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The Modal Guitarist — Part I Major Melodic or Natural ModesModes From the Major Scale by John Ruffi Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi The Modes — Part I Major Melodic or Natural Modes Forward After many years of studying, exploring and teaching guitar, I’ve developed a system that communicates to the student the modes and how they are used. But, most importantly, it shows where they come from and enables the student to create modes and scales on-the-fly — which is the ultimate goal of studying any kind of theory. Who is this book for? Any guitarist who already has a little bit of playing ability can benefit from the Modal Guitarist series. A guitar instructor will most likely draw hundreds of charts to teach the modes to students. In this book all of the charts are already clearly printed in a way that will give greater insight into how the modes are made and what makes them sound the way they do. The Modes — What are they? The Modes are a specific type of scales. they all have 7 notes and all have a slightly different sound. The guitarist, by learning all of them — both how to play them, and how they sound — will never be at a loss for playing just the right phrase or melody to fit the piece of music at hand. The C major scale is shown below. Notice that it begins and ends on C. This is also the C Ionian Mode. The numbers below also begin and end on “1”. A “D Ionian” would have a D as its first note, or it’s “1”. An “E Phrygian” mode would have E as its 1, and so on. C 1 D 2 E 3 F 4 G 5 A 6 B 7 C 1 Part I & II contain all the 7 note modes that can be created using two intervals: half steps and whole steps, without two adjacent half steps. All the modes have 7 degrees, and all in this group have 5 whole steps, or whole tones and 2 half steps as intervals between the adjacent degrees. Since the half steps never occur twice in a row, that means there are only 2 possibilities for grouping the whole steps: a group of 2 and a group of 3, or a group of 4 and a group of 1 whole steps. All the modes that can be made with one group each of 2 and 3 whole steps are called the Natural Modes, or Melodic Major Modes. Those made with one group each of 4 and 1 whole steps are called the Melodic Minor Modes — not because they are all minor, but because they are derived from the ascending Melodic Minor Scale. In Part I we explore the Natural Modes. If you’ve never learned any modes this is a good place to start, because these are the seven modes that include the Major Scale and Natural Minor Scale — in other words, the most commonly used scales. If you already are familiar with some or all of these modes, this book will enable you to know them exhaustively. In other words, you’ll know them on every fret, on every string, in any position all over the guitar neck. You’ll also be able to see where all the various degrees (the 3rds, 7ths, and so on) fall for every mode. What are they for? Every tone contained in the chosen scale or mode affects the color, or flavor of the music. Playing these modes will both give guitarists a wider palate of flavors to use, but also allow them to “taste” more sounds, so that they can recognize them when these flavors come along in music they like and want to learn or emulate. So, in other words, if you practice these modes you’ll be able to: 1 2 play a greater variety of melodies and phrases. develop your ear to be able to interpret more melodies and phrases. 1 ” are created by guitarists most often by improvisation. this is limiting.Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi How To Use The Modes The Modes in Improvisation Improvisation means making up the music spontaneously. This means a listener will be able to hear the flow of the chord changes without even having someone playing the chords themselves. Not only that. minor. The symbols for various chords and modes are shown below.diminished V+ . The temptation for the guitar player. For example. also called “rides. More complex progressions always require at least a minimal amount of changing the mode being used as certain chords appear in the progression. or have some other kind of arpeggio. IV . This is based. the Ionian mode is a major mode with a major 7th arpeggio. 7th. Guitar Solos Using one Mode The simplest way to use modes in improvisation is to find one mode that fits over every chord in the progression and just stay with that.” A good guitarist uses the right mode for the chord being played. not only on the type of chord (major. Of course. Roman numerals are used throughout this series to indicate what order the modes appear within a key. once you know which modes have the “correct” sound for the piece of music. minor. because only certain combinations of chords will work.minor viiº .major V7 . Guitar Solos Using Changing Modes When you learn to change modes to fit whatever chord comes along you'll find that a ton of limitations have been lifted. Improvisation can be in a solo. Major modes are indicated by upper case roman numerals. The arpeggio.seventh ii .augmented Guitar Solos Guitar Solos. while minors are indicated by lower case roman numerals. The Lydian Mode is also a major mode with a major 7th arpeggio.” where the “lead” instrument is showcased and is making its own musical statement. or “ride. Improvisation can also be scattered throughout a piece of music. or any other musician for that matter. or chord tones. They also indicate whether the modes are major. 2 . but you'll be able to actually define the chord progression by the notes you use in your solo. you may choose to play those “in” notes. After all. and so on) but on the relationship between that chord and what comes before it and after it. within the mode define the sound of the chords. is to show off what they know. isn't it? Music is a performance art. in what are usually called “fills. but it is the IV chord . Always remember — the most important thing is to be musical. This mode is used for the “one” chord (roman numeral I) of the key. that's the point. Being musical is often not as easy as it sounds. The real issue is this: what makes for good performance? Always try to play what makes sense for the piece you're playing.it has a subtle but distinctly different sound than the Ionian. or be a little more daring by playing a mode that has some notes which alter the harmonic structure — in other words “out” notes. it’s good to remember the Three Rules of Superior Technique: When at all possible. the numbers indicate the fingers. The numbers denote the order the notes are to be played in the scale.Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi Technique Playing scales and modes are to a musician what running is to an athlete. For example. Frets are shown as horizontal lines. A Sharp (#) moves the note one fret higher (toward the body of the guitar). The fourth finger occasionally needs to reach out of position to grab a note one fret higher. That’s why it says “when at all possible. speed. with the 6th string on the left. as can the other degrees of the modes. Using the left hand properly and safely. as you become more familiar with the modes you’ll begin to be able to identify the sounds of the tones by these numbers. Never use the same finger twice in a row (unless shifting or sliding). There is no use of tabulature or traditional musical notation here. And. A good way to warm up is to play them slowly. Playing through the modes very slowly when you first pick up the guitar is a great way to relax. Notation method in this book Strings are shown as vertical lines. 1 1 2 3 4 4 The first finger may occasionally reach out of position to reach a note on the lower fret. these sometimes have to be broken.. Flat ( ) moves the note one fret down (toward the head of the guitar). the other chord tones. This first rule is most important because it prevents us from spreading the 2nd and 3rd fingers across more than 2 adjacent frets. 1 2 3 When you skip a fret skip a finger. coordination and stamina. focus.” In the diagram below. a 6 always has a certain sound that can be very easily memorized. and get the fingers ready for playing. or notes in the triad (3 and 5) and which note to add to make a 7th chord (the 7). Of course. like every rule. Never shift twice in a row. It’s a great way to work on strength. These numbers also tell us where the roots are (1). so knowing how to read music is not a prerequisite. as well as getting one in the right frame of mind for making music. 3 .. 2 1 2 1 4 7 3 4 5 1 1 2 3 4 2 5 1 6 5 3 6 2 7 6 Notice how the 7th is right up against the 1. The student should experiment these chords in the C Ionian Mode (8th position). I The Major Scale. 3 and 5 of this mode form the major triad (in other words. 1 2 1 1 2 4 7 1 5 7 1 3 5 1 5 1 4 2 6 4 Typical chord progression 3 6 for 2 using the 7 C Ionian Mode: 7 7 C | F or Cmaj | Fmaj 3 4 6 2 7 . and from 7 to 1. also known as the Ionian Mode 1 The intervals are as follows: 1 1 1/2 1 1 1 1/2 In other words.Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi The Natural. They are the seven based on the Major Scale. This can be easily seen in the diagram to the right. or root note. and it will be an Ionian mode. This makes it one of the two Major 7th modes found in these natural or melodic major modes. The 1. You can play the mode entirely on one string starting from any fret. and are by far the most common. the half steps are from 3 to 4. or Melodic Major Modes Many students learn some or all of these seven modes sooner or later. because the chord that emerges from it create a major 7th chord. the chord). 1 notes 4 that 7 make 3 up5the major 1 1 Below are chords that will sound good with the Ionian mode played 2 6 with improvising over over them. the wide stretch from the 1 to the 3 make it a major mode. or Major 2 3 6 1 42 2 2 3 1 2 3 2 3 1 4 7 3 5 1 1 2 7 4 3 5 6 1 4 1 4 7 1 4 3 5 1 4 1 2 2 5 1 4 6 7 3 5 6 1 54 2 6 52 5 6 3 6 2 7 1 2 63 7 1 2 5 6 6 2 7 7 1 2 Typical chord progression for using the E 7 Phrygian Mode (12th position): 1 Em | F or Emin7 | Fmaj7 2 1 1 1 1 4 7 3 5 1 1 4 7 3 5 6 1 5 1 2 4 5 7 3 6 1 . 7 3 scale. Below are chords that will sound good with the D Dorian mode played over them (10th position). 3 6 2 7 1 2 2 3 1 2 This mode has a minor sound — often interpreted as “sad” — but not as sad as. it’s like an Ionian. the flats are always in comparison 2 to the Ionian mode. 6 7 Remember. and also the 6 and 2.7 Modal Guitarist — Part I Major Melodic or Natural Modes 3 4 copyright ©2006 John Ruffi 6 1 2 1 5 1 ii The Dorian Mode One of the 3 minor 7th modes here. 1 2 3 1 4 7 3 5 1 4 1 4 7 3 5 6 1 4 1 4 2 2 3 6 2 5 1 4 6 7 6 5 7 5 3 6 1 2 4 7 1 2 5 2 1 5 2 1 6 3 7 6 2 Typical chord progression for using the D Dorian Mode: 1 4 5 1 Dm | G or Dmin7 | G7 7 2 1 5 4 1 7 3 4 3 1 2 7 1 1 6 5 1 1 4 7 3 5 6 1 1 2 1 2 4 5 7 iii The Phrygian 3 Mode 6 2 2 5 1 4 1 1 7 6 2 5 1 4 1 2 1 3 6 Another minor 7th mode. 7 and 3 are flatted. as in the Dorian. 2 the Aeolian mode. but with a flatted ( ) 3 and 7. say. 2 5 1 4 6 copyright ©2006 John Ruffi Modal Guitarist — Part I Major Melodic or Natural Modes 3 6 IV2 The Mode 7 Lydian 1 2 1 2 1 The only difference between this mode and the Ionian mode is 4. 2 2 1 5 43 1 1 1 2 1 2 1 1 3 4 4 1 4 7 1 3 1 4 1 7 1 3 1 5 1 1 13 1 6 4 4 5 2 5 5 5 1 2 1 5 4 6 7 1 2 4 2 5 3 5 6 1 4 7 5 3 6 1 2 3 6 1 2 6 7 6 2 6 6 7 2 1 2 6 7 7 1 Typical chord progression for using the G Mixolydian Mode (3rd position): G | F or G | C (or G7 | Fmaj7 or G7 | C) 7 1 1 1 2 1 1 6 . From this mode we can derive a major7 #11 chord. You’ll see this mode called “Mix” for short. 2 3 3 1 2 the 1 1 1 4 7 3 4 5 1 2 1 2 4 7 3 51 1 2 3 4 1 4 2 5 7 43 1 5 5 1 4 2 5 1 6 3 1 2 6 5 1 2 4 7 6 4 7 6 7 7 1 2 5 6 3 6 2 3 6 5 1 7 2 4 5 3 6 6 1 2 2 6 1 2 1 4 7 3 5 1 Typical chord progression for using the F Lydian Mode (1st position): 1 7 1 7 | G7 F | G or Fmaj 2 1 1 1 4 7 3 5 1 2 6 1 7 1 1 4 2 5 2 5 3 6 1 1 2 1 1 1 1 4 1 4 7 3 5 6 1 1 2 2 3 1 4 5 5 6 7 1 3 4 6 6 7 1 7 1 1 1 1 1 2 2 1 5 6 1 4 3 2 V The 7 Mixolydian 3 Mode 5 1 62 2 1 2 1 2 3 3 1 2 4 1 1 1 1 1 2 3 6 7 1 1 1 1 Only difference between this and the Ionian is the flat 7. or moved up against the 5. which has been 2 sharped. making it the only dominant 7th 2 1 1 1 mode in this group. The symbol2“ø” is sometimes used. and 5 are flatted.3 and 5) and the seventh 2 chord derived mode in this group 1 from it is called a minor 7 flat 5. 6. 2.2 5 1 4 6 7 3 5 6 1 2 4 7 2 5 1 4 6 3 6 2 Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi vi The Aeolian Mode 1 1 1 2 classic 2 3 1 6 2 7 1 1 2 This is the Natural Minor Scale. The flatted 5th makes this the only 2 with a diminished triad2(1. It differs from the Ionian by having flatted 7th. 3. or half diminished. 2 1 2 2 3 1 4 7 3 5 11 4 7 4 3 5 1 1 4 3 4 6 2 3 2 7 5 1 62 7 3 3 5 6 1 1 2 3 1 2 4 4 5 7 3 6 1 4 2 5 1 4 6 2 7 5 1 1 4 5 4 7 5 1 3 6 2 4 5 7 1 2 5 6 1 2 1 3 6 2 1 23 5 1 1 1 6 6 2 6 1 2 6 7 7 7 1 1 Typical chord progression for using the 7 A Aeolian Mode (5th position): 1 Am | F or Amin7 | Fmaj7 2 1 4 1 7 3 5 6 5 1 4 2 1 1 1 5 1 1 1 2 4 5 7 1 3 6 4 1 1 2 1 2 3 6 7 1 2 1 ø vii The Locrian Mode 3 6 2 7 In the Locrian mode the 7. 3rd 2 and 6th degrees.” or m7 5 3 1 2 3 4 3 1 1 2 1 4 4 5 7 3 5 6 1 1 2 4 5 7 3 4 1 1 2 4 5 6 1 1 4 2 5 2 3 5 1 4 7 5 1 6 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 6 6 3 1 2 6 7 6 2 5 7 6 1 1 7 1 2 7 1 Typical chord progression for using 7 1 the B Locrian Mode (7th position): 2 Bm7-5 | Em7 1 1 1 1 1 1 1 1 7 . 3 as well as the symbol “m7-5. Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi The Arpeggios Below are each of the seven modes we’ve just gone over. It is recommended that after playing the mode ascending and descending. Here they are shown with the arpeggios highlighted. 3. The roots (or “1s”) are highlighted in red. and then with 1. you should play the corresponding arpeggio ascending and descending — first without the 7th (1 3 5s only). 1 4 7 3 4 5 1 2 5 1 6 I Ionian major 7th arpeggio 3 6 2 7 ii Dorian minor 7th arpeggio 1 4 7 3 5 1 1 2 2 3 6 2 5 1 4 6 7 3 iii Phrygian minor 7th arpeggio 4 7 3 5 6 5 6 1 2 4 7 3 2 1 1 IV Lydian major 7th arpeggio 5 4 5 7 1 4 6 2 7 3 6 1 V Mixolydian dominant 7th arpeggio 1 4 7 3 2 5 1 4 6 7 3 6 2 2 3 5 1 1 vi Aeolian minor 7th arpeggio 4 7 3 5 6 5 6 2 1 4 7 1 viiø Locrian half diminished arpeggio 1 2 4 5 1 3 6 2 4 5 7 7 3 6 1 8 . are shown in blue. or chord tones. all other arpeggio notes. 5 and 7. 1.” Ionian 6 .1 — This is the Ionian mode as seen on page 4.4 — The mode root is on the 6th string. Ionian 5 . you will find the root on the 5th string.4 — By moving the hand down 1 position from Ionian 5 . with the fourth finger.2. you will find the root on the 5th string. Notice that this looks exactly like the Locrian mode on page 7. The root is played by the 2nd finger on the 6th string. by playing them ascending and descending. just played with a different finger. Ionian 5 . This mode looks just like the Aeolian on page 7. with the third finger. Another important but obvious reason for learning how to play every mode within every other mode is this: any mode can then be played at any position on the neck. but the numbers have changed.1 — By moving the hand down 2 positions from Ionian 5 . The arpeggios can also be played in this way as well. This fingering would be played 2 frets lower than the Ionian 6 .2 — Here the Ionian mode is played one fret lower. then 1 3 5 7) ascending and descending.3. with the first finger. as well as playing the arpeggios (1 3 5 first. After connecting the modes together so they belong to the same key.Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi Every Mode Within Every Other Mode Thinking of the numbers while playing the modes is very important.in every position. 4th finger.hence the name “Ionian 6 .4.4.1. since it’s a part of the mode. 9 . and on every string. Here are explanations of the Ionian mode fingerings as shown on the following page: The Ionian 6 . you will find the root on the 5th string. Ionian 6 . The following page shows how the Ionian mode can be played within the fingerings of the other 6 modes that were shown earlier in this book. so that the root lands on the same note. Ionian 4 . but the 7 below it is also shown. before going on to the other modes in every position. The root of the scale is played on the 6th string with the first finger . Its relationship to the tones in the chords before and after the chord being played. Become familiar with these different fingerings of the Ionian mode. but the numbers have changed. for example. you will actually be able to play any mode on the entire neck of the guitar . As your ear develops you’ll probably realize that you can hear the same note in a few ways: • • • Its number in relationship to the root of the chord over which it’s being played Its number in relationship to the key in which that chord appears.1 — By moving the hand down 2 positions (2 frets) from Ionian 6 . you will find the root on the 4th string.3 — By moving the hand down 2 positions from Ionian 5 . Ionian 5 . This will help you to develop a sense of what a major 3 (the 3 in an Ionian) sounds like compared with a minor 3 (the 3 in Dorian). with the first finger. in order see how they link together and hear how they sound. 1 4th string. 1st finger 5 1 4 7 6 2 5 1 3 4 7 3 6 7 6 2 5 Ionian 5 -3 5th string. 4th finger 6 2 5 1 3 4 7 1 3 4 7 6 2 5 7 1 6 Ionian 5 .1 5th string.4 6th string.1 6th string. 4th finger 3 4 7 5 1 3 4 6 2 5 6 2 5 7 1 3 4 Ionian 4 .2 6th string. 1st finger 1 4 7 2 5 1 3 4 6 5 1 3 6 2 7 Ionian 6 . 2nd finger 7 1 3 4 7 2 5 1 3 4 6 6 2 5 7 1 Ionian 6 . Ionian 6 . 1st finger 2 5 1 4 6 2 3 4 6 2 5 7 1 3 4 7 3 10 .4 5th string. 3rd finger 4 7 5 1 3 4 7 6 2 5 3 6 6 2 5 1 4 Ionian 5 .Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi The Ionian Mode in 7 Positions This is also called the Natural Major scale. first finger 5 1 4 7 2 3 6 7 2 3 6 5 1 4 6 7 5 2 5 1 6 Dorian 5 . 4th finger 3 6 4 7 2 3 6 5 1 4 2 5 5 1 4 7 3 Dorian 4 . 1st finger 2 3 6 4 7 2 3 5 1 4 5 1 4 6 7 2 3 11 . 4th finger 6 7 2 3 6 1 4 7 2 3 5 1 5 1 4 6 7 Dorian 5 .1 4th string.4 6th string.4 5th string. Dorian 6 .3 5th string. 1st finger 1 4 7 3 5 1 2 3 5 1 4 6 7 6 2 Dorian 6 .1 5th string. 3rd finger 7 3 6 1 4 7 2 3 5 1 4 7 Dorian 6 .1 6th string.3 6th string. third finger 4 7 3 6 5 1 4 7 2 3 6 2 5 6 5 1 4 Dorian 5 .Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi The Dorian Mode in 7 Positions The Dorian Mode has a flat 3 and flat 7 in comparison to the Major Scale. 6.1 4th string. 1st finger 1 2 5 3 6 1 2 4 7 4 7 3 5 6 1 Phrygian 6 . 1st finger 2 5 3 6 1 2 5 4 7 3 1 4 4 7 3 6 2 12 . when compared to the Major Scale. 3rd finger 7 3 6 2 4 7 Phrygian 6 . 4th finger 6 2 5 1 2 4 7 6 Phrygian 5 .1 6th string.4 5th string.3 5th string.4 6th string.Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi The Phrygian Mode in 7 Positions The Phrygian Mode has flatted 7. 3. and 2. 1st finger 5 6 1 2 5 7 3 6 1 2 4 7 4 7 3 5 6 1 2 4 7 3 5 6 1 7 3 6 5 1 1 4 7 3 5 1 Phrygian 5 . 4th finger 3 6 2 5 4 7 3 6 1 2 5 1 4 5 4 7 3 Phrygian 4 .3 6th string. 3rd finger 4 7 3 6 1 2 5 6 1 2 5 4 7 3 5 6 4 Phrygian 5 . Phrygian 6 .1 5th string. Lydian 6 .4 6th string. 2nd finger 7 1 4 2 5 7 1 3 6 3 6 2 4 5 7 1 Lydian 6 . 1st finger 1 4 2 5 7 1 4 3 6 2 7 3 6 5 1 Lydian 6 . 2nd finger 4 5 7 1 4 6 2 5 7 1 3 6 3 6 2 4 5 Lydian 5 .2 6th string.1 4th string. 1st finger 2 5 1 4 3 6 2 5 7 1 4 7 3 4 3 6 2 13 .Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi The Lydian Mode in 7 Positions The Lydian Mode has a sharp 4 in comparison to the Major Scale.1 5th string. 4th finger 3 6 2 5 7 1 4 5 7 1 4 3 6 2 4 5 3 Lydian 4 .1 6th string.4 5th string. 1st finger 5 1 4 7 1 3 6 2 5 7 1 3 6 2 4 5 7 1 6 2 5 4 7 7 3 6 4 7 Lydian 5 .2 5th string. 4th finger 6 2 5 1 3 6 Lydian 5 . 1st finger 2 5 1 4 6 7 3 4 6 7 3 2 5 1 3 4 2 6 2 5 3 6 14 . 1st finger 5 1 4 7 2 5 6 7 2 5 1 3 4 6 7 3 6 Mixolydian 5 . in comparison to the Major Scale. 4th finger 6 7 3 1 4 6 7 2 5 1 2 5 1 3 4 6 7 Mixolydian 5 .4 6th string. 1st finger 1 4 7 3 2 5 1 4 6 7 3 6 2 5 1 Mixolydian 6 . 3rd finger 7 3 1 4 6 7 3 2 5 1 4 6 2 5 1 7 Mixolydian 6 .Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi The Mixolydian Mode in 7 Positions The Mixolydian Mode has a flat 7. Mixolydian 6 . 3rd finger 4 7 3 5 1 4 6 7 2 5 1 4 Mixolydian 5 .1 4th string.1 6th string. 4th finger 3 4 6 7 3 5 1 4 6 7 2 5 2 5 1 3 4 Mixolydian 4 .1 5th string.3 6th string.3 5th string.4 5th string. Aeolian 6 . 3 and 6 in comparison to the Major Scale. 4th finger 3 6 2 5 6 1 4 7 3 Aeolian 4 .3 6th string.4 6th string. 1st finger 1 4 7 3 5 6 2 3 5 6 2 1 4 7 1 Aeolian 6 .3 5th string. 3rd finger 7 3 6 2 1 4 7 3 5 6 2 5 1 1 4 7 Aeolian 6 .4 5th string. 4th finger 6 2 7 3 5 6 2 1 4 7 3 5 1 1 4 7 6 Aeolian 5 .1 6th string. 1st finger 5 6 2 7 3 5 6 1 4 7 1 4 7 2 3 5 6 Aeolian 5 . 1st finger 2 3 5 6 2 4 7 3 5 6 1 4 1 4 7 2 3 5 6 1 4 7 2 3 5 6 4 7 3 2 5 5 1 4 2 5 15 .Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi The Aeolian Mode in 7 Positions The Aeolian Mode has a flat 7.1 4th string. 3rd finger 4 7 3 6 1 4 Aeolian 5 .1 5th string. 3 6th string.1 4th string. and 5 in comparison to the Major Scale. 1st finger 5 1 6 2 4 5 1 7 3 6 4 7 7 3 6 2 5 Locrian 5 . 2. 1st finger 2 5 1 4 5 7 3 6 2 4 5 7 3 6 1 2 4 5 3 6 2 1 4 4 7 3 1 4 16 . 3rd finger 7 3 6 2 4 5 1 2 4 5 1 7 3 6 1 7 Locrian 6 .4 5th string. Locrian 6 .1 6th string. 6. 4th finger 3 6 2 5 7 3 Locrian 4 . 1st finger 1 2 4 5 1 3 6 2 4 5 7 7 3 6 1 Locrian 6 .4 6th string. 4th finger 6 2 5 1 7 3 6 2 4 5 1 4 7 3 1 7 6 Locrian 5 . 3.Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi The Locrian Mode in 7 Positions The Locrian Mode has flatted 7.3 5th string.1 5th string. 3rd finger 4 5 1 6 2 4 5 7 3 6 7 3 6 1 2 4 5 Locrian 5 . Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi Chords used in this book The numbers above the diagrams indicate the best fingerings. An “X” means the string shouldn’t be played. The Notes on the Guitar E A D G B E 6 5 4 3 2 1 C major C 0 3 2 0 1 0 C major seventh Cmaj7 0 3 2 0 0 0 F major F 1 3 4 2 1 1 F major seventh Fmaj7 X 0 3 2 1 0 strings F B E A D minor Dm X 0 0 3 2 1 C F D minor seven Dm7 X 0 0 3 1 1 G major G 1 2 0 0 0 3 G seven G 3 2 0 0 0 1 G C F B D G A D G C E A E minor Em 0 2 2 0 0 0 E minor 7 Em7 0 2 0 0 0 0 A minor Am 0 0 2 3 1 0 A minor seven Am7 0 0 2 0 1 0 F B E A D C F B E B G C B minor 7 flat 5 Bm7-5 X 0 3 2 4 X F seven F7 1 3 1 2 1 1 A seven A7 0 0 2 0 3 0 D seven D7 X 0 0 2 1 3 D G C F A D E A D G B E B flat major 7 Bbmaj7 X 1 3 2 4 X C minor7 Cm7 3 X 1 4 1 X F sharp minor 7 F#m7 1 3 1 1 1 1 17 . An “0” means the string is played open. all use the mode that normally belongs with the V chord. This most basic blues progression uses only the I. A Aeolian 6-1. 18 . All the progressions here are in the key of C. All of the chords in the progression are descending fifths apart (moving down 5 notes in the scale). viiø. This is the simplest form of the 12 bar blues — there are many more complicated variations. try playing all in the 5th position: C Ionian 6-4. ii. E Phrygian 6-3. and V chords of the key — but. C Mixolydian C Mixolydian ||: C7 F Mixolydian | | | C7 | | | C7 | | | C7 | | : C Mix | | F7 F7 C7 C7 G Mix C Mix G7 G7 C7 C7 || The 12 Bar Blues in the Key of C Here we begin to shift keys subtly with the changing of the chords. V.Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi Additional Chord Progressions modes to use: progression: C Ionian F Lydian B Locrian E Phrygian ||: | Cmaj7 A Aeolian F D Dorian | | Bm7-5 G Mixolydian Em C Ionian | : Am Dm G7 Cmaj7 || The Circle of Fifths in the Key of C The above progression has been used so many times and in so many ways that book could be filled just with it alone. B Locrian 6-3. F Lydian 5-4. IV. IV. The shift from F to Bm7-5 is a diminished fifth (every major key has one of these) and the rest are called “perfect fifths. and so on. so once you master these you can begin to try them in different keys.” The chords and modes are as follows: I. Focus on the arpeggios at first to hear the changing of the chords without having to actually play them. I. iii. As you become more familiar with the above modes in all seven positions you could play all the modes without shifting position at all. For example. vi. 19 .I’s Cm7 F7 Bbmaj7 || Here are 2 sets of ii V I chords. Try extending it all the way around the circle: A. helping to establish the sound of a key in the listener’s ear. on the preceding page. Bb. After trying all the above progressions in several keys. C Mixolydian A Mix D Mix G Mix ||: C | A7 | D7 | G7 : || Dominant (7th) chords Following the Circle of Fifths Here are a few chords each descending a fifth. etc. B. C. G. because Am and F#m aren’t in similar keys at all.Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi D Dorian G Mix C Ionian ||: Dm7 C Dorian G7 F Mix | | Cmaj7 Bb Ionian | : | ii . ||: Am7 | F#m7 : || The above progression uses a slightly more dramatic shift than the others shown here. These are the last three chords in the circle. try making up a few of your own. These are just a few of the many possibilities when modes and chords from different keys are combined. Eb. ii V I’s often appear in sequence. F.V . F#. or play all minor 7s using the Dorian or Aeolian. Db. E and back to A. Then try going around the circle using any of the other modes — play all major 7s using the Ionian or Lydian. Ab. D. To keep the subtle try using A Dorian and F# Phrygian. To give the chord change a more dramatic sound try using A Dorian and F# Aeolian or F# Dorian. com. 20 .Modal Guitarist — Part I Major Melodic or Natural Modes copyright ©2006 John Ruffi In Closing This book contains everything you need to know to become thoroughly familiarized with the Natural Modes.modesforguitar. There are 4 books in the Modal Guitarist series: The Modal Guitarist — Part I Modes from the Major Scale The Melodic Major or Natural Modes The Modal Guitarist — Part II The Melodic Minor Modes Modes from the Melodic Minor Scale The Modal Guitarist — Part III The Harmonic Minor Modes Modes from the Harmonic Minor Scale The Modal Guitarist — Part IV The Harmonic Major Modes Modes from the Harmonic Major Scale Learn more. Visit www.