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Modes

by Stefon Pizzuto

Over the past few months, I have been overwhelmed with requests from students and fellow bassists alike to discuss the concept of modality. Since we have already explored the modes of the harmonic minor scale and the modes of the jazz minor scale, I thought we would backtrack a bit and tackle the original set of modes - the modes of the major scale.

The term mode is just another word meaning scale; thus, the two can be used interchangeably. Modality, as it pertains to this exercise, can best be described as playing through a scale by starting on each one of the consecutive intervals of a scale and continuing until reaching the starting note's octave. Since the major scale contains seven notes (R-M2-M3-P4-P5-M6-M7), it will produce seven modes. Be aware, we did not include the octave because it is the same pitch as the root and, therefore, marks the spot where the modes begin all over again.

Taking a look at the chart, you will see that all seven modes have been written out individually for you. Again, we are using the key of C major for our example, due to the fact that it contains no accidentals. Keep in mind, however, that these modes appear in every major key and always have the same construction, regardless of the key signature.

The first mode, Ionian, begins on the root and continues to the octave. Ionian is simply another name for the major scale. The C major scale, therefore, can also be called C Ionian.

Dorian, the second mode, starts on the second degree, or major 2nd, of a major scale and continues until reaching the major 2nd above the octave. In the key of C major, the Dorian mode begins on the note D.

The third mode, Phrygian, starts on the third degree, or major 3rd, of a major scale and continues until reaching the major 3rd above the octave. In the key of C major, the Phrygian mode begins on the note E.

The fifth mode, Mixolydian, starts on the fifth degree, or perfect 5th, of a major scale and continues until reaching the perfect 5th above the octave. Mixolydian, like Ionian, is a scale we have studied before; the dominant scale. In the key of C major, the Mixolydian mode begins on the note G.

Aeolian, the sixth mode, starts on the sixth degree, or major 6th, of a major scale and continues until reaching the major 6th above the octave. Aeolian is also a familiar scale to us; the natural minor scale. In the key of C major, the Aeolian mode begins on the note A.

The seventh, and final mode, is Locrian. The Locrian mode starts on the seventh degree, or major 7th, of a major scale and continues until reaching the major 7th above the octave. In the key of C major, the Locrian mode begins on the note B.

Before moving ahead, it is a good idea to work through the modes in all twelve major keys. This is a great exercise and will help you learn them much faster. If you really feel confident, write them all out on a separate sheet of staff paper in both bass and treble clef.

Due to limited time and space, we will not be able to work on the application of these modes, however, we will be exploring their usage at a later time. I would suggest at least learning their construction and fingering at this point, as it will make our task later on much easier. If you have any questions, contact me via my website www.stefonpizzuto.com. Until next time, good luck and keep practicing!