THANKS FRET THERE ARE 12 MORE TO POST I WILL SEND THEM TO YOU THANKS AGAIN
Ok, I know some of you have been waiting for this one so here it is. On this page THE POST ABOVE BY FRET , you'll see all of the modes as you would play them on your guitar to make up a certain key.
I am going to show all of the modes in the key of E Aeolian first since it is a popular scale for blues, rock, and many other styles of music. I am not going to explain how the diagrams work here as you should understand them by the time you get to this lesson. If you do not understand the diagrams, there is a lesson on them in the first section.
So without further delay, here is the complete key of E Aeolian :
note : this is very important and must be learned
If you start on ANY note and move forward following this pattern of intervals, you will find the "ionian mode" (or the major scale) in your chosen key (the note you started on).
all of these notes are played using the E as your root note, then you will be playing E Aeolian.
As we talked about in the previous lesson, every modal scale you play actually contains seven different scales in seven different keys. Notice how the first note of Ionian falls on the G note. That would make that position G Ionian, and if you played all of the same notes for E Aeolian but used the G note as the root, the whole entire thing would become G Ionian. So what we have here is E Aeolian and six other modes that fall into different keys.
So E Aeolian actually includes these seven scales in thier respective keys :
1. E Aeolian
2. F# Locrian
3. G Ionian
4. A Dorian
5. B Phrygian
6. C Lydian
7. D MixolydiaN
THE LETTER REPRSENT THE MODE IN THE KEY OF E
A=AEOLIAN
I = IONIAN ECT.
AS IN MODE 1 EXAMP Notice the optional notes, you must choose one or the other. The notes with the dots in them are NOT the root notes, but rather "optional" notes. There are two in each position and they are the exact same note, so you must choose the one that is more comfortable for you and not
The 7 modal formulas will show us how the other scales relate to ionian. We will start off by assuming that ionian is :
1 2 3 4 5 6 7 1
One letter for each of the seven notes. By assuming this information, we can now label the other scales and have something to relate it to. I will explain further below.
The 7 modal formulas are :
IONIAN - 0 sharps, 0 flats 1 2 3 4 5 6 7 1
DORIAN - 2 flats 1 2 b3 4 5 6 b7 1
PHRYGIAN - 4 flats 1 b2 b3 4 5 b6 b7 1
LYDIAN - 1 sharp 1 2 3 #4 5 6 7 1
MIXOLYDIAN - 1 flat 1 2 3 4 5 6 b7 1
AEOLIAN - 3 flats 1 2 b3 4 5 b6 b7 1
LOCRIAN - 5 flats 1 b2 b3 4 b5 b6 b7 1
What this means is that to get dorian (which has two flats) you would take ionian and just flat the 3rd and 7th notes. This is because it will be all of the exact same notes as ionian EXCEPT for the 3rd and the 7th, as the chart above shows.
Its a good idea to have these formulas memorized, but I found them difficult to memorize this way. We will go on to "the order of flats" as covering that now seems to make this easier to remember.
he order of flats is something we learn just to get an idea of how each scale is different from the others. It gives us a kind of spectrum of how each sounds, as well how each mode relates to each other. This is just a way of looking at them in a different sense and in no way changes the order of the modes the way you have already memorized them. The modes are always in the order that you learned them in previous lessons, but since this is the internet and things need to be a clear as possible I figured I try to make it clearer.
What we are going to do is jumble the modes up into the order that they would be in according to the way they sound. This will help us see more clearly the difference between modes and the way they sound, and also helps to make the modal formulas easier to remember.
The Order Of Flats
LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
1 sharp -- 1 flat 2 flats 3 flats 4 flats 5 flats
# -- b bb bbb bbbb bbbbb
You can now see that each of the 7 modes are one neat step away from the next. Its starting to look like these scales aren't a bunch of meaningless theory, but that they actually fit together nice and neatly, each one serving a purpose that the others can't.
We can also now see a spectrum of sounds here, ranging from bright and happy to dark and dissident. Generally, the scales that use major notes with no flats are very happy and bright sounding. The scales that use a lot of flats have a darker mood.
I will give a general and vague sense of what each scale sounds like and what it might be used for. However, my opinions on these will be very general and not something to be taken very seriously, its just a guide to help you get started. Many good musicians can alter the feeling of any scale with playing techniques and such, so just get a basic idea here and then see what you can do with it.
Spectrum of modes based on how they sound
LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
brightest ---- ---- ---- ---- ---- darkest
LYDIAN - very bright, upbeat. Good for anything very bright and upbeat such as pop, kids music, etc
IONIAN - very sweet, happy, bright. Perfect for happy songs, love songs, etc. Used for almost all childrens music
MIXOLYDIAN - middle of the road bright scale. Good for light rock, pop, country, etc
DORIAN - perfect middle ground. Not too bright, not to dark. Good for country, rock, blues.
AEOLIAN - gritty, bluesy, warm sounding rock scale. This is the standard rock and blues scale.
PHRYGIAN - dark, classical metal sound. A Randy Rhoads favorite.
LOCRIAN - very dark, dissident, brooding. Good for heavy metal, dark classical, etc
Now that we have looked at what this all means to the 'lehman', we can go on and learn a little more about the details of how this works.
Remember when I said that understanding the order of flats would make memorizing the modal formulas easier ? Now we get to find out why this is. Each of the scales that include flats, which would be 5 of them (most), are really the same as the one before with the addition of one new flat.
LYDIAN #4 -- -- -- -- -- --
IONIAN -- 0/0 -- -- -- -- --
MIXOLYDIAN -- -- b7 -- -- -- --
DORIAN -- -- b7 b3 -- -- --
AEOLIAN -- -- b7 b3 b6 -- --
PHRYGIAN -- -- b7 b3 b6 b2 --
LOCRIAN -- -- b7 b3 b6 b2 b5
So if you can remember the order that the flats come in, memorizing the modal formulas becomes much easier. Once you learn the order of flats, you should have a much better understanding of what makes each scale different, and why each one sounds the way it does.
he order of flats is something we learn just to get an idea of how each scale is different from the others. It gives us a kind of spectrum of how each sounds, as well how each mode relates to each other. This is just a way of looking at them in a different sense and in no way changes the order of the modes the way you have already memorized them. The modes are always in the order that you learned them in previous lessons, but since this is the internet and things need to be a clear as possible I figured I try to make it clearer.
What we are going to do is jumble the modes up into the order that they would be in according to the way they sound. This will help us see more clearly the difference between modes and the way they sound, and also helps to make the modal formulas easier to remember.
The Order Of Flats
LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
1 sharp -- 1 flat 2 flats 3 flats 4 flats 5 flats
# -- b bb bbb bbbb bbbbb
You can now see that each of the 7 modes are one neat step away from the next. Its starting to look like these scales aren't a bunch of meaningless theory, but that they actually fit together nice and neatly, each one serving a purpose that the others can't.
We can also now see a spectrum of sounds here, ranging from bright and happy to dark and dissident. Generally, the scales that use major notes with no flats are very happy and bright sounding. The scales that use a lot of flats have a darker mood.
I will give a general and vague sense of what each scale sounds like and what it might be used for. However, my opinions on these will be very general and not something to be taken very seriously, its just a guide to help you get started. Many good musicians can alter the feeling of any scale with playing techniques and such, so just get a basic idea here and then see what you can do with it.
Spectrum of modes based on how they sound
LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
brightest ---- ---- ---- ---- ---- darkest
LYDIAN - very bright, upbeat. Good for anything very bright and upbeat such as pop, kids music, etc
IONIAN - very sweet, happy, bright. Perfect for happy songs, love songs, etc. Used for almost all childrens music
MIXOLYDIAN - middle of the road bright scale. Good for light rock, pop, country, GOSPEL
DORIAN - perfect middle ground. Not too bright, not to dark. Good for country, rock, blues.
AEOLIAN - gritty, bluesy, warm sounding rock scale. This is the standard rock and blues scale.
PHRYGIAN - dark, classical metal sound. A Randy Rhoads favorite.
LOCRIAN - very dark, dissident, brooding. Good for heavy metal, dark classical, etc
Remember when I said that understanding the order of flats would make memorizing the modal formulas easier ? Now we get to find out why this is. Each of the scales that include flats, which would be 5 of them (most), are really the same as the one before with the addition of one new flat.
LYDIAN #4 -- -- -- -- -- --
IONIAN -- 0/0 -- -- -- -- --
MIXOLYDIAN -- -- b7 -- -- -- --
DORIAN -- -- b7 b3 -- -- --
AEOLIAN -- -- b7 b3 b6 -- --
PHRYGIAN -- -- b7 b3 b6 b2 --
LOCRIAN -- -- b7 b3 b6 b2 b5
PLEASE AND I AM ASKING NICELY PLEASE DO NOT HI JACK SOMEONES THREAD THAT IS WHAT CREATE TOPIC MEANS
I WOULD LOVE THE HELP BUT MODES WERE ON THE 1 PAGE OF THIS I AM MOVING FROM MELODIC MINOR TO HARMONIC
LAST POST WAS MELODIC MINOR
