Beruflich Dokumente
Kultur Dokumente
by John Ruffi
Part I & II contain all the 7 note modes that can be created using two intervals: half steps and whole steps, without two adjacent half steps. All the modes have 7 degrees, and all in this group have 5 whole steps, or whole tones and 2 half steps as intervals between the adjacent degrees. Since the half steps never occur twice in a row, that means there are only 2 possibilities for grouping the whole steps: a group of 2 and a group of 3, or a group of 4 and a group of 1 whole steps. All the modes that can be made with one group each of 2 and 3 whole steps are called the Natural Modes, or Melodic Major Modes. Those made with one group each of 4 and 1 whole steps are called the Melodic Minor Modes not because they are all minor, but because they are derived from the ascending Melodic Minor Scale. In Part I we explore the Natural Modes. If youve never learned any modes this is a good place to start, because these are the seven modes that include the Major Scale and Natural Minor Scale in other words, the most commonly used scales. If you already are familiar with some or all of these modes, this book will enable you to know them exhaustively. In other words, youll know them on every fret, on every string, in any position all over the guitar neck. Youll also be able to see where all the various degrees (the 3rds, 7ths, and so on) fall for every mode. What are they for? Every tone contained in the chosen scale or mode affects the color, or flavor of the music. Playing these modes will both give guitarists a wider palate of flavors to use, but also allow them to taste more sounds, so that they can recognize them when these flavors come along in music they like and want to learn or emulate. So, in other words, if you practice these modes youll be able to: 1 2 play a greater variety of melodies and phrases. develop your ear to be able to interpret more melodies and phrases. 1
Technique
Playing scales and modes are to a musician what running is to an athlete. Its a great way to work on strength, speed, coordination and stamina. A good way to warm up is to play them slowly. Playing through the modes very slowly when you first pick up the guitar is a great way to relax, focus, and get the fingers ready for playing, as well as getting one in the right frame of mind for making music. Using the left hand properly and safely. its good to remember the Three Rules of Superior Technique: When at all possible... 1 2 3 When you skip a fret skip a finger. This first rule is most important because it prevents us from spreading the 2nd and 3rd fingers across more than 2 adjacent frets. Never use the same finger twice in a row (unless shifting or sliding). Never shift twice in a row.
Of course, like every rule, these sometimes have to be broken. Thats why it says when at all possible. In the diagram below, the numbers indicate the fingers.
1 1 2 3 4 4
The first finger may occasionally reach out of position to reach a note on the lower fret.
The fourth finger occasionally needs to reach out of position to grab a note one fret higher.
The intervals are as follows: 1 1 1/2 1 1 1 1/2 In other words, the half steps are from 3 to 4, and from 7 to 1. This can be easily seen in the diagram to the right. You can play the mode entirely on one string starting from any fret, and it will be an Ionian mode.
1 2
4 7 3 4
1 2
3 4
5
3 6 2 7
6
Notice how the 7th is right up against the 1, or root note. This makes it one of the two Major 7th modes found in these natural or melodic major modes, because the chord that emerges from it create a major 7th chord. the wide stretch from the 1 to the 3 make it a major mode. The 1, 3 and 5 of this mode form the major triad (in other words, the chord). 1 notes 4 that 7 make 3 up5the major 1 1 Below are chords that will sound good with the Ionian mode played 2 6 with improvising over over them. The student should experiment these chords in the C Ionian Mode (8th position).
1 2
1 2
4 7 1 5
7 1 3
6 4
Typical chord progression 3 6 for 2 using the 7 C Ionian Mode: 7 7 C | F or Cmaj | Fmaj
3
4
7
Modal Guitarist Part I Major Melodic or Natural Modes
3 4
copyright 2006 John Ruffi 6
1
2
1
One of the 3 minor 7th modes here, its like an Ionian, but with a flatted ( ) 3 and 7.
3 6 2
7
1 2 2 3
1 2
This mode has a minor sound often interpreted as sad but not as sad as, say, 2 the Aeolian mode. Below are chords that will sound good with the D Dorian mode played over them (10th position).
1 2 3
4 1
5 6
1 4
1 4
2 2 3 6 2 5 1 4 6 7
6 5
5 3 6
1 2
4 7
1 2
1 5 2
3
7
1 2
7 1 1
6 5
5 6
1 2
1 2
4 5
7 6
1 2
1 3 6
Another minor 7th mode. 7 and 3 are flatted, as in the Dorian, and also the 6 and 2. 7 3 scale. 6 7 Remember, the flats are always in comparison 2 to the Ionian mode, or Major 2
3 6
1 42
2
3
1 2
1 2
5 6
1 4 7 1 4 3
4 1 2
6 7 3
5 6
1 54 2
6
52
3 6 2
7
1 2 63 7
1 2
5 6
7
7 1 2
Typical chord progression for using the E 7 Phrygian Mode (12th position): 1 Em | F or Emin7 | Fmaj7 2
1 1 1
7 3
5 6
1 5
1 2
4 5
3 6
6
copyright 2006 John Ruffi
The only difference between this mode and the Ionian mode is 4, which has been 2 sharped, or moved up against the 5. From this mode we can derive a major7 #11 chord.
2 3 3
1 2 the
4 7 3 4
1 2
1 2
51 1
2
3 4
1 4 2 5 7 43 1
5
1
4
1 2
6 5 1 2 4 7
6 4 7
6 7 7 1 2 5 6
1 7 2
4 5
3
6
6
1 2
1 2
1 4 7 3 5 1 Typical chord progression for using the F Lydian Mode (1st position): 1 7 1 7 | G7 F | G or Fmaj 2
1 1 1
5
1 2 6
7 1
1 4 2 5
2 5 3 6 1 1 2 1 1 1 1 4
5 6
1 2 2 3
1
4 5 5 6
7 1
3 4
6 6 7
7 1 1 1 1
1 2
2
1
5 6
3
2
1 2
4
1
1
1
1 1
2
1 1 1
Only difference between this and the Ionian is the flat 7, making it the only dominant 7th 2 1 1 1 mode in this group. Youll see this mode called Mix for short. 2 2
1 5
43
1 1 1 2
1 2
3 4 4
3 1
4 1 7 1 3 1 5 1 1 13 1 6
4
4 5
2
5 5
5
1 2
1
5
6 7
1 2
4 2 5 3
5 6
4 7
5
6 1
2
3
6 1 2 6 7
6 6 7
2
1 2 6 7
7 1
Typical chord progression for using the G Mixolydian Mode (3rd position): G | F or G | C (or G7 | Fmaj7 or G7 | C) 7 1
1 1 2 1
6 7 3
5 6
1 2
4 7
1 4
3 6 2
3
1
7
1 1 2
This is the Natural Minor Scale. It differs from the Ionian by having flatted 7th, 3rd 2 and 6th degrees.
2 1 2 2 3
7 3
5 11 4 7
4
5 1 1 4 3 4 6 2 3 2 7 5
1 62
7
3
5 6
1
1 2 3
1 2
4
4 5
3 6
6 2 7
4 5
4 7
5
1 3 6 2
4 5 7
1 2 5 6
1 2 1
1 23
1 1 1
6
6
2
6 1 2 6 7
Typical chord progression for using the 7 A Aeolian Mode (5th position): 1 Am | F or Amin7 | Fmaj7 2
1 4 1 7 3 5 6 5 1 4 2 1
1
5 1
4 5
7 1
3 6 4
1 1 2 1 2
In the Locrian mode the 7, 3, 6, 2, and 5 are flatted. The flatted 5th makes this the only 2 with a diminished triad2(1,3 and 5) and the seventh 2 chord derived mode in this group 1 from it is called a minor 7 flat 5, or half diminished. The symbol2 is sometimes used, 3 as well as the symbol m7-5, or m7 5
3 1 2 3 4
1
1 2
4
4 5
5 6
1 2
4 5
1 2
4 5
6 1 1 4
2 5
2 3
4 7
1
6
1 1 1 1 1
1 1 1 1 1
1 1 1 1 1
1 1 1 1 1
6
6
3
1 2 6 7
1 1
7
Typical chord progression for using 7 1 the B Locrian Mode (7th position): 2 Bm7-5 | Em7 1
1
1 1 1 1
The Arpeggios
Below are each of the seven modes weve just gone over. Here they are shown with the arpeggios highlighted. The roots (or 1s) are highlighted in red; all other arpeggio notes, or chord tones, are shown in blue. It is recommended that after playing the mode ascending and descending, you should play the corresponding arpeggio ascending and descending first without the 7th (1 3 5s only), and then with 1, 3, 5 and 7.
4 7 3 4
Another important but obvious reason for learning how to play every mode within every other mode is this: any mode can then be played at any position on the neck. The following page shows how the Ionian mode can be played within the fingerings of the other 6 modes that were shown earlier in this book. The arpeggios can also be played in this way as well. After connecting the modes together so they belong to the same key, you will actually be able to play any mode on the entire neck of the guitar - in every position, and on every string. Here are explanations of the Ionian mode fingerings as shown on the following page: The Ionian 6 - 1 This is the Ionian mode as seen on page 4. The root of the scale is played on the 6th string with the first finger - hence the name Ionian 6 - 1. Ionian 6 - 2 Here the Ionian mode is played one fret lower. The root is played by the 2nd finger on the 6th string, but the 7 below it is also shown, since its a part of the mode. Notice that this looks exactly like the Locrian mode on page 7, but the numbers have changed. Ionian 6 - 4 The mode root is on the 6th string, 4th finger. This fingering would be played 2 frets lower than the Ionian 6 - 2, so that the root lands on the same note, just played with a different finger. This mode looks just like the Aeolian on page 7, but the numbers have changed. Ionian 5 - 1 By moving the hand down 2 positions (2 frets) from Ionian 6 - 4, you will find the root on the 5th string, with the first finger. Ionian 5 - 3 By moving the hand down 2 positions from Ionian 5 - 1, you will find the root on the 5th string, with the third finger. Ionian 5 - 4 By moving the hand down 1 position from Ionian 5 - 3, you will find the root on the 5th string, with the fourth finger. Ionian 4 - 1 By moving the hand down 2 positions from Ionian 5 - 4, you will find the root on the 4th string, with the first finger. Become familiar with these different fingerings of the Ionian mode, by playing them ascending and descending, as well as playing the arpeggios (1 3 5 first, then 1 3 5 7) ascending and descending, in order see how they link together and hear how they sound, before going on to the other modes in every position.
3 4
7 1
3 4
10
2 3
6 7
11
1 2
5 6
12
7 1
4 5
7 1
13
6 7
3 4
6 7
14
5 6
2 3
5 6
15
4 5
1 2
4 5
16
C major C
0 3 2 0 1 0
F major F
1 3 4 2 1 1
strings
F B E A
D minor Dm
X 0 0 3 2 1
C F
G major G
1 2 0 0 0 3
G seven G
3 2 0 0 0 1
G C F B
D G
A D G C E A
E minor Em
0 2 2 0 0 0
E minor 7 Em7
0 2 0 0 0 0
A minor Am
0 0 2 3 1 0
F B E A D C F B E B G C
F seven F7
1 3 1 2 1 1
A seven A7
0 0 2 0 3 0
D seven D7
X 0 0 2 1 3
D G C F A D
E A D G B E
B flat major 7 Bbmaj7
X 1 3 2 4 X
C minor7 Cm7
3 X 1 4 1 X
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||: |
Cmaj7
A Aeolian
F
D Dorian
| |
Bm7-5
G Mixolydian
Em
C Ionian
|
:
Am
Dm
G7
Cmaj7
||
The Circle of Fifths in the Key of C The above progression has been used so many times and in so many ways that book could be filled just with it alone. All of the chords in the progression are descending fifths apart (moving down 5 notes in the scale). The shift from F to Bm7-5 is a diminished fifth (every major key has one of these) and the rest are called perfect fifths. The chords and modes are as follows: I, IV, vii, iii, vi, ii, V, I. As you become more familiar with the above modes in all seven positions you could play all the modes without shifting position at all. For example, try playing all in the 5th position: C Ionian 6-4, F Lydian 5-4, B Locrian 6-3, E Phrygian 6-3, A Aeolian 6-1, and so on. Focus on the arpeggios at first to hear the changing of the chords without having to actually play them. All the progressions here are in the key of C, so once you master these you can begin to try them in different keys.
C Mixolydian
C Mixolydian
||: C7
F Mixolydian
| | |
C7
| | |
C7
| | |
C7
| |
:
C Mix
| |
F7
F7
C7
C7
G Mix
C Mix
G7
G7
C7
C7
||
The 12 Bar Blues in the Key of C Here we begin to shift keys subtly with the changing of the chords. This is the simplest form of the 12 bar blues there are many more complicated variations. This most basic blues progression uses only the I, IV, and V chords of the key but, all use the mode that normally belongs with the V chord. 18
D Dorian
G Mix
C Ionian
||: Dm7
C Dorian
G7
F Mix
| |
Cmaj7
Bb Ionian
|
:
|
ii - V - Is
Cm7
F7
Bbmaj7
||
Here are 2 sets of ii V I chords. These are the last three chords in the circle, on the preceding page. ii V Is often appear in sequence, helping to establish the sound of a key in the listeners ear.
||: Am7
F#m7
||
The above progression uses a slightly more dramatic shift than the others shown here, because Am and F#m arent in similar keys at all. To keep the subtle try using A Dorian and F# Phrygian. To give the chord change a more dramatic sound try using A Dorian and F# Aeolian or F# Dorian.
C Mixolydian
A Mix
D Mix
G Mix
||: C
A7
D7
G7
||
Dominant (7th) chords Following the Circle of Fifths Here are a few chords each descending a fifth. Try extending it all the way around the circle: A, D, G, C, F, Bb, Eb, Ab, Db, F#, B, E and back to A. Then try going around the circle using any of the other modes play all major 7s using the Ionian or Lydian, or play all minor 7s using the Dorian or Aeolian, etc.
These are just a few of the many possibilities when modes and chords from different keys are combined. After trying all the above progressions in several keys, try making up a few of your own.
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In Closing
This book contains everything you need to know to become thoroughly familiarized with the Natural Modes. There are 4 books in the Modal Guitarist series:
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