top of page

Greek Modes - 02

Playing the sounds in the harmonic field of C major relative Am

Applying modal pentas, arpeggios and natural scales.

The concept brings all sounds in the same harmonic field and its peculiarities.

There is no modulation in this case, just each degree is demonstrated with the playback that shows the resolution sound ie; which indicates each mode with its own sound, or the peculiar characteristics of each degree and their marked intervals.

By doing this, you can understand each degree with its own sound and apply this idea, both in your improvisations and in your compositions.

The construction of modes follows.

Each degree of the C major scale generates a peculiar mood in its sound.

I – Do (Ionian) – T (Do), 2 (Re), 3 (Mi), 4 (F), 5 (Sun), 6 (There) and 7M (Si).

II – Re (Doric) – T (Re), 2 (Mi), 3b (F), 4 (Sun), 5 (There), 6 (Si) and 7 (C).

III – Mi (Phrygian) – T (Mi), 2b (F), 3b (Sun), 4 (A), 5 (Si), 6b (C) and 7 (Re).

IV – F (Lídio) – T (F), 2 (Sun), 3 (There), 4# (Si), 5 (C), 6 (Re) and 7M (Mi).

V – Sun (Mixolidium) – T (Sun), 2 (There), 3 (Si), 4 (C), 5 (Re), 6 (Mi) and 7 (F).

VI – A (Aeolian) – T (A), 2 (Si), 3b (C), 4 (Re), 5 (Mi), 6b (F) and 7 (Sun).

VII – Si (Locrius) – T (Si), 2b (C), 3b (Re), 4 (Mi), 5b (F), 6b (Sun) and 7 (A).

Use the playback below and feel how cool each sound is.

Just applying these 3 tools.

Modal penta, arpeggios and natural scales.

View the video in full size by clicking on the lower right side to view the tabs.

7 Modos No mesmo CH -
00:00 / 00:00

Closed and open natural penta in Ch of C major relative Am

Ionian C7+ Mode

Now we are going to explore the sounds of the modes within the same harmonic field ie; C greater relative Am.

So we will play the playbacks in (C Jônio) (Dm Doric (6) ) (In Phrygium (9b) ) (P lídio (4#)) (G7 dominant)

(Am7 (6b) relative) and (B semi diminished or (75b) ) starting from the I degree Ionian mode.

The idea is to get to know the closed natural pentatonic scale and the open pentatonic scale, which is the fusion of 2 closed drawings.

Using this feature you can apply sweep picking techniques in the open pen.

The same mechanics apply to all shapes.

In the closed penta, it is open for you to use the technical concepts freely, such as on, slides, vibratos, bends and the sweep or alternating picks.

Everything will be (FREE) expanding your resources for improvisation.

So let's get to know the idea.

Modo Jônio em Cmaior - Hard Alexandre
00:00 / 00:00

Doric Mode Dm7 (6)

Notice that when we play the note G (G), on the string Si (B), the peculiar sound of the mode appears and becomes remarkable.

Modo Dórico Dm7 (6) -
00:00 / 00:00

Phrygian Mode Em7 (9b)

This particular mode has a drop to generate instability. In the case of this playback, the chord of Em7 and Em7 is played with a bass on the 2b or 9b one octave higher, ie; the note F.

This brings all instability to the penta, becoming melodically buoyant.

We can abuse combinations of jumps.

Pay attention to the change of the chord from Em 7 to Em7/2b and, choose the best notes, it is essential for your penta to flow with its OWN and striking sound.

Modo Frígio Em7 (9b) -
00:00 / 00:00

Lydian Mode F7+(4#)

Lydian mode is very peculiar because of its 4# however; in this case and in other modes above, we explore a natural sound.

Only closed and open natural pentas can fit these modes.

This shape is an adaptation to the F7+ so that we can play the 7 degrees, since the natural penta only has 5 degrees and is identical to the shape of the Jônio mode played previously.

The modal penta that is in the first video brings all the characteristics of the unique intervals of each degree. So let's play some of that sound.

Modo Lídio (4#) -
00:00 / 00:00

Mixolyde G7 Mode

The mixolydian mode is the 5th degree of Ch of c major relative Am.

The single major chord with a minor 7 or the sus or F/G chord (F WITH BASS IN G) can replace it.

It brings a suspended sound, resolute or even tense.

Closed and open natural penta help to expand even more possibilities.

Let's go to them...

Modo Mixolídio G7 -
00:00 / 00:00

Aeolian Am7 mode (6b)

The Aeolian mode brings a sadness in its peculiarity is the VI (6b) degree of Ch e, communicates resolutely bringing the minor ch.

Let's change the style and play the aeolian in reggae.

You can open up new ideas with Wha wha, mute picking.

That way we open the concepts.

Modo Eólio Am7 -
00:00 / 00:00

Locrius Mode (75b) B semi miniature

The Locrius mode is the VII degree, it is known to replace the V degree which is a tension chord. Its function is to cause a preparation and resolve into a fundamental or tonic sound.

Modo Lócrio 7 5 b -
00:00 / 00:00
bottom of page