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    Basic Jazz Theory CH 2: Going Modal

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    Jonathan Harnum
    Chapter 2 (in draft form) of the forthcoming book, "Basic Jazz Theory." This chapter is all about modes.

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    Basic Jazz Theory CH 2: Going Modal

    Uploaded by

    Jonathan Harnum
    1K views8 pages
    Chapter 2 (in draft form) of the forthcoming book, "Basic Jazz Theory." This chapter is all about modes.

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    © © All Rights Reserved

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    Chapter 2 (in draft form) of the forthcoming book, "Basic Jazz Theory." This chapter is all about modes.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Download as pdf
    1K views8 pages

    Basic Jazz Theory CH 2: Going Modal

    Uploaded by

    Jonathan Harnum
    Chapter 2 (in draft form) of the forthcoming book, "Basic Jazz Theory." This chapter is all about modes.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Download as pdf
    of 8

    C HAPTER 2

    S CALES À LA M ODE
    Just because you know umpteen billion scales, it
    doesn’t mean you have to use them all in a solo.
    ~ Kirk Hammett

    In This Chapter Terms to Know


    • Basic Mode Info • Mode: A type of scale.
    • Mode Relation to Major Scale • Modal Jazz: A brief substyle in the history of
    • How to Find a Mode in Keys jazz, occurring in the late 1950's and early
    Other than C 1960's. Focused on improvisation. Led by
    • Modes From Other Scales Miles Davis.
    • Ear Training
    • Chapter Review

    What is a Mode?
    A mode is a type of scale. Modes are used in most types of music, like salsa, jazz, country,
    rock, fusion, speed metal, Indian ragas (though it’s used in a different way) and more. To find out
    the details, read on.
    These are also called “church modes” because they were first used in the Catholic Church
    back in Medieval times. The names of the modes were taken from the Greek modes, but other
    than the names, they have no relation to the Greek modes.
    The two modes which have been used the most, and the only two most people know, are
    now called the Major and natural minor scales. Their original names were the Ionian mode
    (Major), and the Aeolian mode (natural minor). The other modes are: Dorian, Phrygian, Lydian,
    Mixolydian, and Locrian. Don’t ask me why they’re capitalized. I don’t know, they just are.
    Modes are easy to understand. We’ll map out each mode’s series of whole and half steps and
    use the key of C so there aren’t any sharps or flats to bother with.

    The Modes
    The modes are based on the major scale. There are 7 modes in every key signature. The
    major scale is just another type of mode (called Ionian), but it’s an important one because it’s the
    reference we’ll use to talk about all the other modes. For example, if you play an octave scale
    starting from the 2nd note of a major scale, you’ve played the Dorian mode. Confused? Read on.

    w ww .Ba sic Jaz zTheo ry. com 13


    Io n ia n
    As you already know, the Ionian mode is the same as the C Major scale. All the white keys
    on the piano from C to C. The whole-half step pattern is WWHWWWH.
    Ionian is used in nearly all Western music, from Classical to Zydeco.

    Do r ia n
    The Dorian mode begins on the second degree of the Major scale and in the key of C goes
    from D to D on the white keys of the piano. The pattern of whole and half steps is
    WHWWWHW. This scale is associated with ii chords, minor chords and minor 7th chords
    (you’ll learn all these details about chords soon!). Here’s a clue about why this scale is associated
    with the ii chord. If you start on the 2nd degree (there’s the ii) of the major scale, you’ll have this
    scale. The chord built from this scale is the ii chord.
    Just like any scale or more, there are 12 Dorians, corresponding to the 12 key signatures. The
    Dorian mode is a minor-sounding scale used in rock, jazz, blues, and fusion.

    Phr ygian
    You’ve probably caught on to the pattern by now. Phrygian begins on the third degree of the
    Major scale and in the key of C is E to E on the white keys of the piano. The whole-half step
    pattern is HWWWHWW.
    This mode has a Spanish flavor and is used in jazz, flamenco music, fusion, and speed metal.
    Twelve of these, too. In fact, there are 12 of each type of mode because there are 12 different key
    signatures.

    14 2: Scales à la Mode
    Ly dia n
    Lydian begins on the 4th degree of the Major scale and in the key of C is from F to F on the
    white keys of the piano. Whole-half step pattern is WWWHWWH.
    You might see this mode in jazz, fusion, rock, or country music. It’s like a major scale with a
    raised 4th which gives this scale an odd sound.Lydian mode ascending.

    Mix oly dian


    Mixolydian begins on the fifth degree of the Major scale, and in the key of C is G to G on
    the white keys. Whole-half step pattern is WWHWWHW.
    This mode shows up in jazz, rockabilly, country, blues, and rock.

    Ae o lia n
    Also known as the natural minor scale, the Aeolian mode begins on the sixth degree of the
    Major scale. In the key of C it’s from A to A on the white keys. WHWWHWW.
    This mode appears in all kinds of music: jazz, pop, country, Rock, blues, heavy metal,
    classical, and on and on.

    Loc rian
    The Locrian mode has a very exotic and other-worldly sound. All because of the placement
    of those half steps. You’ll find Locrian in fusion and in jazz.
    The Locrian mode begins on the seventh degree of the Major scale, and is B to B in the key
    of C.

    ww w.B as icJ azz Th eor y .com 15


    Finding Modes in Other Keys
    There are two ways to find a mode in another key. You can find a mode within a certain key
    signature, or find a mode starting on a specific note.
    To find a mode in a certain key is easiest. Just a couple steps.
    1 Play the Major scale in the key you’ll be using. For an example, let’s say you wanted to find the
    Dorian mode which uses the key of Ab. First step is to play the Ab Major scale.
    2 Depending on what mode you want, start on the appropriate note in the Major scale, and play an
    octave in the key of the Major scale. For our example, you want the Dorian mode, which begins on
    the second degree of the Major scale. So you’d play from Bb to Bb using the key of Ab.
    To find a mode beginning on a specific note, the process is a little different but still pretty
    simple.
    1 Depending on the mode you want, find out which major scale has that note in the appropriate place.
    Let’s stick with Dorian for an example. You want to find the Dorian mode which begins on F. So
    you’d find out which Major scale has F as its second note. The answer is Eb.
    2 Then use the key signature you found in step 1 for the Dorian mode. In our example, you’d play F to
    F using the key of Eb.

    Modes Using Other Scales


    Modes are also built from other scales, like the ascending melodic minor scale. This
    produces some interesting and exotic sounding scales. And the names are pretty wild, too. Like
    the Lydian augmented mode, the Lydian dominant mode, the half-diminished (also called
    Locrian #2), and the diminished whole tone mode.
    These modes deal with more advanced harmonic practices, and I’ve included them to show
    you that there is more to learn once you’ve mastered the modes of the major scale. There is always
    something more to practice, something more to learn! These will be covered in BJT volume

    melodic minor (ascending) Lydian augmented half-diminished or Locrian #2

    Ear Training
    4. Take one major scale that you’re learning, and do all the modes associated with it, too. While
    you’re learning, really listen to hear how the mode sounds. Listen for this in other music you hear.
    5. Play the 1st, 3rd, and 5th degrees of the scale/mode, then improvise using all the notes. come
    back often to the 1, 3, 5 notes. Emphasize the root note (1st note) when improvising. Really listen
    to the quality of the sound

    16 2: Scales à la Mode
    Movi ng On
    Again, modes aren’t particularly necessary to understand music theory in general, but they’re
    crucial to gain a deeper understanding of jazz theory and especially improvisation.
    After the chapter review, we’ll move on to intervals, which will be useful for building chords
    and understanding most other concepts in music theory.

    Chapter Review
    1. What are the names of the modes? 1. Ionian, Dorian, Phrygian, Lydian,
    Mixolydian, Aeolian, Locrian
    2. Which mode is the same as the major scale?
    2. Ionian

    3. Which mode is the same as the natural minor 3. Aeolian


    scale?
    4. E
    4. What is the starting note for the Dorian mode 5. Key of G. One sharp
    which uses the key of D Major?
    6. Key of Bb, two flats
    5. What key signature would be used for the
    Dorian mode beginning on an A?

    6. What key signature would be used for the Mix-


    olydian mode beginning on F?

    ww w.B as icJ azz Th eor y .com 17


    Practical use
    6. Write out all of the modes in the key of F. Learn them on your instrument/voice. Know where
    the half steps are in each. Then learn all of the modes in the key of G, then Bb, then D, etc.
    7. Another option is to learn only one mode at a time in every key, for example, the D Ionian, D
    Dorian, D Phrygian, etc.
    8. What is the benefit of doing it one way over the other?

    18 2: Scales à la Mode

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