
Beginner
Intermediate
- Develop a deeper understanding of the sound of each mode.
- Learn several different ways to create modes.
- Improvise over simple vamps that outline the defining characteristics of each mode.
This lesson assumes you already know your way around the diatonic scale and its various fingerings. Hopefully this will provide myriad tonal colors you have yet to utilize from within those same patterns. Most of us go through three steps before modal knowledge is of practical use.
Three Phases to Understanding the Modes
Phase 1
This is the introduction to the modes many of us receive:
The Ionian mode is the major scale.
The Dorian mode is a major scale starting on the 2nd degree.
The Phrygian mode is a major scale starting on the 3rd degree.
The Lydian mode is a major scale starting on the 4th degree.
The Mixolydian mode is a major scale starting on the 5th degree.
The Aeolian mode is a major scale starting on the 6th degree.
The Locrian mode is a major scale starting on the 7th degree.
While this is all true, once you memorize that the obvious question becomes, “Yeah, so what?” And that’s an excellent question. Since we’re always referencing a “parent” major scale, you can recycle your diatonic fingerings. You’ll also arrive at the correct answer on your test in guitar school—but it’s not anything that you’ll likely use to make actual music.
Phase 2
This phase provides a little more clarity. This explanation compares the difference in each mode from the basic major scale. In fact, most all scales are described relative to a major scale. For example, a major pentatonic scale is a major scale minus the 4th and 7th degrees.
The anatomy, or intervallic structure, of each mode is more clearly described via this explanation. It goes like this:
The Ionian mode is the major scale. (Old news from Phase 1.)
The Dorian mode is a major scale with a b3 and b7.
The Phrygian mode is a major scale with a b2, b3, b6 and b7.
The Lydian mode is a major scale with a #4.
The Mixolydian mode is a major scale with a b7.
The Aeolian mode is a major scale with a b3, b6 and b7.
The Locrian mode is a major scale with a b2, b3, b5, b6 and b7.
All of this is also correct but knowing this is still little more than a badge of honor in a round of Trivial Pursuit.
Phase 3
Phases 1 and 2 are useful for attaching these fancy names to collections of notes and knowing where to place your fingers. Phase 3 turns these abstract concepts into sounds that don’t require a slide rule or decoder ring to figure out what notes you’re supposed to play.
In Phase 3, we don’t trace each mode back to a major scale. Each mode is now its own thing. It’s its own key. It’s its own sound.
To get to this place of modal nirvana we need to be able to hear these scales as chords versus bothering with all of this math contained in the first two phases. Let’s make a chord progression, or vamp that aurally represents each modal sonority.
For our examples we will use an A pedal tone in the bass. A will be the tonic of each of our seven modes. We’ll begin with the A Ionian mode (A–B–C#–D–E–F#–G#). We’ll now take the IV and V chords and play them on top of the A pedal as in Ex. 1. (The written examples show a simplified version of what’s on the audio track. The point isn’t for you to copy my rhythm parts, but to easily understand the harmonic movements.)
This is a tidy package that you now play your major scale over. Record yourself playing this and then play the A major scale over it. This won’t require much ear stretching as you’ve likely heard this sound your entire life. This is a nice progression that is an effective chordal representation of the mode.
Ex. 2 utilizes the same method to achieve an A Dorian sound (A–B–C–D–E–F#–G). A Dorian’s parent scale is G Major. The IV and V chords of G major are C and D. Play the C and D triads over our A pedal tone and relish the Dorian vibe. Some might catalog this in their mind as having a Santana sound. While the notes are the same as those found in the key of G Major, we’re playing A Dorian. A is the root—not G. That is part of what we’re doing here: Relate to the scale on its own terms. Improvising on this vamp will reinforce that in your ear and you’ll have a recognizable sound vs. a formula.
The parent scale of A Phrygian (A–Bb–C–D–E–F–G) is F major. Seeing the method unfold? Take the IV and V chords from F (Bb and C) and superimpose them over an A bass note to arrive at Ex. 3. Assign your own adjective to the sound you’re creating.
Each of the modes has a distinct mood doesn’t it? It could be argued that the modes should be called the moods.
Next up is the A Lydian mode (A–B–C–D#–E–F#–G#). A Lydian is the fourth mode of E major so let’s take the IV and V chords, A and B, and play them over our A bass pedal (Ex. 4). You may associate this sound with the theme song from The Simpsons or Tom Petty’s “Here Comes My Girl.”
Have you noticed that even though our “bass player” has been playing a single note this entire time we are arriving at drastically different A sounds? This is how players like Joe Satriani and Steve Vai keep solos interesting over longer periods of time while the harmony is static. The harmony is changing via the soloists’ note choice and requires no one else playing chords.
Moving on to A Mixolydian (A–B–C#–D–E–F#–G) in Ex. 5. A is the 5th degree of a D Major scale and the IV and V chords of D are G and A. Jeff Beck’s “Freeway Jam,” the Beatles’ “Day Tripper” or just about anything from the Grateful Dead or other jam bands exemplify this sound nicely.
Next is the A Aeolian mode (A–B–C–D–E–F–G) or natural minor scale. This is another one with which your ear will be immediately comfortable. This is the relative minor key to C Major. The IV and V chords from C are F and G. Let your cat walk across the white keys of your piano while playing Ex. 6 and even that will sound great.
Last up is A Locrian (A–Bb–C–D–Eb–F–G). This key is derived from Bb Major, the IV and V chords are Eb and F respectively and we get the introspective Ex. 7. Play the A Locrian scale and finally enjoy this mode that may have seemed so ugly before. It’s a beautiful sound—use it!
Hopefully this lesson provides a different, more useful way of hearing the modes instead of memorizing a cryptic note formula. Each mode is now its own key, not just a major scale starting on a different degree. Spend time with each of these examples and really listen to each note. Sure, blasting scales at hyper-speed can be fun, but this is more of a listening thing. Go slow and enjoy your new-found mastery of the modes. Oh yeah, you can also recycle or give away all of those books that keep describing Phase 1.
Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
- User-Defined Audio Presets: Each user can create and name up to five custom presets, like “Band Practice,” “Studio Mic Setup,” or “Quick Jam,” making it effortless to jump back in with the perfect sound.
“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
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The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).