Modes and Scale Tone Chords
Shown below are the seven modes derived from the C major scale along with the seven scale tone triads derived from the scale. The modes start on a given degree of the scale and progress through all the notes of the key until they reach the same degree an octave higher.
The chords start on a given note and progress in third intervals: Root, 3rd and 5th. For every chord, there is a corresponding mode.
Because each mode contains three notes from its corresponding triad, the modes work particularly well when played against these chords. Using modes to play over chords means it is possible to create melodies which are very specific to certain chords. It is possible to use the C major scale freely over any chord in the key of C major, but the C Ionian mode is more specific to the C major triad. If you had a chord progression containing the chords C, F and G you could simply play the C major scale (C Ionian) or you could use the F Lydian mode over the F chord and the G Mixolydian mode over the G chord. Here are some examples.
Here is a melody using the C Ionian mode over the chords C, F and G in the key of C.
The melody used in the previous example sounds reasonably good but it doesn’t fit the chord progression perfectly. Here is the same progression with the Ionian, Lydian and Mixolydian modes played over it. Listen to how well each mode fits its particular chord.
Now try this melody created from the modes in the previous example. Listen to how much better this melody fits the chords than the one in example 61.0.
Even though all of the modes are derived from the C major scale, it is possible to create sounds from some of the modes which are very different to the major scale. Listen to the Spanish Flamenco type of sound produced by the E Phrygian mode in the following example.
This example demonstrates the sound of the Aeolian mode. This mode is also known as the Natural Minor scale and can be used over chord progressions in minor keys. All of these modes can be used as a tonality in themselves rather than always being played against chords in a related major key. This subject is dealt with in lesson 39.
This example moves between two modes: the Dorian and the Mixolydian. In the first two bars the modes are played and in the following bars, a line is created from them.
