Major Scale Modes and Their Application

I have had a lot of readers asking me aboutmajor scale modesand their application recently in
response to my article Modes of the Harmonic Minor Scale and Their Application. So, Ive decided to put
together this article so that everyone can check out this often used, but very important scale and its
related seven modes.

This article provides a breakdown of each of the modes of the major scale for you to enjoy and study,
hopefullyadding some fuel to your woodsheddingand inspiring you to explore this very important sound in
yoursoloing, composing and arranging.

Lets take a look at each mode, itsconstructionand how we can apply that mode to our playing.

Got a question or comment about this lesson? Visit theModes of the Major Scale thread in the MWG
Forum.

Learn Jazz Guitar Scales andScale Patternswith theMatt Warnock Guitar Jazz Scales App.

Major Scale Modes Fingering Lesson

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 Ionian

The Ionian mode, otherwise known asthe major scale, is the mostcommonly learned scaleby jazz
guitarists when they first venture out beyond the pentatonic scales and blues scales they have under their
fingers. It is a great scale for producing a tonic sound, often used for the Imaj7 chord in a ii-V-I or over any
maj7 chord in a jazz progression.

In a modal context, the Ionian mode is defined by thenatural 11 intervalthat it possesses, which sets it
apart from its closely related cousin, Lydian.

So, if you are playing this mode in a modal context, where you are trying to bring out the sound of Ionian
and not just a maj7 chord, then try and find ways to highlight the 11th in your soloing and comping to
emphasize thecharacteristic soundof this mode.

The mode is built with the followinginterval structure:

R M2 M3 P4 P5 M6 M7 R

or in the key of C, these notes would be:

CDEFGABC

Check out mypage on the Ionian Modeto learn how tofinger this modeon the guitar.

Though it is a heavily used and common mode, it is an essential mode to have under our fingers and in
our ears none the less, in both atonal and modal context.

If you are just starting toexplore the major modes, then this is a great place to start before moving on to
the other six modes in this system.

Dorian

Miles Davis solo on the classic jazz tune So Whathelped solidify the Dorian mode into thejazz
performers consciousness.

Ever since then, the Dorian mode has been thego to scalefor jazz guitarists when soloing over a m7
chord, especially within a iim7-V7-Imaj7 chord progression.

Alongside the Mixolydian and Ionian modes, the Dorian mode is one of the most commonly used major
scale modes, and one of themost importantto get under your fingers and into your ears.

Here is how theDorian scaleis built from an intervallic standpoint:

R M2 m3 P4 P5 M6 m7 R

Or in the key of C it would be:

C D Eb F G A Bb C

Check out mypage on the Dorian Modeto see how it is fingered on the guitar.

Try learning this mode on the guitar, thentranscribing linesand solos by your favorite players. See
where they apply the Dorian mode, what patterns they use, what runs they like to play, and then adapt
those ideas into your own solos when using the Dorian mode to outline a m7 chord.

Phrygian

Though often used over a m7 chord to produce aMiddle Eastern/Flamenco sound,many jazz guitarists
use the Phrygian mode to solo over Dominant chords as well.

Featured in the classic solo break byJohn Coltraneon Miles recording of Green Dolphin Street, the
Phrygian mode has since been used by jazz guitarists of all styles to improvise over a Dominant chord,
which produces an altered sound minus the major 3rd interval, distinguishing it from the 7th mode of the
melodic minor scale, the traditional Altered scale.

Here is how this mode is built from an intervallic standpoint:

R m2 m3 P4 P5 m6 m7 R

Or in the key of C it would be:

C Db Eb F G Ab Bb C

Check out mypage on the Phrygian Modeto see how it isfingered on the guitar.

Though it is not as commonly used to solo over m7 chords as Dorian is, or over 7th chords as Mixolydian
is, the Phrygian mode can be used in both of these situations to spice up yourmelodic linesand push
your improvisations into new and exciting territory.

 Lydian

Often used interchangeably with the Ionian mode to solo over maj7 chords, the Lydian mode is afavorite
of jazz guitaristsfrom every style and background across the history of the genre.

Producing a brighter sound over a maj7 chord as compared to the Ionian mode, many jazz guitarists
prefer to use the Lydian mode to outline maj7 chords in a iim7-V7-Imaj7 progression, as compared to the
Ionian option in this instance.

Here is theinterval structureof the mode:

R M2 M3 A4 P5 M6 M7 R

Or in the key of C it would be:

C D E F# G A B C

Check out mypage on the Lydian Modeto see how it is fingered on the guitar.

Try using the Lydian mode over any tonic major sound to see how your ears react to this bright, major
mode. Then try alternating between Ionian and Lydian to hear that slight, yetimportant differencethe
#11 interval makes between these two well-used modes.

Mixolydian

The go to mode foroutlining Dominant chords, the Mixolydian mode caps of the holy trinity of major
modes, Ionian-Dorian-Mixolydian, since these three modes are used to outline the most common
progression in jazz history, iim7-V7-Imaj7.

Though it is more vanilla sounding than its related melodic minor, harmonic minor and harmonic major
cousins, the plain old Mixolydian mode is an essential tool in theimprovisational bag of tricksfor any
jazz guitarist.

Here is the interval structure of the mode:

R M2 M3 P4 P5 M6 m7 R

Or in the key of C it would be:

C D E F G A Bb C


Check out mypage on the Mixolydian modeto see how it isfingered on the guitar.

Learning to play the Mixolydian mode interchangeably with the Bebop Scale and traditionalBebop Scale
Patternsis also an essential skill that every jazz guitar players needs under their belts.

So, once youve got the Mixolydian mode under your fingers, dive into theBebop ScaleandBebop Scale
Patternsin order to take yourDominant 7 soloingto the next level.

Aeolian

Though not as popular a choice to outline Im7 chords in aiim7b5-V7alt-Im7 progressionas the Melodic
Minor mode, the Aeolian mode can be used to solo over a tonic minor sound in this situation.

As well, many players like to use the Aeolian mode overslash chords, such as F/A, which produces a
m7(b6) harmony that is perfect for bringing out the b6 interval in the Aeolian mode.

Here is the interval structure of the mode:

R M2 m3 P4 P5 m6 m7 R

Which in thekey of Cwould be:

C D- Eb F G Ab Bb C

Check out mypage on the Aeolian Modeto see how it is fingered on the guitar.

To get a better handle on the Aeolian mode and how it differs from thePhrygian and Dorianmodes, as
far as how it sounds when used over a m7 chord, try soloing for over a m7 chord, using each mode for
four to eight bars at a time.

Alternating each sound will give you a better idea of the difference between each mode, as well ashelp
you discoverwhen and where you want to apply each to one of your improvisations.

Locrian

While Dorian is the go to sound for a iim7 chord in a ii-V-I major progression, the Locrian mode is the go
to sound for aiim7b5 chordin a iim7b5-V7alt-Im7 progression.
Living between a minor sound and adiminished sound, this mode is a great way to navigate through
any m7b5 chord when you find this harmony in any tune youre working on.

Here is the interval structure for this mode:

R m2 m3 P4 D5 m6 m7 R

Or in the key of C the notes are:

C Db Eb F Gb Ab Bb C

Check out mypage on the Locrian Modeto see how it isfingered on the guitar.

Soloing over minor ii-V-Is is an essential skill for any jazz guitarist, though many of us often spend much
more time working onmajor ii-V-Isin the practice room.

If you are just introducing yourself to minor progressions, dig into the Locrian mode for a while. It will
make playing overminor ii-V-I progressionsmuch easier and enjoyable with this sound in your ears and
under your fingers.

The major scale and its related modes are essential tools for any jazz guitarist. While they may be
boring sounding compared to other modes and symmetrical scales, they are afundamental building
blockto the sound of both modern and traditional jazz, and definitely worth the time putting into them in
order to internalize them and have a strong grasp of their application to jazz guitar soloing.