Deeper Into Modes

A Step Deeper Into Modes ~ Bayo-David Oluwatobiloba
Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com
0
Bayo - David, Tobi

SCALES
A scale is an ordered series of pitches that, with the key or tonic (first tone) as
a reference point, defines that scale's intervals, or steps. Modern musicological
practice has extended the concept of mode to earlier musical systems, such as
those of. A scale can result in a whole family of related scale types by using the
same pattern of intervals, but starting on each of the other notes, instead of the root
note. This is called MODES.
In this material, we will be talking on few Scales here. precisely 5 of them.

Namely;
1. Major scale
2. Natural minor scale
3. Melodic minor scale
4. Harmonic minor scale
The Major scale is based on pattern of intervals 2-2-1-2-2-2-1. If we sit at a

keyboard, and start from the note C, plying through the white keys alone, we would
be playing a C Major scale, and we get the notes C-D-E-F-G-A-B-C.
If we use these same notes but start with the second note instead of the root note,
we have the note sequence D-E-F-G-A-B-C-D, again still the same set of white notes,
based on a shifted form of the original intervals.
This new sequence of notes is called the Dorian mode of C Major, or we can think of
it as being a scale type of its own, and call it D Dorian.
In fact, we can arrange the notes of the Major scale in seven different ways, by

starting on each of the other notes. Each of these is a different

mode of the Major scale, and each has a special name.
The names of the modes are based on ancient Greek place names, and were first
used with early choral music, such as Gregorian chants. For this reason, they are
also sometimes referred to as the
church modes .
"Playing a scale in different modes is similar to playing a chord in different inversions. Each mode is a synonym scale of
the other modes".
They are all based on the same set of notes, but in a different order, which gives
each mode a different melodic flavour.
What we have simply called the Major scale up until now is known as the Ionian
scale within this system.The arrangement of notes in a scale from their root to their
respective octaves e.g.

1 2 3 4 5 6 7
R E S P ECT
3 4 5 6 7 1 2
S P E CT R E
Modes are good ways to expand a particular scale, giving us different flavours,
tensions, harmonic relationships and the likes.
A LITTLE MORE ABOUT MODES
According to Wikipedia; Music based on major and minor scales came into common
usage in the early 1600s, and of course we have been using them ever since. Before
the 1600s, composers wrote in what were called modes . There was a resurgence of
interest in modes toward the end of the 19th century, with composers like Debussy
and Vaughan Williams. If you sit down at a piano keyboard and play a scale using
only the white notes, and starting on middle C, what you get is the familiar C Major
scale. If you do the same thing starting on the note of A, and going up to the A above,
you get an A minor scale. These two scales have a distinct sound; we make different
associations with them, perceiving the major scale as bright and forceful, while the

minor scale is sad and reflective. Starting on one of the other white notes will give us
a different scale each of which is a 'mode'. Each of them has a separate and
distinctive sound, and it is possible to recognise what mode a tunes is in just as
most of us can tell the difference between a tune in the familiar major or minor.
As with many things in music theory, the modes can be traced back to the Greeks.
The 'in' instrument in ancient Greece was the lyre, it had eight strings, tuned so that
the top and bottom notes sounded an octave apart. The tunings of the intermediate
strings varied, using different combinations of large and small intervals ('tones' and
'semitones'). The most common of these tunings or 'modes' correspond to the
seven scales which you get if you play only on the white notes of the piano.
(The terms 'authentic' and 'plagal' are still used but now to describe the relationship
between the range of a song and the tonic (that is the keynote) of the scale. Tunes
which range roughly from the tonic up to the octave or beyond are called 'authentic';
while those whose lowest note is half way between keynotes are called 'plagal' .)
Only seven of Glareanas's original 12 modes are commonly used, these correspond
to the seven different starting points on the white keys of the piano. These are their
names, along with the starting note. A tune could be written in each of these modes
in turn and in each case, it would appear as if the tune were in C (no sharps or flats).
Thus just looking at the key signature (number of sharps/flats) of a modal tune will
not tell about it's mode.

Each mode can be played starting on any note, but then some black notes are
needed to get the combination of tones and semitones which gives the mode its
distinctive sound. In fact it was probably this requirement that first led to the
development of instruments with 'black notes' - to allow modes to be played in any
required pitch range. For example if we put the seven modes in each case starting
with C we get a variety of keys:
Mode Name Starting Note Used Pattern

Ionian (Major)C CDEFGAB 1 2 3-4 5 6 7
Dorian D DEFGABC 1 2-3 4 5 6-7
Phrygian E EFGABCD 1-2 3 4 5-6 7
Lydian F FGABCDE 1 2 3 4-5 6 7
Mixolydian G GABCDEF 1 2 3-4 5 6-7
Aeolian (Minor) A A B C D E F G 1 2-3 4 5-6 7
Locrian B BCDEFGA 1-2 3 4-5 6 7

Ionian C D E F G A B 1 2 3 4 5 6 7 No flats or sharps

Dorian C D Eb F G A Bb 1 2-3 4 5 6-7 Bb Eb
Phrygian C Db Eb F G Ab Bb 1-2 3 4 5-6 7 Bb Eb Ab Db
Lydian C D E F# G A B 1 2 3 4-5 6 7 F#
Mixolydian C D E F G A Bb 1 2 3-4 5 6-7 Bb
Aeolian C D Eb F G Ab Bb 1 2-3 4 5-6 7 Bb Eb Ab
Locrian C Db Eb F Gb Ab Bb 1-2 3 4-5 6 7 Bb Eb Ab Db Gb

Major Scale
Major scale is a kind of Diatonic scale. Built with these;
WWHWWWH TTSTTTS 2212221
Legends:-
W or T Wholetone or Tone
H or S Halftone or Semitone
Applying the Patterns

In the key of C major
To get the major scale in C major
Write the chromatic scale starting from C

Answer
C Db D Eb E F Gb G Ab A Bb B C'
Write the formula of the Diatonic Major scale

Answer
W W H W W W H

Apply the formula to the chromatic scale

Answer
Start from C
1st W takes us from C to D

2nd W takes us from D to E
3rd H takes us from E to F
4th W takes us from F to G
5th W takes us from G to A
6th W takes us from A to B
7th H takes us from B to C'
we have,
C D E F G A B C' as C Major scale
After knowing how to create a major scsle in the key of C major and we derived that the notes in
it are C D E F G A B C, we move over explaining the modes of the major scale.
In order the generalise the idea, we will use the numbering system/tonic solfa to outline
The transposition means we will be seeing all the modes as starting from the same C, but still
retaining their intervals.

Modes of Major Scale

Ionian Mode
This 1st mode of the major scale is characterised by;
Interval: R 2 3 4 5 6 7 8
Mode note: d r m f s l t d
Key of C: C D E F G A B C
Dorian Mode
This 2nd mode of the major scale is characterised by;
Interval: R 2 b3 4 5 6 b7 8
Mode note: r m f s l t d r'
Transpose: d r mo f s l ta d'
Key of C: C D Eb F G A Bb C
11
Phrygian Mode
This 3rd mode of the major scale is characterised by;
Interval: R b2 b3 4 5 b6 b7 8
Mode note: m f s l t d r m
Transpose: d de mo f s se ta d
Key of C: C Db Eb F G Ab Bb C
Lydian mode
This 4th mode of the major scale is characterised by;
Interval: R 2 3 #4 5 6 7 8
Mode note: f s l t d r m f
Transpose: d r m fe s l t d
Key of C: C D E F# G A B C
12
Mixolydian Mode
Interval: R 2 3 4 5 6 b7 8
Mode note: s l t d r m f s
Transpose: d r m f s l ta d
Key of C: C D E F G A Bb C
Aeolian Mode
Interval: R 2 b3 4 5 b6 b7 8
Mode note: l t d r m f s l
Transpose: d r mo f s se ta d
Key of C: C D Eb F G Ab Bb C
13
Locrian mode
Interval: R b2 b3 4 b5 b6 b7 8
Mode note: t d r m f s l t
Transpose: d de mo f fe se ta d
Key of C: C Db Eb F Gb Ab Bb C
To use a mode, one of the things to know about it is the Harmony it implies.
And Harmony being the science of chords, application and its relationship. We will
be pointing at them below.
14
THE BASIC HARMONY IMPLIED BY THE MAJOR SCALE MODE
S/N Mode Mode Transposition 7th Chords Implied

1 Ionian Mode C D E F G A B C C Major 7
2 Dorian Mode C D Eb F G A Bb C C minor 7
3 Phrygian Mode C Db Eb F G Ab Bb C C minor 7
4 Lydian mode C D E F# G A B C C Major 7
5 Mixolydian Mode C D E F G A Bb C C Dominant 7
6 Aeolian Mode C D Eb F G Ab Bb C C minor 7
7 Locrian mode C Db Eb F Gb Ab Bb C C half-diminished 7
15
16
Natural Minor Scale

Natural minor scale is a kind of Diatonic scale built with these;
WHWWHWWTSTTSTT2122122
Legends:-
In the key of C minor
To get the minor scale in C minor

Answer
Write the formula of the Diatonic Minor scale
Answer
W H W W H W W
17

Answer
Starting from C;
2nd H takes us from D to Eb
3rd W takes us from Eb to F
5th H takes us from G to Ab
6th W takes us from Ab to Bb
7th W takes us from Bb to C
we have;
C D Eb F G Ab Bb C' as C Minor scale
After knowing how to create a minor scale in the key of C major and we derived that the notes in
it are C D Eb F G Ab Bb C, we move over to explaining the modes of the minor scale.
In order the generalise the idea, we will use the numbering system/tonic solfa to outline
The transposition means we will be seeing all the modes as starting from the same C, but still
retaining their intervals.
18
Modes of Natural Minor Scale

Natural Minor Mode
This 1st mode of the minor scale is characterised by;
Interval: R 2 b3 4 5 b6 b7 8
Mode note: d r mo f s se ta d
Key of C: C D Eb F G Ab Bb C
Locrian mode
This 2nd mode of the minor scale is characterised by;
Mode note: r mo f s se ta d r
Transpose: d de mo f fe se ta d
Key of C: C Db Eb F Gb Ab Bb C
19
Ionian Mode
This 3rd mode of the minor scale is characterised by;
Interval: R 2 3 4 5 6 7 8
Mode note. mo f s se ta d r mo
Transpose:- d r m f s l t d
Key of C: C D E F G A B C
Dorian Mode
This 4th mode of the minor scale is characterised by;
Interval: R 2 b3 4 5 6 b7 8
Mode note: f s se ta d r mo f
Transpose: d r mo f s l ta d
Key of C: C D Eb F G A Bb C
20
Phrygian Mode
Interval: R b2 b3 4 5 b6 b7 8
Mode note: s se ta d r mo f s
Transpose: d de mo f s se ta d
Key of C: C Db Eb F G Ab Bb C
Lydian mode
Interval: R 2 3 b5 5 6 7 8
Mode note: se ta d r mo f s se
Transpose: d r m fe s l t d
Key of C: C D E F# G A B C
21
Mixolydian Mode
Interval: R 2 3 4 5 6 b7 8
Mode note: ta d r mo f s se ta
Transpose: d r m f s l ta d
Key of C: C D E F G A Bb C
To use a mode, one of the things to know about it is the Harmony it implies.
And Harmony being the science of chords, application and its relationship. We will
be pointing at them below.
22
THE BASIC HARMONY IMPLIED BY THE MINOR SCALE MODE
S/N Mode Mode Transposition Chord Implied

1 Natural minor mode C D Eb F G Ab Bb C C minor 7
2 Locrian mode C Db Eb F Gb Ab Bb C C half diminished 7
3 Ionian Mode C D E F G A B C C Major 7
4 Dorian Mode C D Eb F G A Bb C C minor 7
5 Phrygian Mode C Db Eb F G Ab Bb C C minor 7
6 Lydian mode C D E F# G A B C C Major 7
7 Mixolydian Mode C D E F G A Bb C C Dominant 7
23
24
Melodic Minor scale

Melodic Minor scale is a kind of Diatonic scale.Built with these;
WHWWWWH TSTTTTS2122221
Legends:-
To get the minor scale in C minor
Answer
25

Answer
W H W W W W H
Answer
Starting from C;
5th W takes us from G to A
6th W takes us from A to B
7th H takes us from B to C
we have;
C D Eb F G A B C' as C Melodic Minor scale
26
Modes of Melodic Minor Scale

Melodic Minor
This 1st mode of the Melodic minor scale is characterised by;
Interval: R 2 b3 4 5 6 7 8
Mode note: d r mo f s l t d
Key of C: C D Eb F G A B C
Phrygian Nat. 6
This 2nd mode of the Melodic minor scale is characterised by;
Interval: R b2 b3 4 5 6 b7 8
Mode note: r mo f s l t d r
Transpose: d de mo f s l ta d
Key of C: C Db Eb F G A Bb C
27
Lydian #5
This 3rd mode of the Melodic minor scale is characterised by;
Interval: R 2 3 #4 #5 6 7 8
Mode note: mo f s l t d r mo
Transpose: d r m fe se l t d
Key of C: C D E F# G# A B C
Lydian b7
This 4th mode of the Melodic minor scale is characterised by;
Interval: R 2 3 b5 5 6 b7 8
Mode note: f s l t d r mo f
Transpose: d r m fe s l ta d
Key of C: C D E F# G A Bb C
28
Mixolydian b6
Interval: R 2 3 4 5 b6 b7 8
Mode note: s l t d r mo f s
Transpose: d r m f s se ta d
Key of C: C D E F G Ab Bb C
Locrian Nat. 2
Interval: R 2 b3 4 b5 b6 b7 8
Mode note: l t d r mo f s l
Transpose: d r mo f fe se ta d
Key of C: C D Eb F Gb Ab Bb C
29
SuperLocrian a.k.a Ionian #1

Mode note: t d r mo f s l t
Transpose: d de mo m fe se ta d
Key of C: C Db Eb E Gb Ab Bb C
30
THE BASIC HARMONY IMPLIED BY THE MELODIC MINOR SCALE

MODE
S/N Mode Mode Transposition 7th Chords Implied

1 Melodic Minor Mode C D Eb F G A B C C Min/major 7
2 Phrygian Natural 6 Mode C Db Eb F G A Bb C C minor 7
3 Lydian #5 Mode C D E F# G# A B C C Major7+5
4 Lydian b7 mode C D E F# G A Bb C C Dominant 7
5 Mixolydian b6 Mode C D E F G Ab Bb C C Dominant 7
6 Locrian Natural 2 Mode C D Eb F Gb Ab Bb C C half- diminished 7
7 Super Locrian mode C Db Eb E Gb Ab Bb C C half-diminished 7
31
32
Harmonic Minor scale

Harmonic minor scale is a scale Built with these;
W H W W H 3H H T S T T S 3S S 2 1 2 2 1 3 1
Legends:-
To get the Harmonic scale in C minor
Answer
33
Answer
W H W W H 3H H
Answer
Starting from C;
5th H takes us from G to Ab
6th 3H takes us from Ab to B
7th H takes us from B to C
we have;
34
C D Eb F G Ab B C' as C Harmonic Minor scale
Modes of Harmonic Scale

Harmonic Minor
This 1st mode of the Harmonic scale is characterised by;
Interval: R 2 b3 4 5 b6 7 8
Mode note: d r mo f s se t d
Key of C: C D Eb F G Ab B C
Locrian #6
This 2nd mode of the Harmonic scale is characterised by;
Interval: R b2 b3 4 b5 6 b7 8
Mode note: r mo f s se t d r
Transpose: d de mo f fe l ta d
Key of C: C Db Eb F Gb A Bb C
35
Ionian Augmented
This 3rd mode of the Harmonic minor scale is characterised by;
Interval: R 2 3 #4 #5 6 7 8
Mode note: mo f s se t d r mo
Transpose: d r m f se l t d
Key of C: C D E F G# A B C
Romanian minor
This 4th mode of the Harmonic minor scale is characterised by;
Interval: R 2 3 b5 5 6 b7 8
Mode note: f s se t d r mo f
Transpose: d r mo fe s l ta d
Key of C: C D Eb F# G A Bb C
36
Phrygian Dominant
This 5th mode of the Harmonic scale is characterised by;
Interval: R 2 3 4 5 b6 b7 8
Mode note: s se t d r mo f s
Transpose: d de m f s se ta d
Key of C: C Db E F G Ab Bb C
Lydian #9
Interval: R 2 b3 4 b5 b6 b7 8
Mode note: se t d r mo f s se
Transpose: d mo m fe s l t d
Key of C: C D# E F# G A B C
37
UltraLocrian
Mode note: t d r mo f s se t
Transpose: d de mo m fe se l d
Key of C: C Db Eb E F# G# A C
38
THE BASIC HARMONY IMPLIED BY THE HARMONIC MINOR

SCALE MODE
S/N Mode Mode Transposition Chord(s) Implied
1 Harmonic Minor C D Eb F G Ab B C C Min/major 7
2 Locrian #6 Mode C Db Eb F Gb A Bb C C minor 7 b5
3 Ionian Augmented Mode C D E F G# A B C C Major7+5
4 Romanian Minor mode C D Eb F# G A Bb C C minor 7#11 / C dim 7
5 Phrygian Dominant Mode C Db E F G Ab Bb C C7/b9/b13
6 Lydian #9 Mode C D# E F# G A B C Cmajor 7 #11
7 Ultralocrian mode C Db Eb E F# G# A C C diminished 7
39
Other E-books (Same Author)
Notalph
Outside the box ideas specially for you to keep your musical lines fresh
and uniquely yours Lots of testimonies about notes created through the
use of Notalph, and Nexus of Notalph and Modes Be the one to teach
your friends
Creating Sweet Melodies

When it comes to creating sweet melodies, masters of the craft seem to
do this flawlessly But for beginners? It's usually a tug of war This book
attempts at explaining how to create sweet melodies for beginners and
those willing to understand it better through the use of tonic solfa and a
simple/known song
40
FIXit Bass Clinic

A compilation of the topics treated at Fixit bass clinic, which was oganised
by Infinite Field of Ideas Topics compiled were under the following
headings
Things to Check out for when buying a bass guitar
Having a good tone
Equaliser settings and How to apply simple chords to praise jams
How to improve on Weak Pinkie fingers
Music approach and better ways to practise playing the bass guitar Etc
Bass-ic Talks
A diagrammed-based beginner bass book, written for those who wanted
to work through the fore of bass education, or for teachers who are busy
to walk their students through It is garnished with side Tips, and footer
quotes A must have for up and coming bassists
41

Deeper Into Modes

Hochgeladen von

Dokumentinformationen

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Deeper Into Modes

Hochgeladen von

Copyright:

Verfügbare Formate

A Step Deeper Into Modes ~ Bayo-David Oluwatobiloba

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Bayo - David, Tobi

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

The Major scale is based on pattern of intervals 2-2-1-2-2-2-1. If we sit at a

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

starting on each of the other notes. Each of these is a different

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

A LITTLE MORE ABOUT MODES

Mode Name Starting Note Used Pattern

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Ionian C D E F G A B 1 2 3 4 5 6 7 No flats or sharps

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

WWHWWWH TTSTTTS 2212221

Applying the Patterns

To get the major scale in C major

Write the chromatic scale starting from C

Write the formula of the Diatonic Major scale

Apply the formula to the chromatic scale

1st W takes us from C to D

Modes of Major Scale

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

THE BASIC HARMONY IMPLIED BY THE MAJOR SCALE MODE

S/N Mode Mode Transposition 7th Chords Implied

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Natural Minor Scale

To get the minor scale in C minor

Apply the formula to the chromatic scale

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Modes of Natural Minor Scale

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

THE BASIC HARMONY IMPLIED BY THE MINOR SCALE MODE

S/N Mode Mode Transposition Chord Implied

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Melodic Minor scale

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Write the formula of the Diatonic Minor scale

Modes of Melodic Minor Scale

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

SuperLocrian a.k.a Ionian #1

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

THE BASIC HARMONY IMPLIED BY THE MELODIC MINOR SCALE

S/N Mode Mode Transposition 7th Chords Implied

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Harmonic Minor scale

C D Eb F G Ab B C' as C Harmonic Minor scale

Modes of Harmonic Scale

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

Blog site: www.timkenz.wordpress.com | Email: timkenz2010@gmail.com

THE BASIC HARMONY IMPLIED BY THE HARMONIC MINOR