This is simply another way to think about and practice the modes. Referring to the chart in lesson 3 (parallel thinking), where we look at each of the modes as they compare to their parallel major scale, we consider the “brightest”-sounding modes to be the ones with the greatest number of sharped or natural notes, and the “darkest”-sounding modes to be the ones with the greatest number of flatted notes. Placed in “order of brightness” (and based on “Parallel Thinking”), this is what we come up with:
- Lydian (#4) (“brightest”)
- Ionian (no sharps or flats)
- Mixolydian (b7)
- Dorian (b3, b7)
- Aeolian (b3, b6, b7)
- Phrygian (b2, b3, b6, b7)
- Locrian (b2, b3, b5, b6, b7) (“darkest”)
Notice, then, that as you move down the above list, each mode has only one note in it that’s different from the mode above it. This can provide a GREAT way to practice the mode fingerings, because it helps you become more aware of where each particular note falls within the fingering. You will find this to be extremely helpful down the road, as you get more comfortable with the modes.
If you start with the Lydian mode, and then simply flat the 4th degree (change the #4 to a natural 4), it becomes the Ionian mode (the 4th is marked in red).
Now flat the 7th (marked in red) and you have the Mixolydian mode.
Flat the 3rd (marked in red), and now you have the Dorian mode.
Flat the 6th (marked in red), and you now have the Aeolian mode.
Flat the 2nd (marked in red), now it’s the Phrygian mode.
Finally, flat the 5th (marked in red) and you’re in the Locrian mode.
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Next Lesson in the HCG Modes Tutorial:
#4: The Unique Sound of Each Mode
Quick jump to another lesson in the mini-clinic:
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