This sectionis on the modes. These little euyscan getpretty confusing. soread carefully Ina nutshell a mode is just an inversion of the Major scale (an inversion is the rearranging of the order of notes). Below are the notes of the C Major scale and the mode names corresponding with each scale degree: Cc D E F G A B Cc Tonian Dorian Phrygian Lydian Mixolydian Aeolian Locrian Tonian Memorize the order of these modes and their names. ‘An easy way to remember whether a particular mode works over a major or minor chord is to look at the third scale degree in the Frrmmula. If the third note is flatted (a flat sign before it), then the mode works ‘over a minor chord. Ifthe third note is a natural (no flat sign before it), then the made works over a major chord. ‘Since Tonian is the first mode and starts and ends on the first note of the Major scale, the Ionian mode issimply Just the Major scale. The second mode 1s the Dorian and starts on the second note in the Major scale. ‘This means you play the C major scale beginning on ‘D’ and ending on ‘D’. The Dorian mode looks like this: D E F G A B Cc D Formula - 1 2 b3 4 5 6 b7 8 ‘The third mode is Phrygian and starts on the third note in the Major scale. This means you play the (C Major scale beginning on ‘E’ and ending on ‘E’. The E Phrygian mode looks like this: E F G A B c D E Formula - 1 b2 b3 4 5 b6 b7 8 ‘The same process is used to complete the rest of the modes. Notice that there are seven different modes. one for each note of the Major seale Ionian Mode A B cH D E F# G# A Formula - 1 2 3 4 5 6 7 Pattern #1 18Pattern #2, Pattern #3 Pattern #4 Pattern #5 aa 5= a9 2 15 17 19 21 24 “A* Ionian covering the eulire fretboard: 2 15°17 19 2124 The application of Ionian isthe same asthe Majorscale. Generally, Tonian works over a major chord, major 7th chord or power chord of, the same name.Formula- = 1 2 b3 4 5 6 b7 8 Pattern #1 Pattern #2 Pattern #3 Pattern #4‘A’ Dorian covering the entire fretboard: By flatting the 3rd and 7th notes of any Major scale by a half step, you have the Dorian Mode. Dorian’s soulful sound lends itself greatly to the blues. This mode is used often by Carlos Santana and generally works over a minor chord, minor 7th chord or power chord of the same name.Phrygian Mode Formula - 1 bz bs 4 5 bo v7 8 Pattern #1 Pattern #2 Pattern #3 Pattern #4‘a’ Phrygian covering the entire fretboard: 1@ +4 By flatting the 2nd, 3rd, 6th, and 7th notes of any Major scale by ahalf step, you have the Phrygian mode. This eerie sounding scale is used extensively by Al Di Meola and Yngwie Malmsteen, Generally, Phrygian works best over a minor chord, minor 7th chord or power chord of the same name.Lydian Mode A BCH DF E FE GH A Formula - 1 2 30 #4 5 6 7 8 Pattern #1 Pattern #2, Pattern #3 Pattern #4‘A’ Lydian covering the entire fretboard: x et ra: Io TT eto OI] gl . G > 9 12 15 7 19 21 24 By sharping the 4th note of any Majorscale by ahalfstep, yon have the Lydian mode. ‘Thismode is common in jazz, but you canhearrockers Joe Satriani and Steve Vai use it often. Generally, Lydian works over a major chord, major 7th chord or power chord of the same name.Mixolydian Mode Formula - 1 2 3 4 5 6 by 8 Pauern #1 Pattern #2 Pattern #3 Pattern #4‘a? Mixolydian covering the entire fretboard: By flatting the 7th note of any Major scale by a half step, you have the Mixolydian mode. This bluesy sounding mode is often used in three chord rock and roll. Generally, Mixolydian works over a major chord, dominant 7th chord or power chord of the same name.Aeolian Mode Kormula- 1 2 4 Pattern #1 Pattern #2, Pattern #3 Pattern #4 28Pattern #5 ‘A’ Aeolian covering the entire fretboard: By flatting the 3rd, 6th and 7th notes of any Major scale by a half step, you have the Aeolian mods. ‘The Aeolian mode is exactly the same as the Natural Minor scale. ‘This dark sounding mode is one of the most frequently used scales in rock and heavy metal. Generally, Aeolian works over a minor chord, minor 7th chord or power chord of the same name. 29Locrian Mode Formula - 1 b2 b3 4 bs b6 b7 8 Pattern #1 Pattern #2 Pattern #3 Pattern #4Pattern #5 «A? Locrian covering the entire fretboard: By flatting the 2nd, 3rd, 5th, 6th and 7th notes of any Major scale by a half step, you have the Locrian mode. Used primatily in jazz, Locrian works over a minor 7th b5 chord or diminished triad of the same name.