The Modes For Guitar

This website is intended for those who play the guitar and would like to have a better understanding of what makes music sound the way it does. Do you want to play better lead guitar? Understanding and using the modes will give the guitarist a more extensive palette of musical colors with which to express him or herself.

Notation Method Used

Lets take the C major scale (C Ionian mode) as an example.

the notes in the scale are called

C D E F G A B C

or

Do Re Mi Fa Sol La Si Do

I prefer to name them like this:

1 2 3 4 5 6 71

In tabulature, the C major scale would look like this:

I use a diagram of the neck of the guitar, like the ones used for chords. The notes are played one at a time though, and the numbers tell the player the order in which they would be played. The numbers also indicate which tone is the 2nd, 3rd, 4th and so on, which is very important. And using this method, the player can simply slide up or down the neck to play the same scale in any key.

Constructing the Modes

What are the modes? Where do they come from? Read below to find out more about the Modes for Guitar.

The Melodic Major Modes or Natural Modes and Arpeggios

Most guitarists who know anything about the modes on guitar know these basic 7 modes. The natural modes, melodic major modes as i prefer to call them, are those that come out of the major scale. in solfeggio we know these notes as

Do Re Mi Fa Sol La Si Do

As I said earlier, I prefer to call them by these numeric names

1 2 3 4 5 6 71

Notice that both end on the same tone on which they begin. There's a reason for this: at that point the frequency has doubled, causing the note to have the same sound in relationship to the root, or bottom note of the scale. Okay, we're getting into some deep stuff here. We'll explore the reasons for that in more detail when we talk about harmonic structure and overtones.

These modes are called "diatonic." They are made up of the two types of intervals (or steps between the notes) called whole steps (or whole tones) and half steps. The whole step is an interval with a space in between. For example, between C and D is C# (C sharp), or Db (D flat). A whole step interval on the guitar would be 2 notes with an empty fret in between - for example the 1st and 3rd frets on the 1st string. A half step is an interval of 2 adjacent notes - there is no note in between them. On the guitar these would simply be notes on to adjacent frets, such as the 3rd and 4th fret on the first string.

In all the modes in this first group, there are 2 half steps and the whole steps are arranged in two groups - a group of 2 and a group of 3. Take a look below and you'll see what i mean:

Ionian Mode - W W 1/2 W W W 1/2

So from 1 to 2, is a whole step. From 2 to 3 is a whole step. From 3 to 4 is a 1/2 step, and so on. Now here are the rest of this group of 7 modes:

Dorian Mode - W 1/2 W W W 1/2 W

Phrygian Mode - 1/2 W W W 1/2 W W

Lydian Mode - W W W 1/2 W W 1/2

Mixolydian Mode - W W 1/2 W W 1/2 W

Aeolian Mode - W 1/2 W W 1/2 W W

Locrian Mode - 1/2 W W 1/2 W W W

The Melodic Minor Modes and Arpeggios

These modes are derived from the ascending melodic minor scale. But, more importantly, these 7 modes complete the number of 14 modes which can be created using 7 tones in each mode, and only half steps and whole steps as intervals, with no adjacent half step intervals. When played on the guitar, a half step has no other note between the 2, a whole step has one empty fret between.

In this second gorouup of modes, the whole steps are arrange in a goroup of 4 and a group of 1. These modes, combined with the Melodic Major Modes listed above, give every combination of whole steps and half steps possible using only 2 half steps.

i Melodic Minor Mode

ii Phrygian with natural 6 or Dorian Flat 2

III+ Lydian Augmented Mode

IV Lydian Dominant Mode

V Mix Flat 6 Mode

viº Locrian with natural 2

viiº Super Locrian Mode, or Altered Scale

The Harmonic Minor Modes and Arpeggios

Okay, now we've got a complete set of the possible modes with half steps and whole steps. It's time to throw another interval into the mix - the minor 3rd. A minor third is an interval distance of 1 1/2 steps, or a whole step plus a half step. This first group of 7 connecting modes is based on the Harmonic Minor Scale. These are the Harmonic Minor Modes.

These modes are no more "harmonic" than the melodic modes are "melodic." The names came from the period of general practice, when the melodic and harmonic scales were used. Confusing, i know, but any of them can be used equally well in constructing melodies and harmonies.

Remember the intervals: a half step has no other note between the 2, a whole step has one empty fret between. The minor 3rd has 2 empty frets. An example of this would be the 1st and 4th fret notes on the 1st string.

In the 14 harmonic modes, as in the first two groups, the half steps never appear in a row. In this group all modes have one whole step, followed by 2 whole steps, followed by a minor third.

Please note that these harmonic minor modes were not used during renaissance times. They're based on more modern harmonic ideas and are commonly employed by jazz players, and some have had quite a bit of popularity in rock and metal especially during more recent years. Most players have had at least a passing experience with the Phrygian Dominant Mode.

The Harmonic Major Modes and Arpeggios

If we have harmonic minor modes, then why not harmonic major?

In this group all modes have two whole steps, followed by one whole step, followed by a minor third.

Using the Modes

Below are some guidelines for using the modes on the guitar.

Anatomy of a Mode

I've provided an example of a mode analyzed here.

Modes in Improvisation

Improvisation means making up the music spontaneously. Improvisation can be in a solo, or "ride," where the "lead" instrument is showcased and is making its own musical statement. Improvisation can also be scattered throughout a piece of music, in what are usually called "fills." A good guitarist uses the right mode for the right chord. This is based, not only one the type of chord (major, minor, 7th, and so on) but on the relationship between that chord and what comes before it and after it. For example, the the Ionian mode is a major mode with a major 7th arpeggio. This mode is used for the "one" chord (roman numeral I) of the key. The Lydian Mode is also a major mode with a major 7th arpeggio, but it is the IV chord - it has a subtle but distinctly different sound than the Ionian.

Of course, once you know which modes have the "correct" sound for the piece of music, you may choose to play those "in" notes, or be a little more daring by playing a mode that has some notes which alter the harmonic structure - in other words "out" notes.

Guitar Solos

Guitar Solos, also called "rides," are created by guitarists most often by improvisation. Always remember - the most important thnig is to be musical. Being musical is often not as easy as it sounds. The tempation for the guitar player, or any other musician for that matter, is to show off what they know. After all, that's the point, isn't it? Music is a performance art. The real issue is - what makes for good performance? Always try to play what makes sense for the piece you're playing.

Guitar Solos Using one Mode

The simplest way to use modes in improvisation is to find one mode that fits over every chord in the progression and just stay with that. this is limiting, because only certain combinations of chords will work. More complex progressions always require at least a minimal amount of changing the mode being used as certain chords appear in the progression.

Guitar Solos Using Changing Modes

When you learn to change modes to fit whatever chord comes along you'll find that a ton of limitations have been lifted. Not only that, but you'll be able to actually define the chord progression by the notes you use in your solo. The arpeggio, or chord tones, within the mode define the sound of the chords. This means a listener will be able to hear the flow of the chord changes without even having someone playing the chords themselves.

Guitar Fingering Rules

There are 3 main rules when it comes to finding the best fingering for any passage you play on the fretboard of the guitar. I call these the "Rules of Superior Guitar Technique." They are as follows:

When At All Possible -

1 When you skip a fret, skip a finger.

2 Never use the same finger twice in a row (unless shifting or sliding).

3 Never Shift twice in a row.

Guitar Fingering Tips

Take a look at rule #1, above. Skipping a finger is sound practice for a few reasons. You'll be able to keep track of where your hand is on the neck of the guitar. You'll save yourself some work when it's not necessary. But there is on other very important reason: forcing a stretch between the 2nd (middle) and 3rd (ring) fingers can actually cause damage to the hand when done over and over again over a period of time.

Moving across strings.

Keep in mind that the side of the hand which is strongest is that side closest to the thumb. Make those fingers the ones that need to reach further whenever fingering two or more notes on different strings, but on the same fret.

Want to Know More about the Modes?

The first 2 books of The Modal Guitarist series are available now for direct download from this website. The series of 4 books are designed to present a thorough knowledge of the modes on guitar.

Educators

Most guitar instructors have written the modes out hundreds, if not thousands of times. You can have all the modes printed out in a very organized fashion and presented to your student in the clearest way possible.

Students

The Modal Guitarist series will be a welcome addition to the collection of anyone who wants to better understand music theory for the guitar.. These books are a useful reference source that can be consulted again and again.

If you're interested in purchasing The Modal Guitarist series books about the modes for guitar, please click here to Buy The Modal Guitarist Now .

I'll be looking forward to hearing from you!