C is definitely the home key, your ears are very used to hearing it and you naturally expect to hear some form of C scale used for a guitar solo, riff or melody to play over the top of it. The 1st and 6th degrees of the major scale produce the major and minor scale. “Oye Como Va” by Santana is an example of a song that... iii. I have literally written out every position for every key, including keys that are almost never used, such as C flat major. So for example, it is common to see the following: The phrygian mode contains – b2, b3, b6 ,b7. It is called the derivative approach because it involves deriving a mode from another scale. Lets look at the notes of C# major: If we look at C# Phrygian in the context of C# Major, we can see it contains b2, b3, b6, b7, Flat 2 – lower the 2nd note of C# Major (D#) to produce DFlat 3 – lower the 3rd note of C# Major (E#) to produce EFlat 6 – lower the 6th note of C# Major (A#) to produce AFlat 7 – lower the 7th note of C# Major (B#) to produce B. As you study guitar theory, you’ll hear terms like mode, tonic, and scale. This means that it applies to every phrygian mode (A Phyrgian, D Phyrgian, F# Phyrigian). For example, start a major scale on the 6th degree and you create what is known as the minor scale (also known as the relative minor or natural minor). In music, you say that the scale has these two different modes. If you are slightly confused, it is most likely because of the  relationship between what is called the parallel approach and derivative approach. Therefor, all we need to do to produce D Lydian is raise the 4th note of the D Major scale by 1 semitone. A major contains the following notes: If we want to produce the phrygian mode, we need to start on the 3rd note (C#): We have just produced C# Phrygian. In the key of C the chords would be C, F and G. What makes C the home key?. This is what is known as the derivative approach. Let’s do another example using the Parallel approach: Suppose we want to play F Aeolian. Why are modes so complicated - What's the point of them? What we are now looking at is the parallel approach. Don't skip ahead here, the following is all relevant. Often, people get caught up in the semantics of it all and end up confusing the issue. The parallel approach says that we can produce B Dorian by playing the B Major scale and altering the scale so in the following way – b3, b7, B Major contains B – C# – D# – E – F# – G# – A#. F Major = F – G – A – Bb – C – D – EF Aeolian = F – G – Ab – Bb – C – Db – Eb. It has a lowered 2, a lowered 3, a lowered 6 and a lowered 7. Same goes if we just played the C chord alone, we'd be in the key of C. At this point you might be wondering, if that's the case then why is the C F G chord progression all in the key of C and not changing key with each chord? My latest book focuses mostly on the things that are really worth knowing, not so much on the rest. Firstly, to understand modes properly, you need to be familiar with major scales. To understand Bb Locrian, we need to compare it to Bb Major. Any Phrygian mode will always contain b2, b3, b6, b7. The same is true with modes. To find out more about cookies, privacy and how we use advertising, please read our Advertising Disclaimer, Contact Info - Privacy Policy - Cookie Policy, Copyright © 2007 - 2020 www.guitar-chords.org.uk, C Ionian: C D E F G A B C - W W H W W W H, D Dorian: D E F G A B C D - W H W W W H W, E Phrygian: E F G A B C D E - H W W W H W W, F Lydian: F G A B C D E F - W W W H W W H, G Mixolydian: G A B C D E F G - W W H W W H W, A Aeolian: A B C D E F G A - W H W W H W W, B Locrian: B C D E F G A B - H W W H W W W. Repeat in 12 keys. There are actually 7 different modes. ©2020 onlineguitarbooks.com. This, combined with the fact that we have heard songs based on common chord progressions probably thousands of times, ultimately leads to expectation. Dorian: A type of minor scale with a major 6th. There are always 3 notes on each string. Locrian: Not used. Play through all four minor-based modes: Dorian-Aeolian-Phrygian-Locrian from one root note. Even some advanced guitarists struggle to grasp them. . Here it is…. Traditional and common explanations of modes only make sense when the scale is played on a single instrument alone, with no accompaniment and starting and finishing on the root notes. To understand Bb Lydian, we need to compare it to Bb Major. What we want to know is, what properties does E Phrygian have? You should recognize this mode anytime you start on a major chord and then move down a whole step to another major chord. Let’s start with B Dorian. Author: Lee Nichols Creator of www.guitar-chords.or.uk, This website earns advertising commissions. 1. Eb Major has the following notes: If we lower the 7th note (D), we get the following: Let’s produce the same mode by using the derivative approach. Just like learning a new language, while you can understand something in concept, you just have to spend time with it before it sinks in and becomes second nature. There are a few interesting and useful patterns to remember (with these shapes)to help you get the whole neck memorized in a key. Suppose we want to construct Eb Mixolydian. Using the C major scale for example, we can create seven modes of that scale by starting and ending the mode on each note in turn. In written format, or more specifically blog-style written format, the task of explanation becomes quite simple and easy. Phrygian Mode Scale. If you played a B major scale over it, you would know it's wrong. E Major has an F# as the 2nd note, therefor, if we lower the 2, it becomes F.E Major has a G# as the 3rd note, therefor, if we lower the 3, it becomes G.E Major has a C# as the 6th note, therefor, if we lower the 6, it becomes C.E Major has a D# as the 7th note, therefor, if we lower the 7, it becomes D. Therefor, we can say that the phrygian mode contains a lowered 2, 3, 6 and 7. Even though we used the example of E Phrygian, you will get the same results no matter which key you use. Of course we could start on any note and do the same. Let’s start with the parallel approach first this time. The most common scale in music is the major scale. Guitar Modes Explained – A Complete Guide in Theory and Practice to Understanding Modes, Functional Harmony – The Relationship Between Chords and Modes.

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