Modes of the Major Scale
Modes are produced by displacing the starting point of the scale without changing it’s the interval formula.
What this means is that depending on where you start a scale depends on it’s mode. During the process the notes of the original scale stay the same. It’s alway simple to use the C Major scale to give examples. It has no Sharps or Flats (accidentals).
The first model name we’ll look at is the IONIAN. This is the natural Major scale
C-D-E-F-G-A-B
Now, for example, If this scale is started on the D then the interval patten will change and give a different ‘flavour’. It is still a C Major pattern but it now starts on the second degree. Starting on the second degree will create D DORIAN.
D-E-F-G-A-B-C
Here is a complete list of MODES as taken from ‘The Original Guitar Case Scale Book’ By Peter Pickow
Ionian (I)
This is the Major scale started on the Root / 1st Degree.
Dorian (II)
Starting on the second degree of a major scale yields a Dorian scale. This scale is very useful in jazz and jazz/rock - in which it used to solo over minor seventh chords and sounds like the natural minor with a raised sixth.
Phrygian (III)
Playing a C major from E to E gives us an E Phrigian scale; reminiscent of flamenco music and sounding like the natural minor with flatted second
Lydian (IV)
The mode starting on the fourth degree of the major scale is know as a Lydian scale. This one has a major sound but differs from a straight major in it’s sharped fourth. In Jazz, Lydian mode scales are generally used for soloing over major seventh chords other then the 1st degree chord.
Mixolydian (V)
Starting on the fifth degree produces another major sounding scale, the Mixolydian mode; this time with a flatted seventh. You’ll hear this in a lot of folk and rock music.
Aeolian (VI)
Starting on the sixth degree produces the relative minor. In the case of C major that would be the A minor scale or the A Aeolian.
Locrian (VII)
The seventh mode, Locrian, was avoided for centuries due to it’s truly weird flavor. The scale outlines a diminished chord, melodies written in Locrian never seem to come to rest. This is commonly used in jazz for soloing over half diminished chords.
As a bass player you’ll find that you may not use every note in these scales. One needs to be wary that their phrasing doesn’t create the tonal qualities of a chord other then the one that is suppose to be being outline. I recommend alway spending as much time as possible working around the notes of the chord that is being played, or that is trying to be expressed. Tonic notes will almost always produce consistency with a song or piece of music.
As guitarist, there is always some room for movement but in the same way a bass guitar will move around the tonic notes it is also advisable for a 6 string guitarist or pianist etc. to consider the same.