L 11

Modes and Non-Western

Scales

Modes

Ionian Major Scale

Dorian 2nd of Major Scale
Phrygian 3rd of Major Scale
Lydian 4th of Major Scale
Mixolydian 5th of Major Scale
Aolian 6th of Major Scale (Minor)
Locrian 7th of Major Scale

Ionian
Major

CDEFGABC
Click to listen to Ionian Mode

Dorian
Starts on the 2nd of the Major Scale

DEFGABCD
Click to listen to Dorian Mode

Dorian
Eleanor Rigby, by the Beatles
Also common in Jazz Tunes and Solos

Phrygian
Starts on the 3rd of the Major Scale

EFGABCDE
Click to listen to Phrygian Mode

Phrygian
Flamenco Music

Lydian
Starts on the 4th of the Major Scale

FGABCDEF
Click to listen to Lydian Mode

Lydian
Simpsons Theme song
Very common in Jazz Solos

Mixolydian
Starts on the 5th of the Major Scale

GABCDEFG
Click to listen to Mixolydian Mode

Mixolydian
Norwegian Wood, by the Beatles
Common in Jazz

Aolian
Starts on the 6th of the Major Scale

ABCDEFGA
Click to listen to Aolian Mode

Aolian
Typically called minor scale
Three forms
Natural Minor Aolian
Harmonic Minor
Raised 7th A B C D E F G# A

Melodic Minor
Raised 6th and 7th Ascending A B C D E F# G# A
Natural Minor Descending A G F E D C B A

Locrian
Starts on the 7th of the Major Scale

BCDEFGAB
Click to listen to Locrian Mode

Dorian Mode Example

Freddie Hubbards Little
Sunflower

Blue Grass Mixolydian and Aeolean

Modes Example
Ryan and Elliot project

Mixolydian Mode
Instruments
An exception to
the Rule
Presented By:

Ryan & Elliot

MIXOLYDIAN MODE
All bluegrass music with few exceptions is
played in the Mixolydian mode
The Mixolydian Mode originally ascended
from G to G'
The "G" Mixolydian Mode
NOTE
FORMULA

G
Tonic

Whole
Step

Whole
Step

Half
Step

Whole
Step

Whole
Step

Half
Step

Whole
Step

MIXOLYDIAN MODE
The Mixolydian mode can be played in any
note following its interval structure

For example, lets construct the D

Mixolydian Mode Using this pattern
State
Go up
Go up
Go up
Go up
Go up

the Tonic
two whole steps
a half step
two more whole steps
one more half step
one more whole step

The D" Mixolydian Mode

NOTE
FORMULA

D
Tonic

F#

Whole
Step

Whole
Step

Half
Step

Whole
Step

Whole
Step

Half
Step

Whole
Step

INSTRUMENTS
Acoustic Bass
Tuned to E-A-D-G
Fretless
Played by Plucking or with bow

Acoustic Guitar

Tuned to E-A-D-G-B-E
Played in Flat Picking
or Finger Style

INSTRUMENTS
Mandolin

Tuned to E-A-D-G
Eight strings set in pairs
F and A style

Dobro Resonator Guitar

Tuned to G-B-D-G-B-D
(Open G)
Played with slide and
finger Picks
Steel resonator

INSTRUMENTS
Fiddle
Tuned to E-A-D-G
Played with a bow
Fretless

Tuned to D-B-G-D-C (open G)

Finger picking
Fifth string mounted
halfway down neck
Resonating Chamber Similar
to Drum Head

Banjo

AN EXEPTION TO THE RULE

Dusty Miller (1966)
Uses Mixolydian & Aeolian Modes
First Part in Aeolian Mode in A scale
Second Part in Mixolydian Mode in G scale

This recording is from The Bluegrass

Mandolin Extravaganza album
Featuring some the best mandolin
players of all time
Including:
Ricky Skaggs, Ronnie McCoury, David
Grisman, Buck White, Jesse McReynolds,
Bobby Osborne and Frank Wakefield

SOURCES
Northwest Bluegrass Mag Online
http://www.nwbn.freeserve.co.uk

BanjoLin.com

http://www.banjolin.supanet.com

Upon Request Productions

http://urp.home.cyberverse.com/mixolydian.htm

MUSIC BY : Don Reno- Cincinnati Rag

BME- Dusty Miller

Certain scales (in some cases

modes) are linked with particular
chords.
Would you expect a dominant 7th
chord or a major 7th chord to be
associated with the Mixolydian
mode?
A) major 7th
B) dominant 7th

Non-Western Scales

True or false:
The Jewish scale is a subset of the
diatonic scale.
A) T
B) F

http://www.youtube.com/watch?v
=MNtYYuWILNE&feature=related

True or false:
The Arabian scale is a subset of the
chromatic scale.
A) T
B) F