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Modes of the Major Scale and Their Application
I have had a lot of readers asking me about major scale modes and their application recently in response to my article “Modes of the Harmonic Minor Scale and Their Application.” So, I’ve decided to put together this article so that everyone can check out this often used, but very important scale and its related seven modes.
This article provides a breakdown of each of the modes of the major scale for you to enjoy and study, hopefully adding some fuel to your woodshedding and inspiring you to explore this very important sound in your soloing, composing and arranging.
Let’s take a look at each mode, its construction and how we can apply that mode to our playing.
Major Scale Modes Fingering Lesson
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Ionian
The Ionian mode, otherwise known as the major scale, is the most commonly learned scale by jazz guitarists when they first venture out beyond the pentatonic scales and blues scales they have under their fingers. It is a great scale for producing a tonic sound, often used for the Imaj7 chord in a ii-V-I or over any maj7 chord in a jazz progression.
In a modal context, the Ionian mode is defined by the natural 11 interval that it possesses, which sets it apart from its closely related cousin, Lydian. So, if you are playing this mode in a modal context, where you are trying to bring out the sound of Ionian and not just a maj7 chord, then try and find ways to highlight the 11th in your soloing and comping to emphasize the characteristic sound of this mode.
The mode is built with the following interval structure:
R – M2 – M3 – P4 – P5 – M6 – M7 – R
or in the key of C, these notes would be:
C – D – E – F – G – A – B – C
Check out my page on the Ionian Mode to learn how to finger this mode on the guitar.
Though it is a heavily used and common mode, it is an essential mode to have under our fingers and in our ears none the less, in both a tonal and modal context. If you are just starting to explore the major modes, then this is a great place to start before moving on to the other six modes in this system.
Dorian
Miles Davis’ solo on the classic jazz tune “So What” helped solidify the Dorian mode into the jazz performer’s consciousness. Ever since then, the Dorian mode has been the go to scale for jazz guitarists when soloing over a m7 chord, especially within a iim7-V7-Imaj7 chord progression. Alongside the Mixolydian and Ionian modes, the Dorian mode is one of the most commonly used major scale modes, and one of the most important to get under your fingers and into your ears.
Here is how the Dorian scale is built from an intervallic standpoint:
R – M2 – m3 – P4 – P5 – M6 – m7 – R
Or in the key of C it would be:
C – D – Eb – F – G – A – Bb – C
Check out my page on the Dorian Mode to see how it is fingered on the guitar.
Try learning this mode on the guitar, then transcribing lines and solos by your favorite players. See where they apply the Dorian mode, what patterns they use, what runs they like to play, and then adapt those ideas into your own solos when using the Dorian mode to outline a m7 chord.
Phrygian
Though often used over a m7 chord to produce a Middle Eastern/Flamenco sound, many jazz guitarists use the Phrygian mode to solo over Dominant chords as well. Featured in the classic solo break by John Coltrane on Mile’s recording of “Green Dolphin Street,” the Phrygian mode has since been used by jazz guitarists of all styles to improvise over a Dominant chord, which produces an altered sound minus the major 3rd interval, distinguishing it from the 7th mode of the melodic minor scale, the traditional “Altered” scale.
Here is how this mode is built from an intervallic standpoint:
R – m2 – m3 – P4 – P5 – m6 – m7 – R
Or in the key of C it would be:
C – Db – Eb – F – G – Ab – Bb – C
Check out my page on the Phrygian Mode to see how it is fingered on the guitar.
Though it is not as commonly used to solo over m7 chords as Dorian is, or over 7th chords as Mixolydian is, the Phrygian mode can be used in both of these situations to spice up your melodic lines and push your improvisations into new and exciting territory.
Lydian
Often used interchangeably with the Ionian mode to solo over maj7 chords, the Lydian mode is a favorite of jazz guitarists from every style and background across the history of the genre.
Producing a “brighter” sound over a maj7 chord as compared to the Ionian mode, many jazz guitarists prefer to use the Lydian mode to outline maj7 chords in a iim7-V7-Imaj7 progression, as compared to the Ionian option in this instance.
Here is the interval structure of the mode:
R – M2 – M3 – A4 – P5 – M6 – M7 – R
Or in the key of C it would be:
C – D – E – F# – G – A – B – C
Check out my page on the Lydian Mode to see how it is fingered on the guitar.
Try using the Lydian mode over any tonic major sound to see how your ears react to this bright, major mode. Then try alternating between Ionian and Lydian to hear that slight, yet important difference the #11 interval makes between these two well-used modes.
Mixolydian
The go to mode for outlining Dominant chords, the Mixolydian mode caps of the holy trinity of major modes, Ionian-Dorian-Mixolydian, since these three modes are used to outline the most common progression in jazz history, iim7-V7-Imaj7.
Though it is more vanilla sounding than its related melodic minor, harmonic minor and harmonic major cousins, the plain old Mixolydian mode is an essential tool in the improvisational bag of tricks for any jazz guitarist.
Here is the interval structure of the mode:
R – M2 – M3 – P4 – P5 – M6 – m7 – R
Or in the key of C it would be:
C – D – E – F – G – A – Bb – C
Check out my page on the Mixolydian mode to see how it is fingered on the guitar.
Learning to play the Mixolydian mode interchangeably with the Bebop Scale and traditional Bebop Scale Patterns is also an essential skill that every jazz guitar players needs under their belts. So, once you’ve got the Mixolydian mode under your fingers, dive into the Bebop Scale and Bebop Scale Patterns in order to take your Dominant 7 soloing to the next level.
Aeolian
Though not as popular a choice to outline Im7 chords in a iim7b5-V7alt-Im7 progression as the Melodic Minor mode, the Aeolian mode can be used to solo over a tonic minor sound in this situation. As well, many players like to use the Aeolian mode over slash chords, such as F/A, which produces a m7(b6) harmony that is perfect for bringing out the b6 interval in the Aeolian mode.
Here is the interval structure of the mode:
R – M2 – m3 – P4 – P5 – m6 – m7 – R
Which in the key of C would be:
C – D- Eb – F – G – Ab – Bb – C
Check out my page on the Aeolian Mode to see how it is fingered on the guitar.
To get a better handle on the Aeolian mode and how it differs from the Phrygian and Dorian modes, as far as how it sounds when used over a m7 chord, try soloing for over a m7 chord, using each mode for four to eight bars at a time. Alternating each sound will give you a better idea of the difference between each mode, as well as help you discover when and where you want to apply each to one of your improvisations.
Locrian
While Dorian is the go to sound for a iim7 chord in a ii-V-I major progression, the Locrian mode is the go to sound for a iim7b5 chord in a iim7b5-V7alt-Im7 progression. Living between a minor sound and a diminished sound, this mode is a great way to navigate through any m7b5 chord when you find this harmony in any tune you’re working on.
Here is the interval structure for this mode:
R – m2 – m3 – P4 – D5 – m6 – m7 – R
Or in the key of C the notes are:
C – Db – Eb – F – Gb – Ab – Bb – C
Check out my page on the Locrian Mode to see how it is fingered on the guitar.
Soloing over minor ii-V-I’s is an essential skill for any jazz guitarist, though many of us often spend much more time working on major ii-V-I’s in the practice room. If you are just introducing yourself to minor progressions, dig into the Locrian mode for a while. It will make playing over minor ii-V-I progressions much easier and enjoyable with this sound in your ears and under your fingers.
The major scale and its related modes are essential tools for any jazz guitarist. While they may be “boring” sounding compared to other modes and symmetrical scales, they are a fundamental building block to the sound of both modern and traditional jazz, and definitely worth the time putting into them in order to internalize them and have a strong grasp of their application to jazz guitar soloing.
Click to return to the Essential Jazz Guitar Scales Page
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Do you have a favorite use of the Major Modes? Share it in the comments section below.
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23 Responses to "Modes of the Major Scale and Their Application"
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Great break downs Matt. T/y. =)
Thanks Britt! Tomorrow I’m launching a primer on Melodic Minor and then a primer on Harmonic Major later this week.
Hi Matt
C lydian scale (C,D,E,F#,G,A,B,C = G Major Ionian Scale (G,A,B,C,D,E,F#,G) ? Any rule on that, or just hapenned ?
Thx in advance
Miguel
Hey Miguel,
Those are the same keys, and some guys like to think of modes that way, that C Lydian is just G major starting on C. For me, I like to think of modes from the root of the mode, and relate it to a chord.
Since C Lydian produces a Cmaj7#11 chord, I like to think of it as Cmajor with a #11 added, but you can also think of it as G major starting on C, with G being the “parent” scale of C lydian.
both ways are fine, they get you to the same place, so whatever is easier for you will work.
THx again Matt !!
No problem!
CMaj7#11 – X3445X – is it ok ?
It gives a spanish flavour this lydian mode hehe.
That’s a great voicing for Cmaj7#11, also try this one
x3x452
If you like the Spanish sound, check out Phrygian, very cool Spanish/Middle Eastern sounding mode.
Can you please post a simple 2-5-1 lydian progression in C ?
D7-G-Cmaj7 ? but not too jazzy… :(
Thx
Sure, try this one out
Dm7 – x5x565
G7 – 3x343x
Cmaj7#11 – x34030
2-5-1 C lydian ,sorry
I posted one just above you comment, check it out!
Thx Matt !
That x34030 is a pretty sounding chord, but it’s no major 7th. It’s a C9#11. It’ll work though.
yeah, for me maj7 chords are interchangeable with 6, 9 and #11 chords depending on the situation. So I like to move between them all in the context of maj7 sounds to mix things up a bit.
I need to correct myself. Since there is no 7th in x34030, it is a Cadd9#11. Here’s another voicing for CMaj7#11: 232000. Great site, Matt. There’s a lot of tools here to improve my playing.
Thanks Pete, yeah I love that voicing. Also x32002 very cool sound there as well
I’ve found that thinking of modes in different ways changes the way I play: If I think about modes as coming from a parent scale, I end up just playing through the same licks I normally do. But if I think about modes as their own scale and less related to a parent scale, I tend to use new intervals and patterns. Is this common, or have you heard others mention anything like this?
Thanks
Hey Nic,
Yeah a lot of guys think of key centers, parent keys, but that can be tricky like you said. I also like to think about each mode, and that chord, as separate but everyone is different. Either or works fine.
matt- i took all the keys!12- an broke them down to the key and then the seven modes for each key. this gae me all the possable keys to practice along with their respective mode. now i am trying to practice all of them and memorize what i can. i seem to remember this was your way to approach the modal situation but i cant seem to find reference in your web site. am i on the right track??????
Hey Richard,
That’s a ton of work, nice job! I would start to imrovise with them as much as possible now to really get a handle on them. once you can connect them in 7 modes and in 12 keys that’s the hard stuff, so now it’s time to make music and have fun!
thanks for the answer so quickly!!!! just wanted to check a few trthings out to make sure i got it right-is there anywhere on the site i can refer to?? by the way i tried to order your 30 day to better jazz but i couldnt get my card to work. someone has cancelled it???????? willl reorder when i get my new card-if i am not too late. thanks again- hope you are enjoying brazil!!
Hey Richard,
You can find a ton of scale resources here, articles on practicing etc.
http://www.mattwarnockguitar.com/complete-guide-to-jazz-guitar-scales
Also, no hurry on the book, it’s not going anywhere so you can buy it later on no problem!