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Manuel is a passionate, driven, and techsavvy AV technician, artist and music composer with over ten years of experience, specializing in the captivating world of music and entertainment.

Manuel is an expert in creating soundtracks for short films, feature films and video games.

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There are many misconceptions about modes and how they work. A lot of the confusion comes from the term “mode” itself, as it refers more to a relation to another scale than an actual scale in its own right. You may have heard or read that modes are based on a certain scale (usually the major scale), and all you need to do is play from a specific degree (note) up or down the scale one octave to get the mode in question. However, this oversimplification overlooks the crucial aspect of modes and perhaps music itself: context!

Playing modes over a single drone or chord progression in a specific key may not yield the distinct modal flavors you expect. For example, if you play E Phrygian or F Lydian (two modes “based” on the C major scale) over a C drone, you’ll still hear a C major sound. Context is everything: if you play a C Lydian or C Phrygian scale (mode) over that same C drone, you will hear a different flavor.

In this explanation, we will focus on static or “modal” harmonies, not dealing with modes in the context of jazz or changing harmonies. We aim to understand and appreciate the unique flavors of each mode by playing over static modal harmonies or just a drone.

There is little distinction between scale and mode, as they are nearly the same thing. Any mode can be considered a scale, and any scale can be viewed as a mode of another related scale.

To play the modes presented here in E, you only need to know where the notes are on your instrument. However, if you want to transpose them to other keys, you’ll need to know about intervals, or at least the difference between a half-step and a whole-step. Since the modes we’ll be exploring are related to the major scale, it’s a good idea to learn how a major scale is constructed if you don’t already know.

The Formula for a Major Scale is as Follows:

Ascending: Root (any note) + WS + WS + HS + WS + WS + WS + HS (and you should end up an octave above the starting note)

WS = whole-step, HS = half-step (for guitarists or bassists, HS = 1 fret, WS = 2 frets)

Following this formula will give you a major scale, which has the following intervals within it (all relative to the root):

  • Between root and 2nd note: Major 2nd
  • Between root and 3rd note: Major 3rd
  • Between root and 4th note: Perfect 4th
  • Between root and 5th note: Perfect 5th
  • Between root and 6th note: Major 6th
  • Between root and 7th note: Major 7th

In the key of C Major: C D E F G A B C

In the key of E Major: E F# G# A B C# D# E

When discussing how each mode differs from the major scale, I’ll be referring to these intervals. Once you understand these intervals and how modes are constructed, you should be able to transpose them to any other key (tonal center). For bassists and guitarists, you can move the fingerings up or down the neck, but understanding intervals will be more helpful in the long run.

Key Points:

  • Mode examples: Throughout this explanation, I’ve used E as the tonal center for two reasons:
    1. It’s important to break away from the key of C to avoid confusion with the modes in this key, especially for keyboardists.
    2. Using E as the tonal center makes it easier for guitarists and bassists to use their low E string as a drone while playing the scales/modes over it (keyboardists won’t be affected).
  • Progressions: Everything depends on context, and rhythm, especially harmonic rhythm, plays a significant role in musical context. The progressions should be played in a way that clearly establishes the tonal center.
  • Bass Drone: The chord progressions provided here should be played with an E bass/drone on the bottom.
  • Chords in a Given Scale/Mode: It’s essential to know which chords are native (diatonic) to each mode so you don’t play chords outside the scale.

Phrygian

In this section, we’ll be discussing the Phrygian mode. Phrygian is one of the scales that differs the most from the major scale. It is the third mode (of the major scale; starting on the third scale degree of the major scale).

The Phrygian mode has the following formula: 1, b2, b3, 4, 5, b6, b7, compared to the starting pitch’s major scale (e.g., E Phrygian compared to E major). It has a minor triad (chord) as its tonic.

E Phrygian is: E F G A B C D E (related to C Major) Compare with E Major: E F# G# A B C# D# E

The characteristic notes (or intervals) of Phrygian are the b2 (in this case, F), the b7 (D), and the b3 (G, which makes it a “minor” mode). Try to familiarize yourself with the sound of these intervals. The Phrygian flavor is easy to recognize and can be described as Spanish, medieval, gypsy, or oriental.

Practice the scale, and keep a low E drone going as you improvise with it. Then try alternating between E major and E Phrygian to understand the differences between them.

Progressions in E Phrygian

An important aspect of Phrygian progressions is that they often start or end on a major chord/triad. Since this major triad isn’t in the mode itself (b3 becomes natural 3), you’ll need to adjust that note when soloing, which momentarily gives you a different scale (a harmonic minor scale or Phrygian dominant scale).

Typical Chords:

Each mode has characteristic chords and chord progressions. In Phrygian, the characteristic chord is the major flat II (F major chord in E Phrygian) and the minor flat VII (D minor in E Phrygian). The major flat III (G major in E Phrygian) and the minor IV (A minor in E Phrygian) are also quite characteristic when used in the same progression.

Some typical progressions in E Phrygian are:

Am – G – F – E (min or generally Maj) E (min or generally Maj) – Fmaj7 – E (min or commonly Maj) Dm – E (min or normally Maj)

Pieces in Phrygian:

  1. Pink Floyd – “Set the Controls for the Heart of the Sun”
  2. The “Ben-Hur Theme” (the melody is within Phrygian while the chords go in and out of Phrygian)
  3. A lot of Flamenco/Spanish music (though, as noted before, the cadences found on the main Tonic (I chord) change the scale and thus it’s not a pure Phrygian)
  4. Led Zeppelin – “Kashmir”: The end Progression (Gm to A) is a typical Phrygian progression
  5. Jefferson Airplane – “White Rabbit” (in E Phrygian except for the brief Bb chord)
  6. Björk – “Hunter” (with main Tonic) and “I’ve Seen It All”
  7. Massive Attack – “Future Proof” (with main Tonic)

Lydian

E Lydian: E F# G# A# B C# D# E (related to B major)

Compare with E Major: E F# G# A B C# D# E (note the A natural)

Some typical progressions in E Lydian:

  1. E – F# – E (as mentioned above, try keeping the E in the bass over all chords)
  2. Emaj7 #11 vamp
  3. E – Bmaj7 – E
  4. E – D#m(7) – E

Pieces in Lydian:

  1. “Maria” and other pieces from “West Side Story”
  2. Sting – “When We Dance”: a clear example in the melody of the major going to Lydian
  3. Led Zeppelin – “Dancing Days”: the opening riff is Lydian (then it’s in Phrygian until the A major chord)
  4. John Williams – E.T. theme and countless other film moments and themes
  5. The Simpsons TV Theme

Mixolydian

E Mixolydian: E F# G# A B C# D E (related to A major)

Compare with E Major: E F# G# A B C# D# E

Typical progressions in E Mixolydian:

  1. E – D – E (like before, try keeping an E in the bass at all times)
  2. E – Bmin(7) – E

Pieces in Mixolydian:

  1. Holst – “The Planets” – “Jupiter”: The famous theme starting at measure 108
  2. Simply Red – “Holding Back the Years”
  3. Countless Renaissance and Celtic Pieces
  4. Sting – Intro to “I Was Brought To My Senses”
  5. Beatles – “Tomorrow Never Knows” (not all notes are used, so it can be argued that it’s not truly Mixolydian)
  6. Beatles – “Got To Get You Into My Life” (The A section)
  7. Beatles – “Norwegian Wood” (A section)
  8. Spinal Tap Movie – “Stonehenge” section: the melody played on the mandolin
  9. Michael Jackson – “Don’t Stop ’till You Get Enough”
  10. Jimi Hendrix – “Third Stone from the Sun”: the main melody is in E Mixolydian

Conclusion:

The modes discussed here are just 3 out of the 7 diatonic modes. The other 4 include Ionian (the major scale) and Aeolian (the natural minor scale), which you should already be familiar with. This leaves Dorian, similar to the natural minor scale, and Locrian, one of the least used scales/modes in music (except maybe for soloing over specific chords).

For now, focus on these three modes and learn to distinguish their unique flavors before moving on to other concepts. Building a strong foundation is crucial in music. Remember, each mode has its distinctive character, often created by just one or two notes (intervals). These notes are what you should try to recognize and understand their impact on emotions. Movie composers have been using changing modes to manipulate or enhance emotions since the beginning of cinema.

If you choose to explore other modes, always consider the context. Know the scale from which each mode is derived, but ensure that you hear the tonality of the mode you are playing (try a drone on that note) and not the related mode. Otherwise, you’re wasting your time.

As mentioned earlier, listening and recognizing are essential. Record yourself playing various modes and identify which one is being played and where the characteristic notes lie. Additionally, explaining what you’ve learned to others (preferably a musician What Is A Musician? - For some individuals, the role of a musician may be difficult to comprehend. They may struggle to understand: 1 - the nature of a musician's talent or job, 2 - why musicians work around the clock, and 3 - the concept of a fanbase and the boundaries musicians set with fans. Let's delve into each… ) is an excellent way to gauge your understanding.

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