th: Ionian Maj7
2nd : Dorian Min7
3rd : Phrygian Min7
4th : Lydian Maj7
5th : Mixolydian 7 (Dominant)
6th : Aeolian Min7
7th : Locrian Min7b5

Example Application:

If a song stays on a CMin7 then you can create melodies using any of the minor modes i.e., any Dorian,
Phrygian or Aeolian Mode that starts on C would work (I like the Dorian).

Note on the Names of the Associated Chords:

The chords are named with respect to the root notes major scale. For Example in the Key of C Major we
have that G Mixolydian is Given By G A B C D E F , meaning that the associated 7th chord is G B D F. So
with respect to the root we have a Maj 3rd, a P5 and a Min7th (As G Major has F#).

Characterizing Modes:

Each mode has it’s distinct sound over the chord (From the above example). This distinction is due to
the non-chord tones or extensions.

Some Notation:

When adding to an existing 7th chord instead of referring to the extensions as 2nd, 4th, and 6th we use the
notation 9th, 11th, 13th. When replacing the part of the chord say the third sus 2and sus4 chords) we use
the 2, 4 and 6.

For Example:

Maj9 Chord = R, Maj3, P5, Maj7, Maj9

vs

Sus2: E, Maj2, P5

Moreover, we may represent the modes by laying out the respective Major 7th and Extensions as
follows:

Lydian : 1, 9, 3, #11, 5, 13, 7

Once again incidentals are with respect to the respective root position major scale.
How do we know which mode to use:

We must use the Context of a given song/progression to “know” which mode to use. For Example, if
given

||: Emin7 Dmin7 | Dmin7 :||

We know that this must be derived C Major mode class as it is are the only one with both Emin7 and
Dmin7 in it.

In this case, let’s focus on the Dmin7 as Emin7 happens fairly quickly. Because of this focus, D Dorian
would be appropriate and since it was derived from C Maj it will also work over the Emi7 chord.

We would probably not choose D Aeolian as it implies F Maj which contains EMin7b5 not EMin7 so will
have dissonance (or just clash).

You must also talk with an accompanist and recognize genre i.e., in Jazz a Lydian mode is commonly
played over a Maj7 while in Pop music they will likely use Ionian.

Compositions:

Can write songs in modes. For instance, writing a song in Locrian mode, the chord progression will imply
7th is “home base” or tonic.

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