Category: Modes Explained

Whilst a full discussion on chords and chord progressions is beyond the focus of a series on modes, a brief review is given here. However, if you are entirely unfamiliar with chord construction and chord progressions, I strongly recommend that you search the internet and explore this topic further before proceeding with the rest of this series.

The Melodic Minor scale gives us a whole new range of modal possibilities.

This post looks at applying modes in the context of melodic construction (such as in composition or improvisation) over a predefined chord progression. Specifically we are going to learn about scale choices, and finding the most appropriate modes and scales for given chords. In fact, modes and chords are really just two different ways of thinking about what is essentially the same thing (so its definitely worth making sure that your chord theory is up to scratch).

Ok, one last post on modal theory… then we can start getting in to the practical stuff.

Lets explore the interval structure of the modes.

In the last modes post I introduced all of the modes of the major scale, and included the fretboard diagrams of each of the CAGED positions of each of the modes. Today we’re going to look closer at how the CAGED system and the modes work together.

This post introduces the modes of the major scale which are the Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian modes. It also introduces important terms such as ‘parent scale’, ‘relatives’ and ‘scale degrees’.