Steve's Spinal Column #6

PYALA MODE

Throughout my many years as a guitar/Stick teacher one of the hardest subjects for students to understand seems to be the concepts behind the mysterious "modes." With names like Lydian and Aeolian it's no wonder that these intimidating sounding phrases confuse and bewilder the inquiring player. It ain't that difficult.

First, let me define what a mode actually is. The standard modes are basically regular Major scales with a displaced root. If we play all natural notes from C to the next C, that's called a C Major scale: C D E F G A B C

If we play the same exact notes from D to D that's called a D Dorian mode. The tones don't change but the root or resolution tone is now D instead of C: D E F G A B C D

What you have is a different flavor because of the note relationship to the new root. Each tone of the Major scale can be considered the root and thus create its own mode.

I will list them in order and give the harmonic explanation using the C Major scale as our template. Just be aware that this applies to any key.

C Major: C D E F G A B C is also called C Ionian. It means the first tone, C, is still the root.

D Dorian: D E F G A B C D. the second degree is the root. To get the flavor of the mode we relate it to the Major scale of the same name D which would have been D E F# G A B C# D

So the comparison against D Major is:

D E F G A B C D
1 2 b3 4 5 6 b7 8

You see that it has a b3 and b7, so based on those tones, the Dorian mode has a minor 7th flavor.

E Phrygian:

E F G A B C D E (compared to E Major, E F# G # A B C# D # E)
1 b2 b3 4 5 b6 b7 8
This is also minor because of the b3 but sounds very Spanish because of the half step from the root to the b2.

F Lydian:

F G A B C D E F (compared to F Major, F G A Bb C D E F)
1 2 3 #4 5 6 7 8
The #4 is also the b5 which is used often when playing jazz style harmonic lines. For further info check "The Lydian Chromatic Concept of Tonal Organization"

G Mixolydian:

G A B C D E F G ( compared to G Major, G A B C D E F# G)
1 2 3 4 5 6 b7 8
This is basically a Major scale with b7, which implies dominant 7th harmony. Play it over dominant chords (natural 3rd, b7).

A Aeolian:

A B C D E F G A ( compared to A Major, A B C# D E F# G# A)
1 2 b3 4 5 b6 b7 8
This is your natural or pure minor scale (relative minor of C Major).

B Locrian:

B C D E F G A B ( compared to B Major, B C# D# E F# G # A# B)
1 b2 b3 4 b5 b6 b7 8
Lotsa' flats. The b3 and b5 make it sound very diminished.

Fingerings for all these modes are still the same as regular Major scales. The difference is which notes get emphasized and where we hear the tensions and resolutions against the given harmony (chords).

Of course my favorite mode is The Pie Ala.....