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Modal Theory for Guitar Players - Part 2
Playing the Modes When I used to use this pack with students, I provided them with a CD which contained a backing track for each of the modes. This enabled them to practive getting the sounds and shapes under their fingers. In this version you will be provided with the harmonised scale for each mode, and from this you can construct your own grooves and backing tracks to do the same thing. I am assuming that you know, or can easily work out the names of the notes on the neck so the scale maps you will be presented are not anchored in any one place on the neck. Once you know where the root note is for each scale you can then move that note to suit whatever scale you want to play. Please note that some of the modes are for different scales, but this is only so that you don't learn everything in C, but do try to get used to using other root notes. The Ionian Mode C Major 7 These chords are constructed from the notes contained within the C Ionian scale, so the C Ionian will fit over any of these chords. Now, this is technically true, but as you will know from your playing, some notes work better than others, and for some people's ears. You can also play the arpeggios of these chords. The Dorian Mode C D Eb F G A Bb The seventh chords built upon these notes are as follows; C Minor 7 To play something a little more familiar you can also use the C Minor pentatonic as this is using notes which are in the C Dorian scale, namely, C, Eb, F, G, A, and Bb. The Phrygian Mode G Ab Bb C D Eb F The seventh chords built upon these notes are as follows: G Minor 7 Along with these you can interweave the arpeggios and the G Minor pentatonic is made up of notes from the G Phrygian scale, so you can use that too. The Lydian Mode G A B C# D E F# The seventh chords built upon this scale are: G Major 7 You can also use the various arpeggios and the G Major pentatonic in this situation. The Mixolydian Mode G A B C D E F The seventh chords built upon this scale are: G Dominant 7 You can also use the various arpeggios and the G Major pentatonic in this situation. The Aeolian Mode B C# D E F# G A The seventh chords built upon this scale are: B Minor 7 You can also use the various arpeggios and the B Minor pentatonic in this situation. The Locrian Mode B C D E F G A The Locrian is interesting because it is actually a half-diminished scale. The seventh chords built upon this scale are: B Minor 7 flat 5 You can also use the various arpeggios and the G Major pentatonic in this situation. Epilogue Simon duff
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