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Modes

by Stefon Pizzuto

Greetings fellow low-enders! Welcome to my first article for Mel Bay's webzine. I hope everyone is pumped and ready to learn. Once you have made sure that your bass is in tune, prepare to embark on an adventurous musical journey.

When John Reid approached me last month about writing an article for his new site, I immediately knew what topic I wanted to share with the bass community. One that is frequently overlooked despite its familiar sound and versatility - the modes of the harmonic minor scale.

Many musicians are familiar with the modes of the major scale and how they are created but few have really studied the modes of the harmonic minor scale. I assume that most people are familiar with the harmonic minor scale but let's review it just to be safe. The harmonic minor scale is created by raising the seventh degree of the natural minor scale, or the Aeolian mode, so that only the third and sixths degrees are flat. To play the harmonic minor scale in the key of A, for example, play all natural notes from the root note A to the A octave but change the G to a G#.

If you are unfamiliar with modality, review it before moving onto this section, as you will need to know the modes of the major scale in order to understand this particular exercise. There are many books and articles out there explaining the major modes in detail. I would recommend memorizing their names in the order that they appear, as well as the construction of each individual mode. After you have made sure you know the major modes in detail, you will be ready to move on to the harmonic minor modes.

To create the modes of the harmonic minor scale, we will employ the same concept that is used to create the major modes, however, we will simply reference the harmonic minor scale as the base scale instead of the major scale.

Besides the fact that these modes are based on a different scale, there is another trait that separates them from the modes of the major scale-only two of the seven have names. The remaining five modes will be referred to only by number.

The first mode, which is simply the harmonic minor scale, starts on the root and follows through to the octave. In the key of C harmonic minor, the first mode begins on the note C.

The second mode of harmonic minor starts on the second degree, or major 2nd, and continues to the major 2nd above the octave. In the key of C harmonic minor, the second mode begins on the note D.

The third mode of harmonic minor starts on the third degree, or minor 3rd, and follows through to the minor 3rd above the octave. In the key of C harmonic minor, the third mode begins on the note Eb.

The fourth mode of harmonic minor starts on the fourth degree, or perfect 4th, and continues to the perfect 4th above the octave. In the key of C harmonic minor, the fourth mode begins on the note F.

Mixolydian b9, b13, the fifth mode of harmonic minor, starts on the fifth degree, or perfect 5th, and follows through to the perfect 5th above the octave. In the key of C harmonic minor, the fifth mode begins on the note G.

The sixth mode of harmonic minor starts on the sixth degree, or minor 6th, and continues to the minor 6th above the octave. In the key of C harmonic minor, the sixth mode begins on the note Ab.

The seventh mode, and final of the harmonic minor series, starts on the seventh degree, or major 7th, and follows through to the major 7th above the octave. In the key of C harmonic minor, the seventh mode begins on the note B.

Since the majority of these modes do not have names, we will need to find another method to help us remember their construction. Fortunately, there is a pattern that carries throughout the series that enables us to calculate the composition of all the modes collectively: The first mode, harmonic minor, is constructed like the natural minor scale with a raised 7th. Since the natural minor scale is also known as the Aeolian mode, the first mode of harmonic minor can be thought of as Aeolian with a raised 7th. As you progress through the series, move forward through the modes while going back in number. In other words, the second mode is constructed like Locrian with a raised 6th, the third mode is Ionian with a raised 5th, and so on.

Play through all seven modes in order and listen to the characteristic of each mode. Take notice of the Middle Eastern type sound they possess. Because of this, the harmonic minor modes are very useful when you are trying to convey a "mystic" mood. The harmonic minor modes can be applied to any style of music and have been used in compositions by artists ranging from John Coltrane to Nirvana.

Once you feel confident with these modes, make sure you transpose them through all twelve keys and also, be able to play them anywhere on the fretboard. Don't limit yourself to being stuck in one key or in any given position. I hope you have benefited from this study. If you have any further questions please feel free to contact me directly via e-mail through my website www.stefonpizzuto.com.

If you would like to delve deeper into this type of fretboard theory, check out my new book, Scales and Arpeggios for Electric Bass, available on my website. Thanks again and I look forward to taking many new adventures with you. Until next time…

Stefon Pizzuto

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Stefon Pizzuto is a teacher, author, session player, and accomplished sideman. Throughout his career he has studied with such well-know players as Michael Richmond, Gerald Veasley, Kjell Benner, and Vince Fay. In addition to private study, Stefon has earned a Bachelor's Degree from Temple University and a Master's Degree from New York University, both in Bass Performance. Stefon's endorsements include Acacia Instruments, Demeter Amplification, Bag End Speakers, Fodera Strings, SKB Cases, Raktrap Compartments, and Xwire Wireless Systems.

Owning his own publishing company, Hubbub Publishing, Stefon has recently completed his first publication, Scales and Arpeggios for Electric Bass, and currently has several others in the works. Stefon records and performs with the bands Simon Apple and Aztek Trip, having provided supporting sets for Billy Joel, Elton John, Bruce Springsteen, Kansas, Cheap Trick, Depeche Mode, Creed, Cher, Dishwalla, Dunkin Sheik, Tiffany, Rusted Root, The Philadelphia Eagles, The Philadelphia 76ers, and The Philadelphia Flyers. Along with teaching a full roster of private student every week, Stefon has recently begun giving on-line bass lessons to students around the world.