Background theory ur expected to know: intervals, scales (major and minor), play any major/minor scale on ur guitar wuthout having to think abt. it.
also pls. learn to differntiate between majors and minor feels of songs u hear - u dont need to know wat key its in ut u should be ale to tell whther tis major or minor just by hearing it.
Now since you're able to differentiate between the different feels that a tune can have its time for a proper introduction to modal theory:
Now you know that when you start a major scale from its sixth note, you get the relative minor scale of that major scale. The interesting thing is that you can do this to any note, not only the sixth.
Now a major scale is constructed as below:
Root-2nd-Major 3rd-4th-5th-Major 6th-Major 7th-Root
The intervals are as below:
W - means Whole interval (A.k.a. 2 semitones/2 frets)
H - means Half interval (a.k.a. 1 semitone/1 fret)
You can apply this to any scale to get its major - its important that you know these formulae in all the styles shown above as it makes a lot easier to understand whats going on beneath the notes. You must also know how to play any major scale without having to think over it on the fretboard.
Now getting back to the modes, playing the major scale from any note results in the mode (with respect to the starting note). Hence there are 6 other scales (actually modes) with the same notes as the C major scale.
They can basically be any of the following combinations: (ill start numbering from 2 - the reason will become apparent later)
2. D-E-F-G-A-B-C-D: D Dorian
3. E-F-G-A-B-C-D-E: E Phrygian
4. F-G-A-B-C-D-E-F: F Lydian
5. G-A-B-C-D-E-F-G: G Mixolydian
6. A-B-C-D-E-F-G-A: A Aelion - you already know this to be the minor scale
7. B-C-D-E-F-G-A-B: B Locrian
The names of each of the modes are on the right, (the normal major is known as the Ionian by the way)
While I'm sure many will dispute my next statement - I fnd it useful to throw the concepts of majors and minors out of the window - the way shown below to differentiate feels will be much more useful and in fact accomodates everything that the major/minor differentiation does plus more (much much more)
Another important point to note is that if you look at the names of the modes - its relative to the starting note - not which ionian scale its part of!
This means that a D Dorian - as shown above belongs to the key of D and not C. The best way to understand this is to play a C ionian with a bass note of C playing in the background and then play a D Dorian with a bass note of D in the background. Then play the D ionian against the background of a D bass note. You have to keep doing this until you can feel the D Dorian hover about the D note just as the D ionian does. Also once this is done you will also identify that that the D Dorian against a C bassnote sounds 'off'. You must keep at this excercise till you get this. (It took me a few hours to be able to really get the difference - but its been worth it)
Now once you have done this, you have trained your ears to accept modal theory and unleash its true power on the musical world!!!
Now its time to learn more about modes:
I have another time consuming excercise for you.
You must figure out all the modes in each key and write them out.
Above, where I have written out the different modes that are similar to the C ionian, you will be able to see that each mode follows a certain interval pattern (in whole tone and half tone intervals) -Identify this pattern first for the D Dorian, then for the E Phrygian, the F Lydian, the G mixolydian, the A Aoelian and the B Locrian. Now since you have them written out, apply that pattern to each key for each mode.
Now starting with the key of C - list out the modal patterns as follows:
C ionian, C dorian, C phrygian, C lydian, C mixolydian, C aeolian, C locrian.
Do this for each key.
Please do not read ahead without completing this excercise and then later complain that you do no have the power of modes in your hand - learning the hard way is probably the best way - you won't regret doing this no matter what style you are into.
Wow! good work - you've really gone through some trouble!
It's time to analyse each mode theoretically:
Now lets start again with the Ionian- the formula for the ionian is:
the formula for the dorian is:
Thus we can see that the third note of the dorian is flattened when compared to the ionian, as is the 7th. Thus the formula to get a dorian from an ionian is to flatten the 3rd and 7th notes.
Now we need to do this and obtain these formulae for each mode with respect to the ionian.
Do this yourself and then scroll down.
you shouldve come up with the following formulae - if they dont amtch up - go back and redo the ones you got wrong.
Hence there is a flattened 2nd, a flattened 3rd, a flattened 6th and a flattened 7th.
Here you wont find any flats but you will find a sharpened 4th note.
Here you find a flattened 7th.
Here you find a flattened 3rd, a flattened 6th and a flattened 7th.
Here we have a flattned 2nd, a flattened 3rd a flattened 5th, a flattened 6th and a flattend 7th.
Its time to arrange the modes in the order of flats and sharps.
Lydian - #4th (1#)
Ionian - 0#s or bs (0)
Mixolydian - b7th (1b)
Dorian - b3rd, b7th (2b)
Aeolian - b3rd, b6th, b7th (3b)
Phrygian - b2nd, b3rd, b6th, b7th (4b)
Locrian - b2nd, b3rd, b5th, b6th, b7th (5b)
There you have it! - now the more sharps in comparision to the ionian - the brighter and happier it sounds, thus the lydian is not sued for much other than nursery rhymes.
The mroe flats, the darker it sounds - thus the locrian is the darkest sounding mode available.
now compose your won tunes based upon how light or dark you want it to sound... also keep playing each mode to know the unique sound it has.
well best of luck.