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www.SamRussell.co.uk presents:
The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes
Page 1 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
INTRODUCTION ............................................................................................................................... 4 IMPORTANT DISTINCTION .......................................................................................................... 5 THE MAJOR MODES ........................................................................................................................ 6 THE IONIAN MODE ............................................................................................................................................ 6 Intervals ............................................................................................................................................................ 7 Chords ................................................................................................................................................................ 7 THE DORIAN MODE .......................................................................................................................................... 8 Intervals ............................................................................................................................................................ 8 Chords ................................................................................................................................................................ 8 THE PHRYGIAN MODE ...................................................................................................................................... 9 Intervals ............................................................................................................................................................ 9 Chords in the Phrygian Mode .................................................................................................................. 9 THE LYDIAN MODE ......................................................................................................................................... 10 Intervals ......................................................................................................................................................... 10 Chords ............................................................................................................................................................. 10 THE MIXOLYDIAN MODE ............................................................................................................................... 11 Intervals ......................................................................................................................................................... 11 Chords ............................................................................................................................................................. 11 THE AEOLIAN MODE ....................................................................................................................................... 12 Intervals ......................................................................................................................................................... 12 Chords ............................................................................................................................................................. 12 THE LOCRIAN MODE ....................................................................................................................................... 13 Intervals ......................................................................................................................................................... 13 Chords ............................................................................................................................................................. 13 MODES OF THE HARMONIC MINOR SCALE ........................................................................... 14 MODE 1: AEOLIAN #7 (THE HARMONIC MINOR SCALE) ......................................................................... 15 Intervals ......................................................................................................................................................... 15 Chords ............................................................................................................................................................. 15 MODE 2: LOCRIAN #6 .................................................................................................................................... 17 Intervals ......................................................................................................................................................... 17 Chords ............................................................................................................................................................. 17 MODE 3: IONIAN #5 ....................................................................................................................................... 18 Intervals ......................................................................................................................................................... 18 Chords ............................................................................................................................................................. 18 MODE 4: DORIAN #4 ...................................................................................................................................... 19 Intervals ......................................................................................................................................................... 19 Chords ............................................................................................................................................................. 19 MODE 5: PHRYGIAN #3 ................................................................................................................................. 20 INTERVALS ........................................................................................................................................................ 20 Chords ............................................................................................................................................................. 20 MODE 6: LYDIAN #2 ...................................................................................................................................... 21 Intervals ......................................................................................................................................................... 21 Chords ............................................................................................................................................................. 21 MODE 7: MIXOLYDIAN #1 ............................................................................................................................. 22 Intervals ......................................................................................................................................................... 22 Chords ............................................................................................................................................................. 22
Page 2 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
MODES OF THE MELODIC MINOR SCALE ............................................................................... 23 MODE 1 ............................................................................................................................................................. 23 Intervals ......................................................................................................................................................... 24 Chords ............................................................................................................................................................. 24 MODE 2 ............................................................................................................................................................. 25 Intervals ......................................................................................................................................................... 25 Chords ............................................................................................................................................................. 25 MODE 3 ............................................................................................................................................................. 26 Intervals ......................................................................................................................................................... 26 Chords ............................................................................................................................................................. 26 MODE 4 ............................................................................................................................................................. 27 Intervals ......................................................................................................................................................... 27 Chords ............................................................................................................................................................. 27 MODE 5 ............................................................................................................................................................. 28 Intervals ......................................................................................................................................................... 28 Chords ............................................................................................................................................................. 28 MODE 6 ............................................................................................................................................................. 29 Intervals ......................................................................................................................................................... 29 Chords ............................................................................................................................................................. 29 MODE 7 ............................................................................................................................................................. 30 Intervals ......................................................................................................................................................... 30 Chords ............................................................................................................................................................. 30 SUMMARY TABLES ........................................................................................................................ 31 INTERVALS IN EACH PARENT SCALE ........................................................................................................... 31 TRIAD CHORDS IN EACH PARENT SCALE ...................................................................................................... 31 TRIADS WITH THE DOMINANT 7 CHORD ..................................................................................................... 31 MODES THAT FIT TRIAD CHORDS .................................................................................................................. 32 MODES THAT FIT 7TH CHORDS ....................................................................................................................... 32 LISTS OF MODES AND INTERVALS ................................................................................................................. 33 Intervals in the major modes: ............................................................................................................... 33 Intervals in the harmonic minor modes ........................................................................................... 33 Intervals in the melodic minor modes .............................................................................................. 34 PITCH AXIS / MOVING BETWEEN MODES ............................................................................. 35
Page 3 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Introduction The modes are a subject for a lot of guitar players that continues to cause a lot of confusion. How to play them, how to use them, and what system to use (CAGED or 3 note-per-string?) and what they are is often poorly explained, leaving you, the improving guitarist, to suffer. This guide is going to put an end to that once and for all. By reading this eBook, you will: • Understand what the modes are • Understand how to play them • Understand what chords they can be played over • Understand “pitch axis”, or, how and when you can change modes • Understand the theory behind how the modes work • Understand how these scales are harmonised • Understand the difference between the Harmonic Minor and Melodic Minor modes, and why they exist • Have complete reference diagrams for all the modes • Have complete reference diagrams for their harmonisations • Understand how to solo all over your guitar neck Before reading, it would help if you have a basic understand of the major scale and how chords are made. Knowing the where the notes are on your guitar would be very beneficial! Each section on each mode will have diagrams, showing not only the mode, but also the context of each mode, ie how the other mode shapes fit around it. Note, that when dealing with 3 note per string modes, the last two notes on each string, of each mode, make up the first two notes on each string of the next mode (there will be diagrams to help make this more clear), so modes from the same scale all fit together.
Page 4 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Important Distinction To start of with, we need to be clear on playing in the key of a certain mode and playing through a mode. If you are playing over a G major chord progression, all your major scale modes, when played in the correct place, will be in the key of G major. Now, if you are playing over an A Dorian chord progression, the same scale shapes will now be in the key of A dorian. All the scales we are dealing with will be in the key of G. For example, when are looking at the 5th mode of the melodic minor scale, the diagram and tab will be for the 5 mode of G melodic minor.
Page 5 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
The Major Modes There are seven different modes to the major scale that we are going to explore. They are: 1. Ionian 2. Dorian 3. Phrygian 4. Lydian 5. Mixolydian 6. Aeolian 7. Locrian They all have unique sounds and can be used over various chords. We will work in the key of G so that everything fits nicely on our fretboard. Each diagram will have black dots (that show the current mode we are looking at) with numbers inside them that tell us which finger to use to play that note. There will also be grey dots, which will help show adjacent modes, so you can see how these shapes all fit together. You will understand how these shapes connect together better if you read the guide to the shapes through at least twice. Let’s start off at the beginning:
The Ionian Mode
Figure 1 - The Ionian Mode
Figure 1 shows the Ionian Mode. This is the first mode of the major scale, and it is the major scale. The numbers inside the dots are the fingers you should use to play each note. The grey dots to the left show the previous mode (Locrian) and the grey dots to the right show the next mode (Dorian). Here is the tab for how you would play it:
Page 6 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
e|--------------------------------5-7-8-B|--------------------------5-7-8-------G|--------------------4-5-7-------------D|--------------4-5-7-------------------A|--------3-5-7-------------------------E|--3-5-7-------------------------------Intervals And here are the intervals this mode contains: 1
2
3
4
5
6
7
Nice and easy! Chords When we take the first, third and fifth note in this scale, we get the following intervals: First Major Third Perfect Fifth
1 3 5
Which gives us a major triad. When we add the seventh: First Major Third Perfect Fifth Major Seventh:
1 3 5 7
We get a major seventh added in, so we get a major 7th chord. So we can play this mode over a major chord, or/and a major 7th chord that has the same root note.
Page 7 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
The Dorian Mode
Figure 2 - The Dorian Mode
Figure 2 shows the Dorian mode. This is the second mode of the major scale. Here is the tab on how to play it: e|--------------------------------7-8-10B|--------------------------7-8-10------G|--------------------5-7-9-------------D|--------------5-7-9-------------------A|--------5-7-9-------------------------E|--5-7-8--------------------------------
Intervals The Dorian mode has the following intervals: 1
2
b3
4
5
b6
b7
Chords Taking the first, third and fifth form this mode, we get the following triad: 1
b3
5
which is a minor chord. When we add the seventh, we get the following chord formula: 1
b3
5
b7
which gives us a minor chord. So we can play the Dorian mode over any minor or minor 7 chord that shares the same root note.
Page 8 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
The Phrygian Mode
Figure 3 - The Phrygian Mode
The Phrygian mode. This mode tends to have a darker sound, for reasons that we will discuss later in this eBook. Here is a tab to follow to play through this mode: e|--------------------------------------8-10-12B|------------------------------8-10-12--------G|-----------------------7-9-11----------------D|----------------7-9-10-----------------------A|---------7-9-10------------------------------E|--7-8-10-------------------------------------Intervals The Phrygian mode has the following intervals: 1
b2
b3
4
5
b6
b7
Chords in the Phrygian Mode By taking the first, third and fifth scale degrees, we get the following intervals: 1
b3
5
which gives us the triad for a minor chord. Adding the seventh, which is a b7, we get: 1
b3
5
b7
which gives us a minor seventh chord Next up: the Lydian mode!
Page 9 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
The Lydian Mode
Figure 4 - The Lydian Mode
The Lydian mode is the 4th mode in the major scale. Steve Vai uses this mode a lot in his playing. The grey notes on the left hand side show how the Phrygian mode interlocks and the grey notes on the right hand side show how the mixolydian mode interlocks. We play through the above diagram like this: e|-------------------------------------------10-12-14B|----------------------------------10-12-13---------G|--------------------------9-11-12------------------D|------------------9-10-12--------------------------A|----------9-10-12----------------------------------E|--8-10-12------------------------------------------Intervals The Lydian mode contains the following intervals: 1
2
3
#4
5
6
7
As you can see, it is a fairly unique mode, being the only major mode to contain a sharpened scale degree. Chords By taking the first, third and fifth; we get the following triad: 1
3
5
Which is a major triad. When we add the major seventh, we get: 1
3
5
7
which is a major seventh chord.
Page 10 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
The Mixolydian Mode
Figure 5 - The Mixolydian Mode
This is the fifth mode of the major scale. Figure 5 shows how we play the mixolydian mode in the key of D. To the left, the grey dots spell out the Lydian mode and to the right, they grey dots spell out the forthcoming Aeolian mode. Below is a tab on how we would play through this mode: e|----------------------------------------------12-14-15B|--------------------------------------12-13-15--------G|-----------------------------11-12-14-----------------D|--------------------10-12-14--------------------------A|-----------10-12-14-----------------------------------E|--10-12-14--------------------------------------------Intervals The mixolydian mode contains the following intervals: 1
2
3
4
5
6
b7
Chords Taking the first, third and fifth; we get the following triad: 1
3
5
which gives us a major chord. Adding the b7, we get: 1
3
5
b7
which spells out a dominant 7th chord.
Page 11 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
The Aeolian Mode
Figure 6 - The Aeolian Mode
The Aeolian mode, also known as the “natural minor”. Here, it is in the key of E. This is the sixth mode of the major scale. The following tab shows how to play up the scale: e|----------------------------------------------14-15-17B|-------------------------------------13-15-17---------G|----------------------------12-14-16------------------D|-------------------12-14-16---------------------------A|----------12-14-15------------------------------------E|-12-14-15---------------------------------------------Intervals This mode contains the following intervals: 1
2
b3
4
5
b6
b7
Chords If we take the first, third and fifth scale degrees, we get: 1
b3
5
which spells out a minor chord. Adding the b7, we get: 1
b3
5
b7
and this gives us a minor 7th chord. As a side note, if we remove the 2nd and b6 from this scale, we create the minor pentatonic scale.
Page 12 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
The Locrian Mode
Figure 7 - The Locrian Mode
The 7th and final mode of the major scale. It is in the key of F#. The grey dots to the left show the Aeolian mode, and the grey dots to the right show the Ionian mode. The following tab shows how to play through it: e|----------------------------------------------15-17-19B|-------------------------------------15-17-19---------G|----------------------------14-16-17------------------D|-------------------14-16-17---------------------------A|----------14-15-17------------------------------------E|-14-15-17---------------------------------------------Intervals This mode contains the following intervals: 1
b2
b3
4
b5
b6
b7
Chords Taking the frst, third and fifth in this mode gives us: 1
b3
b5
which spells out a diminished chord. Adding the b7, we get: 1
b3
b5
b7
which spells out a half diminished chord.
Page 13 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Modes of the Harmonic Minor Scale The harmonic minor scale is a fantastic sounding scale used all over heavy metal and neoclassical music. It has a very unique and distinctive sound. The interval given in the title of each mode is in relation to the scale degree of that mode, not the interval itself. For example, the name “Aeolian #7” means we are sharpening the 7th degree of the Aeolian mode. We are not saying that this mode contains a #7th. There are 7 different modes to the harmonic minor scale that we are going to look at: 1. Mode 1: Aeolian #7 2. Mode 2: Locrian #6 3. Mode 3: Ionian #5 4. Mode 4: Dorian #4 5. Mode 5: Phrygian #3 6. Mode 6: Lydian #2 7. Mode 7: Mixolydian #1 The harmonic minor scale has the following intervals: 1
2
b3
4
5
b6
7
So we have a b3 and b6, but now, when compared to the natural minor, we have a major 7th, not a minor 7th. The purpose of this (as you will see later), was so that the V chord from this scale would be a dominant chord, leading strongly to the I chord; whereas in the natural minor scale, the V chord is a minor chord, which resolves very weakly to the root. Again, we will work in the key of G, so we are going to be looking at all the modes in G harmonic minor. Let’s get started!
Page 14 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Mode 1: Aeolian #7 (The Harmonic minor scale)
Figure 8 - Aeolian #7
This is the first mode of the harmonic minor scale, in the key of G. The grey dots to the left hand side give the 7th mode of the harmonic minor scale (mixolydian #1) and the dots to the right hand side give the 2nd mode of the harmonic minor scale (Locrian #6). The following tab shows how to play through the above diagram: e|--------------------------------5-6-8-B|--------------------------4-7-8-------G|--------------------3-5-7-------------D|--------------4-5-7-------------------A|--------3-5-6-------------------------E|--3-5-6-------------------------------Intervals We get the following intervals in this mode: 1
2
b3
4
5
b6
7
The distance between the b6th and the 7th is 3 frets (a minro third), which is what helps give this scale such a distinctive sound. Chords Taking the first, third and fifth, we get: 1
b3
5
Page 15 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
which gives us a minor chord, and adding the 7th we get: 1
b3
5
7
which gives us a min/maj chord.
Page 16 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Mode 2: Locrian #6
Figure 9 - Locrian #6
This is the second mode in the harmonic minor scale. You can think of is as the locrian mode, where we have raised the 6th degree by a semi tone (one fret). Here is a tab to show how you would play through this diagram: e|---------------------------------6-8-10B|--------------------------7-8-10-------G|--------------------5-7-8--------------D|--------------5-7-8--------------------A|--------5-6-9--------------------------E|--5-6-8--------------------------------Intervals 1
b2
b3
1
b3
b5
1
b3
b5
4
b5
6
b7
Chords
diminished triad b7
half diminished
Page 17 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Mode 3: Ionian #5
Figure 10 - Ionian #5
This is the third mode of the harmonic minor scale. We get it by raising the 5th degree of the Ionian mode by a semi tone. To the left, the Locrian #6 has been outlined, and to the right, the Dorian #4 has been outlined. Here is a tab to play it: e|--------------------------------------8-10-11-B|------------------------------8-10-11---------G|-----------------------7-8-11-----------------D|----------------7-8-10------------------------A|---------6-9-10-------------------------------E|--6-8-10---------------------------------------
Intervals 1
2
3
1
3
#5
1
3
#5
4
#5
6
7
Chords
Augmented 7
Augmented major 7
Page 18 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Mode 4: Dorian #4
Figure 11 - Dorian #4
The fourth mode of the harmonic minor scale, Dorian #4. The grey dots to the left outline the previous mode, Ionian #5, and the grey dots to the right outline the next mode, Phrygian #3. Here is a tab to play through the above mode: e|-------------------------------------------10-11-14-B|----------------------------------10-11-13----------G|--------------------------8-11-12-------------------D|------------------8-10-12---------------------------A|----------9-10-12-----------------------------------E|--8-10-11-------------------------------------------Intervals 1
2
b3
1
b3
5
1
b3
5
#4
5
6
b7
Chords
minor chord b7
minor 7th
Page 19 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Mode 5: Phrygian #3
Figure 12 - Phrygian #3
The fifth mode to the harmonic minor scale, the Phrygian #3. Again, bear in mind that the “#3” in the title refers to sharpening the third degree of the Phrygian mode, which makes the flat third a major third. Compare this diagram to the Phrygian mode on page 9 if you are unsure. This mode is also called the “Phrygian Dominant”, for reasons you will see in the “Chords” setion. The grey dots on the left spell out the previous mode, the Dorian #4, and the grey dots to the right spell out the next mode, the Lydian #2. Here is a tab to play through the above diagram: e|----------------------------------------------11-14-15B|-------------------------------------11-13-15---------G|----------------------------11-12-14------------------D|-------------------10-12-13---------------------------A|----------10-12-13------------------------------------E|-10-11-14----------------------------------------------
Intervals 1
b2
3
1
3
5
1
3
5
4
5
b6
b7
Chords
major b7
dominant 7
Page 20 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Mode 6: Lydian #2
Figure 13 - Lydian #2
The sixth mode to the harmonic minor scale, the Lydian #2. The grey dots to the left spell out the preceding mode, Phrygian Dominant, and the grey dots to the right spell out the next mode, Mixolydian #1 (more on this title in the next section). The following tab shows how to play the above diagram: e|----------------------------------------------14-15-17B|-------------------------------------13-15-16---------G|----------------------------12-14-15------------------D|-------------------12-13-15---------------------------A|----------12-13-15------------------------------------E|-11-14-15---------------------------------------------Intervals 1
#2
3
1
3
5
1
3
5
#4
5
6
7
Chords
major 7
major 7
Page 21 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Mode 7: Mixolydian #1
Figure 14 - Mixolydian #1
The final mode in the harmonic minor scale. Now, I know what you are thinking, how can any scale possibly have a #1!? Think of this as a way to explain the shape of the scale than literally being a scale degree. Draw a diagram of the mixolydian mode, then take the root note and raise it a semi tone. You will get the above shape. Neat. The grey dots to the left show the Lydian #2 mode, and the grey dots to the right show the Aeolian #7 mode. The following tab explains how to play through the above diagram: e|----------------------------------------------15-17-18B|-------------------------------------15-16-19---------G|----------------------------14-15-17------------------D|-------------------13-16-17---------------------------A|----------13-15-17------------------------------------E|-14-15-17---------------------------------------------Intervals 1
b2
b3
1
b3
b5
1
b3
b5
b4
b5
b6
bb7
Chords
diminished bb7
full diminished
Page 22 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Modes of the Melodic Minor Scale The melodic minor scale is another scale that has some great sounds, but is often neglected by electric guitar players. The modes in this scale don’t really have any names, so we will refer to them as mode 1, mode 2, etc etc. The intervals in the melodic minor mode are: 1
2
b3
4
5
6
7
So we have a minor scale (due to the b3), however, we have a ♮6 and ♮7, instead of a b6 and b7. These gives a stronger resolution to the root when moving from the leading tone, and avoids the big interval jump that we get in the Harmonic Minor scale. Again, we are going to work in the key of G, so the following will be the modes of G melodic minor. So let’s get started and take a look at these modes:
Mode 1
Figure 15 - Mode 1
The first mode of the melodic minor scale. The grey dots to the right outline the previous mode (Mode 7) and the grey dots to the right outline the next mode (Mode 2). Here is a tab on how to play through the diagram: e|--------------------------------5-6-8-B|--------------------------5-7-8-------G|--------------------3-5-7-------------D|--------------4-5-7-------------------A|--------3-5-7-------------------------
Page 23 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
E|--3-5-6--------------------------------
Intervals 1
2
b3
1
b3
5
1
b3
5
4
5
6
7
Chords
minor 7
major/minor7
Page 24 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Mode 2
Figure 16 - Mode 2
The second mode in the melodic minor scale. Grey dots to the left show Mode 1 and the grey dots to the right show Mode 3. Here is a tab on how to play through this scale: e|---------------------------------6-8-10B|--------------------------7-8-10-------G|--------------------5-7-9--------------D|--------------5-7-8--------------------A|--------5-7-9--------------------------E|--5-6-8--------------------------------Intervals 1
b2
b3
1
b3
5
1
b3
5
4
5
6
b7
Chords
minor b7
minor 7
Page 25 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Mode 3
Figure 17 - Mode 3
Mode 3 of the melodic minor scale. Due to the intervals in this scale, some people call it the Lydian Augmented. Grey dots to the left show the outline of Mode 2 and the grey dots to the right give an outline for Mode 4. Here is a tab to play through it: e|--------------------------------------8-10-12-B|------------------------------8-10-11---------G|-----------------------7-9-11-----------------D|----------------7-8-10------------------------A|---------7-9-10-------------------------------E|--6-8-10--------------------------------------Intervals 1
2
3
1
3
#5
1
3
#5
#4
#5
6
7
Chords
augmented 7
augmented major 7
Page 26 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Mode 4
Figure 18 - Mode 4
Mode 4 of the melodic minor scale. Due to the scale intervals (a major third and a flat seven), this is sometimes called the Lydian Dominant. The grey dots to the left outline Mode 3, and the grey dots to the right outline Mode 5. Here is a tab on how to play this mode: e|-------------------------------------------10-12-14B|----------------------------------10-11-13---------G|--------------------------9-11-12------------------D|------------------8-10-12--------------------------A|----------9-10-12----------------------------------E|--8-10-12-------------------------------------------
Intervals 1
2
3
1
3
5
1
3
5
#4
5
6
b7
Chords
major b7
dominant 7
Page 27 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Mode 5
Figure 19 - Mode 5
The fifth mode of the melodic minor scale. The grey dots to the left spell out Mode 4 and the grey dots to the right spell out Mode 6. Here is a tab to play through the diagram: e|----------------------------------------------12-14-15B|-------------------------------------11-13-15---------G|----------------------------11-12-14------------------D|-------------------10-12-14---------------------------A|----------10-12-13------------------------------------E|-10-12-14---------------------------------------------Intervals 1
2
3
1
3
5
1
3
5
4
5
b6
b7
Chords
major b7
dominant 7
Page 28 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Mode 6
Figure 20 - Mode 6
The sixth mode of the melodic minor scale. Grey dots to the left spell out Mode 5 and the grey dots to the right spell out Mode 7. Here is a tab on how to play through it: e|----------------------------------------------14-15-17B|-------------------------------------13-15-17---------G|----------------------------12-14-15------------------D|-------------------12-14-16---------------------------A|----------12-13-15------------------------------------E|-12-14-15---------------------------------------------Intervals 1
2
b3
1
b3
b5
1
b3
b5
4
b5
6
b7
Chords
diminished b7
half diminished
Page 29 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Mode 7
Figure 21 - Mode 7
The final mode of the melodic minor scale. The grey dots to the left spell out Mode 6, and the grey dots to the right spell out Mode 1 (after Mode 7, we loop back into Mode 1). Here is a tab on how to play this mode: e|----------------------------------------------15-17-18B|-------------------------------------15-17-19---------G|----------------------------14-15-17------------------D|-------------------14-16-17---------------------------A|----------13-15-17------------------------------------E|-14-15-17---------------------------------------------Intervals 1
b2
b3
1
b3
b5
1
b5
b5
b4
b5
b6
b7
Chords
diminished b7
half diminished
Page 30 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Summary Tables This section contains different summaries of how the modes and chords are related, so you can compare them for yourself.
Intervals in Each Parent Scale Major scale:
1
2
3
4
5
6
7
Harmonic minor:
1
2
b3
4
5
b6
7
Melodic minor:
1
2
b3
4
5
6
7
Triad chords in each parent scale Major scale:
I
ii
iii
IV
V
vi
viio
Harmonic minor:
i
iio
bIII+ iv
V
bVI
viio
Melodic minor:
i
ii
bIII+ IV
V
vio
viio
Triads with the dominant 7 chord Major scale:
I
ii
iii
IV
V7
vi
viio
Harmonic minor:
i
iio
bIII+ iv
V7
bVI
viio
Melodic minor:
i
ii
bIII+ IV7
V7
vio
viio
Page 31 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Modes that fit triad chords Major Ionian Lydian Mixolydian Phrygian #3 Lydian #2 MM Mode 4 MM Mode 5
Minor Dorian Phrygian Aeolian Aeolian #7 Dorian #4 MM Mode 1 MM Mode 2
Augmented Ionian #5 MM Mode 3
Diminished Locrian Locrian #6 Mixolydian #1 MM Mode 6 MM Mode 7
Modes that fit 7th chords Major 7 Ionian Lydian Lydian #2
Augmented Major 7 Ionian #5 MM Mode 3
Minor 7 Dorian Phrygian Aeolian Dorian #4 MM Mode 2
Dominant 7 Mixolydian Phyrgian #3 MM Mode 4 MM Mode 5
Min/Maj 7
Half diminished
Full diminished
Aeolian #7 MM Mode 1
Locrian Locrian #6 MM Mode 6 MM Mode 7
Mixolydian #1
(MM stands for Melodic Minor).
Page 32 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Lists of modes and intervals Intervals in the major modes: Ionian 1 2 3
4
5
6
7
Dorian
1
2
b3
4
5
6
b7
Phrygian
1
b2
b3
4
5
b6
b7
Lydian
1
2
3
#4
5
6
7
Mixolydian
1
2
3
4
5
6
b7
Aeolian
1
2
b3
4
5
b6
b7
Locrian
1
b2
b3
4
b5
b6
b7
Intervals in the harmonic minor modes Aeolian #7 1 2 b3 4
5
b6
7
Locrian #6
1
b2
b3
4
b5
6
b7
Ionian #5
1
2
3
4
#5
6
7
Dorian #4
1
2
b3
#4
5
6
b7
Phrygian #3
1
b2
3
4
5
b6
b7
Lydian #2
1
#2
3
#4
5
6
7
Mixolydian #1 1
b2
b3
b4
b5
b6
bb7
Page 33 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Intervals in the melodic minor modes Mode 1: 1 2 b3 4
5
6
7
Mode 2:
1
b2
b3
4
5
6
b7
Mode 3:
1
2
3
#4
#5
6
7
Mode 4:
1
2
3
#4
5
6
b7
Mode 5:
1
2
3
4
5
b6
b7
Mode 6:
1
2
b3
4
b5
6
b7
Mode 7:
1
b2
b3
b4
b5
b6
b7
Page 34 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
Pitch Axis / Moving Between Modes Pitch axis theory is a cool name for a very simple idea. Playing different modes with the same root. For example, let’s say we are playing over a C major triad. Using the above tables, you can find all the modes that contain (or fit over) a major chord, they will all harmonically fit over the C major chord (when they are in the key of C). So for example, C Ionian: e|----------------------------------------10-12-13B|---------------------------------10-12-13-------G|-------------------------9-10-12----------------D|-----------------9-10-12------------------------A|---------8-10-12--------------------------------E|-8-10-12----------------------------------------And C Lydian: e|----------------------------------------10-12-14B|---------------------------------10-12-13-------G|-------------------------9-11-12----------------D|-----------------9-10-12------------------------A|---------9-10-12--------------------------------E|-8-10-12----------------------------------------Will both work nicely over the C major chord.
Page 35 The Ultimate Guide to the Major, Harmonic Minor and Melodic Minor Modes © Sam Russell 2015 www.SamRussell.co.uk
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