Lessons 13 Other Modes

Other Modes

The seven Primary Modes used in modern Western music have been thoroughly explained in these posts, including some of the history of each. These seven Modes are called the Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian Modes. Thus, there is no need to repeat that information in this post. For more in-depth explanations of the Primary Modes and their histories, and other historical and foreign Modes, Wikipedia is a good source. Go to https://wikipedia.org/wiki/Mode_(music). Here, I will lay out one subsection from that source, labeled as “Other Types” of Modes, because I deem these other Modes the most pertinent to modern guitar-playing, especially applicable in Jazz.

Here, notation is given using standard guitar nomenclature. Thus, for instance, without a specifier, a plain number from 1 to 7 does not necessarily indicate a “perfect” note in a given scale. Rather, notation will be given based on the Tonic Major Scale with the notes denoted as 1, 2, 3, 4, 5, 6, maj7, 8, where 1 is the root and 8 is the octave of the root, though the Modes actually specify only seven notes, since it is assumed that the 8th is the octave of the root. Hence, the perfect 7th is denoted maj7, while the dominant 7th is denoted by only a plain 7. All the other numbers indicate notes in the Tonic Major Scale regardless of whatever note may be used as the root. Be aware, however, that this differs from music theory not tailored for guitar, which uses the flatted 7 for the dom7, and a plain 7 for the maj7. Here, however, I wish to use guitar-oriented jargon, so the “maj” specifier indicates the perfect 7th. For altered notes, I will use the “m” for minor, the minus sign “-“ for diminished or flatted, and the plus sign “+” for augmented or sharped. Also, I use primes to indicate octaves. That is,

1’ = 1st octave of 1; 1’’ = 2nd octave of 1; etc.

While Modes include scales and chords, it is the scale that defines the Mode, because the chords are derived from the scale. Also, just as the seven Primary Mode names correspond to following the notes of the Ionian Major Key, names for these other Modes will differ from those but their names likewise correspond to the notes in a given Key, with the first Mode-name below as the Root Mode, and which gives that Key its name.

In the following, each group of Modes is based on the first Mode’s scale being used as the Key in which all the remaining Modes exist in that Key; obtained by taking the scale roots in ascending order in the Key, with the first as the Root of the Key itself. And the scales for the guitar are shown only for the Key Scale for each group, since the Mode Scales in one octave are each contained within the Key Scale covering two octaves, as shown. For extending the given scales, or using different patterns for them, print-out blank templates of appropriate size from the Lessons giving Blank Fretboard Templates and use the printouts to make diagram of your own. Tip: Use a pencil, so mistakes can be easily erased.

Also, several chord names are specified for each Mode, which are chords the Mode’s scale goes with best, where each example chord’s root is based on the Key’s root being at an A on either the 5th or 6th string. This is done simply to keep chord names in alphabetical order. Obviously, once a scale is memorized, its root can be any note on the 5th or 6th strings.

Harmonic Major Key

Harmonic Major Mode

Scales:

Key Root is lowest note in scale (it is assumed the guitarist can determine its higher octaves).

Note-Numbers in One Octave: 1, 2, 3, 4, 5, -6, maj7, 1’.

Chords: Aadd-6, Amaj7(add-6), Amaj9(add-6).

Tip for Soloist: If there are three half-steps between two consecutive notes in a scale, and the chord is relatively dissonant, a fast chromatic run is acceptable therein.

Diminished Dorian Mode (or Altered Locrian 1)

Chords: Bm-5, Bm6-5, Bm7-5, Bm9-5.

Altered Phrygian Mode 1 (or Altered Augmented Mixolydian)

Note Numbers in One Octave: 1, -2, m3, -4, 5, -6, 7, 1’. [1 is Harmonic Major’s 3.]

Chords: C#m(add-4), C#m(add-6), C#m7(add-6), C#m(add-9), C#m7(add-9).

Altered Lydian Mode 1 (or Altered Melodic Minor)

Note Numbers in One Ocatve: 1, 2, m3, +4, 5, 6, maj7, 1’. [1 is Harmonic Major’s 4.]

Chords: Dm(add+4), Dm(maj7), Dm(maj7)(add+4).

Altered Mixolydian Mode 1

Note Numbers in One Octave: 1, -2, 3, 4, 5, 6, 7, 1’. [1 is Harmonic Major’s 5.]

Chords: E, E4, E6, E7, E7(add-9), Eadd-9.

Altered Augmented Lydian Mode

Note Numbers in One Octave: 1, +2, 3, +4, +5, 6, maj7, 1’. [1 is Harmonic Major’s 6.]

Chords: F+5, Fmaj7+5, F+5(add+9), Fmaj7+5(add+9), F+5(add+11).

Altered Locrian Mode 1

Note Numbers in One Octave: 1, -2, m3, 4, -5, -6, -7, 1’. [1 is Harmonic Major’s maj7.]

Chords: G#m-5, G#m-5(add-6), G#m-7-5, G#m-7-5(add-9).

Double Harmonic Major Key

Double Harmonic Major Mode

Scales:

Key Root is lowest note in scale (it is assumed the guitarist can determine its higher octaves).

Note Numbers in One Octave: 1, -2, 3, 4, 5, -6, maj7, 1’.

Chords: Aadd-6, Amaj7, Amaj7(add-6), Aadd-9, Amaj7(add-9), Aadd-6(add-9).

Tip for Soloist: If there are three half-steps between two consecutive notes in a scale, and the chord is relatively dissonant, a fast chromatic run is acceptable therein.

Altered Lydian Mode 2

Note Numbers in One Octave: 1, +2, 3, +4, 5, +6, maj7, 1’. [1 is Key Scale’s -2.]

Chords: A#add+4, A#add+6, A#add+9, A#maj7(add+4), A#maj7(add+6 or add+9).

Altered Phrygian Mode 2 (or Altered Augmented Locrian)

Note Numbers in One Octave: 1, -2, m3, -4, 5, -6, -7, 1’. [1 is Key Scale’s 3.]

Chords: C#m(add-4), C#m(add-6), C#m(add-7), C#m(add-9).

Hungarian Minor Mode

Note Numbers in One Octave: 1, 2, m3, +4, 5, -6, maj7, 1’. [1 is Key Scale’s 4.]

Chords: Dm(add+4), Dm(add-6), Dm(maj7), Dm(maj7)(add+4), Dm(maj7)(add-6).

Altered Locrian Mode 2 (or Altered Diminished Mixolydian)

Note Numbers in One Octave: 1, -2, 3, 4, -5, 6, 7, 1’. [1 is Key Scale’s 5.]

Chords: E-5, E4-5, E6-5, E7-5, E-5(add-9), E4-5(add-9), E6-5(add-9), E7-5(add-9).

Altered Augmented Ionian

Note Numbers in One Octave: 1, +2, 3, 4, +5, 6, maj7, 1’. [1 is Key Scale’s -6.]

Chords: F+5, F4+5, F6+5, Fma7+5, F+5(add+9), F6+5(add+9), Fmaj7+5(add+9).

Altered Locrian Mode 3

Note Numbers in One Octave: 1, -2, -m3, 4, -5, -6, -7, 1’. [1 is Key Scale’s 7.]

Chords: F#m-5, F#m-5(add-6), F#m-7-5, F#m-5(add-9), F#m-7-5(add-9).

Harmonic Minor Key

Harmonic Minor Mode

Scales:

Lowest note is root of scale (it is assumed the guitarist can determine its higher octaves).

Note Names in One Octave: 1, 2, m3, 4, 5, -6, maj7, 1’.

Chords: Am, Am(add4), Am(add-6), Am(maj7), Am(maj7)(add4), Am(maj7)(add-6).

Altered Locrian Mode 4

Note Numbers in One Octave: 1, -2, m3, 4, -5, 6, 7, 1’. [1 is Harmonic Minor’s 2.]

Chords: Bm-5, Bm4-5, Bm6-5, Bm7-5, Bm-5-9, Bm6-5(add-9), Bm7-5(add-9).

Augmented Ionian Mode

Note Numbers in One Octave: 1, 2, 3, 4, +5, 6, maj7, 1’. [1 is Harmonic Minor’s m3.]

Chords: C+5, C+5(add4), C+5(add6), Cmaj7+5, Cmaj7+5(add4), Cmaj7+5(add6).

Ukrainian Dorian Mode

Note Numbers in One Octave: 1, 2, m3, +4, 5, 6, 7, 1’. [1 is Harmonic Minor’s 4.]

Chords: Dm, Dm(add+4), Dm6, Dm7, Dm6(add+4), Dm7(add+4), Dm9(add+4).

Altered Phrygian Mode 3

Note Numbers in One Octave: 1, -2, 3, 4, 5, -6, 7, 1’. [1 is Harmonic Minor’s 5.]

Chords: E, E4, E7, E(add-6), E(add-9), E4(add-6), E7(add-6), E4(add-9), E7(add-9).

Altered Lydian Mode 3

Note Numbers in One Octave: 1, +2, 3, +4, 5, 6, maj7, 1’. [1 is Harmonic Minor’s -6.]

Chords: F, F6, Fmaj7, Fadd+4, F6(add+4), Fmaj7(add+4), F(add+9), Fmaj7(add+9).

Altered Minor-Diminished Mode

Note Numbers in One Octave: 1, -2, m3, -4, -5, -6, -7, 1’. [1 is Harmonic Minor’s maj7.]

Chords: G#m-5, G#m-7-5, G#m-9-5, G#m-5(add-4), G#m-5(add-6), G#m-7-5(add-9).

Ascending Melodic Minor Key

Ascending Melodic Minor Mode

Scales:

Lowest note is root of scale (it is assumed the guitarist can determine its higher octaves).

Ascending scale only. Descending is Relative Minor (Aeolian Scale), not shown.

Note Numbers in One Octave: 1, 2, m3, 4, 5, 6 , maj7, 1’.

Chords: Am, Am4, Am6, Am(maj7), Am4(maj7), Am6(maj7), Am(maj7)(add9).

All scales below are ascending scales only. Descending, adhere to the Aeolian Key.

Altered Dorian Mode (or Altered Phrygian Mode 3)

Note Numbers in One Octave: 1, -2, m3, 4, 5, 6, 7, 1’. [1 is Key Scale’s 2.]

Chords: Bm, Bm4, Bm6, Bm7, Bm(add-9), Bm4(add-9), Bm6(add-9), Bm7(add-9).

Augmented Lydian Mode

Note Numbers in One Octave: 1, 2, 3, +4, +5, 6, maj7, 1’. [1 is Key Scale’s m3.]

Chords: C+5, C+5(add+4), C6+5, Cmaj7+5, Cmaj9+5, Cmaj11+5, Cmaj13+5.

The Acoustic Mode

Note Numbers in One Octave: 1, 2, 3, +4, 5, 6, 7, 1’. [1 is Key Scale’s 4.]

Chords: D, D(add+4), D6, D6(add+4), D7, D7(add+4), D9, D9(add+4), D11, D13.

Altered Mixolydian Mode 2

Note Numbers in One Octave: 1, 2, 3, 4, 5, -6, 7, 1’. [1 is Key Scale’s 5.]

Chords: E, E4, Eadd-6, E7, E9, E11, E13, E4(add-6), E7(add-6), E9(add-6).

Half-Diminished Mode

Note Numbers in One Octave: 1, 2, m3, 4, -5, -6, 7, 1’. [1 is Key Scale’s 6.]

Chords: F#m-5, F#m4-5, F#m7-5, F#m-5(add-6), F#m4-5(add-6), F#m7-5(add-6).

Altered Locrian Mode 5

Note Numbers in One Octave: 1, -2, m3, -4, -5, -6, 7, 1’. [1 is Key Scale’s maj7.]

Chords: G#m-5, G#m-5(add-4), G#m-5(add-6), G#m7-5, G#m7-5(add-9).

Additional Considerations

The number of Modes in any given Key depends on the pattern of steps in the Key’s scale. Thus, if the pattern repeats at the octave, then the number of Modes equals the number of notes in the scale. But scales with a recurring pattern smaller than an octave have only as many Modes as the number of notes in the smaller scale.

A scale built from alternating whole and half steps results in only two Modes, regardless of whether it repeats at the octave, since one Mode corresponds to that in which the 1st and 2nd are a half-step apart, and the other to that in which they are a whole step apart. Also,

such a scale is always a type of Diminished Scale.

All scales built using tones separated by the same size interval have only one Mode each, such as a chromatic scale, a whole-tone scale, a 3-step scale, and so on. However, though logical mathematically, most such scales, and their chords, are not pleasing to the ear.

EOF

Kurtus Richter, Guitarist

Lessons 13 Other Modes

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