Creating Modes

Modes are created when the root note of a “parent” scale is displaced. For example, let’s take C major. Played from C to C, this is simply the C major scale itself. In modal terms, this is the first mode of C major. Next use the same notes, but this time play them from D to D—making the second note of the scale (D) to be the root—and you have the second mode of C major. Play from E to E and you have the third mode of C major, and so on. There are seven different notes in the scale, so there are a total of seven different modes.

Modal names

The seven different modes of the major scale are named with the following Greek names. Notice how each mode of C major is completely contained within the same overall C major pattern 1.

The Ionian mode is the modal name for the major scale itself. The Aeolian mode is the modal name for the natural minor scale.

Each mode may be viewed as a scale in its own right. Below are the modes derived from the G major parent scale, shown in full, two-octave shapes.

Look for a G major barre chord within the G Ionian pattern, an A minor chord within the A Dorian pattern, a B minor chord within the B Phrygian pattern, a C major chord within the C Lydian pattern, a D major chord within the D Mixolydian pattern, an E minor chord within the E Aeolian patter, and an F♯ diminished chord within the F♯ Locrian pattern.

All modes derived from any parent scale (a modal family) are said to be related—this means that they share the same notes. It is important to realize that it is the placement of the roots which cause each pattern to be a particular mode. Delete the root information above and all of the patterns can be G major. They also could all be A Dorian, B Phrygian, C Lydian, D Mixolydian, E Aeolian, or F♯ Locrian.

On the following pages, the modes (other than Ionian and Aeolian) are each covered as scales in their own right, over the entire fretboard.