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1. Chapter Two: Working with Major Modes
• Prerequisites:
o Pentatonic Scale, Blues Scale
o Review of Canvas Approach
o Review of 12 bar Blues Structure
• Scales and Modes:
• Tools for Practice:
o Metronome
o Chromatic Tuner
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2. About Major Modes
We are going to begin our study with an examination and application of Major Modes to the blues. Each
mode is created by starting on a different note of the major scale; by starting on a different note, a new
mode is created. Each of these scales/modes can then be applied to [corresponding] chord types.
There are seven modes that can be derived from a major scale. They are:
• Ionian ‐ MA7
• Dorian ‐ ‐7
• Phyrigian ‐ ‐7(b13, b9)
• Lydian ‐ MA7(#11)
• Mixolydian ‐ 7
• Aolean – ‐7(b13)
• Locrian – ‐7(b13,b9,b5)
For example, C major yields seven (7) different modes.
• C‐Ionian ‐ MA7
• D ‐ Dorian ‐ ‐7
• E ‐ Phyrigian ‐ ‐7(b13, b9)
• F ‐ Lydian ‐ MA7(#11)
• G ‐ Mixolydian ‐ 7
• A ‐ Aolean – ‐7(b13)
• B ‐ Locrian – ‐7(b13,b9,b5)
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3. Figure 2.1 – Modes of the C Major Scale
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4. This method can be applied to every major scale. Twelve (12) major scales multiplied by seven (7)
modes = 84 modes; each with its own tone color and function.
Practice Tips
1. Learn each scale slowly (quarter note = 120). Start in one key, then after getting solid
there, move on to another key.
2. Play all scales around the circle of 4ths and chromatically in ½ steps.
3. Allow the sound of each scale to permeate your mind. Let each scale ‘get inside your
head’.
Major Modes Applied to Blues Progressions
Applying major modes within the blues can give the improviser a solid base from which to create
different melodies, shapes, and patterns while maintaining consonance with each chord. This is the
basis for ‘chord/scale theory’ – a practice in which each chord has a corresponding scale or mode.
A ‘standard’ twelve (12) bar blues presents a great opportunity for the improviser to use major modes.
Each bar of the blues has its own tone color. In this example, we apply a major mode to each measure
of the ‘standard’ 12 bar blues. The notes will be [diatonic] to each chord/scale relationship. Another
approach would be to [match] each chord with a major mode. Here’s an example:
• Bb7 = Bb mixolydian
• Eb7 = Eb mixolydian
• Bb7 = Bb mixolydian
• F‐7 – Bb7 = F dorian – Bb7 mixolydian
• Eb7 = Eb mixolydian
• E o (diminished) = E diminished (not a major mode)
• Bb7 = Bb mixolydian
• D07(half‐diminished) – G13 (#11, #9, b9) = D locrian, G phrygian (not a major mode)
• C‐7 = C dorian
• F7 = F mixolydian
• D‐7 – G7 = D dorian, G mixolydian
• C‐7 – F7 = C dorian, F mixolydian
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5.
Figure 2.2 – Modes For The Blues (Full Octave Scales)
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6. Practice Tips
1. Learn each blues exercise slowly (quarter note = 120).
2. Play each blues exercise three different ways; ascending, descending, and alternating. Get
secure in ascending, then move on to the other two patterns.
3. Add tip # 3 here.
SUMMARY
In contemporary music chords and scale types are closely related; each chord type can be associated
with some kind of scale. In this chapter you’ve learned that seven (7) different modes, each with its
own [tonality] can be derived from a single major scale. These modes can be applied to different chord
types and used as foundation for the creation of melodies for improvisation.
Using the blues is a great way to get used to associating different chord types with different types of
scales. The ‘standard’ 12 bar blues contains ample opportunity for an improviser to apply mixolydian,
dorian, and locrian modes. These associations are diatonic to the [tonality].
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7. WRITTEN EXERCISES
1.) What are the modes that can be derived from these major scales?
a. Bb major
b. E major
c. A major
d. Ab major
2.) Match the appropriate scale with each chord:
a. BbMA7
b. Eb7
c. D‐7
d. C‐7
e. F7
3.) Match the appropriate scale with each chord:
a. BbMA7
b. Eb7
c. D‐7
d. C‐7
e. F7
4.) Match the appropriate scale with each chord:
a. BbMA7
b. Eb7
c. D‐7
d. C‐7
e. F7
5.) Match the appropriate scale with each chord:
a. BbMA7
b. Eb7
c. D‐7
d. C‐7
e. F7
6.) Match the appropriate scale with each chord:
a. BbMA7
b. Eb7
c. D‐7
d. C‐7
e. F7
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8. PLAYING EXERCISES
Instructions: Play this exercise with quarter note = 120. Practice this in Bb
only (at first), using traditional jazz emphasis (swung 8th notes, with typical
accenting). Once comfortable with this ascending pattern, also play the exercise
descending (reverse the pattern and play it backwards), then alternating (ascending
in one measure, then descending the next measure). Be sure to memorize this
exercise so that you can do it anywhere at anytime.
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9.
Instructions: Play this exercise with quarter note = 120. Practice this in Bb only
(at first), using traditional jazz emphasis (swung 8th notes, with typical accenting).
Once comfortable with this ascending pattern, also play the exercise descending
(reverse the pattern and play it backwards), then alternating (ascending in one
measure, then descending the next measure). Be sure to memorize this exercise so
that you can do it anywhere at anytime.
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10.
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11.
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12.
Insert: Unison Relationships vs. Diatonic Relationships
At the foundation of jazz harmony are the study of chords and scales. For the student, this approach is
generally handled in one of two ways.
1.) “Unison” Relationships – chords and scales are compared to each other from the root (usually
starting with the major key). For example – C major
Major C D E F G A B
1 2 3 4 5 6 7
Dorian C D Eb F G A Bb
1 2 b3 4 5 b6 (b13) b7
Phryrigian C Db Eb F G Ab Bb
1 2 b3 4 5 b6 b7
Lydian C D E F# G A B
1 2 3 4 (#11) 5 6 7
Mixolydian C D E F G A Bb
1 2 3 4 5 6 b7
Aolean C D Eb F G Ab Bb
1 2 b3 4 5 b6 (b13) b7
Locrian C Db Eb F Gb Ab Bb
1 2 b3 4 b5 b6 (b13) b7
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13.
2.) Diatonic Relationships ‐ chords and scales are derived from the notes diatonic to that chord’s
root or scale’s root. For example – C Major:
Major C D E F G A B
1 2 3 4 5 6 7
Dorian D E F G A B C
2 3 4 5 6 7 1
Phryrigian E F G A B C D
3 4 5 6 7 1 2
Lydian F G A B C D E
4 5 6 7 1 2 3
Mixolydian G A B C D E F
5 6 7 1 2 3 4
Aolean A B C D E F G
6 7 1 2 3 4 5
Locrian B C D E F G A
7 1 2 3 4 5 6
In this text, we’ll use both approaches ‐ showing you the methods to use to create chords and scales
from diatonic and parallel relationships found in each chord and scale. Both methods are important for
your development as an improviser. Unison relationships provide a way to identify scales and chords
compared to each other (via the root),while diatonic relationships provide a means for the performer to
create different tonalities diatonic to the chord and scale.
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14. Insert 1 ­ Major Modes Unison Relationships – C Major Example
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15.
Insert.2 ­ Major Modes Diatonic Relationships – C Major Example
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16.
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