Every guitarist holds back for that inspiring moment in a song where they let rip with the most hair raising emotional, powerful lead guitar solo of all time.
A vital tool in creating improvised solos is the use of scale MODES.
Modes are basically playing, for example, C major (C, D, E, F, G, A, B) in seven different ways or “Modes” (using the same notes). If you play C to C (C, D, E, F, G, A, B, C) you get the 1st mode C Ionian Mode. If you play D to D (D, E, F, G, A, B, C, D) you get D Dorian Mode. Basically the modes use all the same notes from the same KEY but depending on where you start the “tone-semitone” relationship between all the notes changing in ORDER but not in NOTES! Comprende-Tu?
C D E F G A B C – Gaps between the notes are 2 2 1 2 2 2 1
D E F G A B C D – Gaps between the notes are 2 1 2 2 2 1 2
So basically the notes are the same but because you have changed the start/end point, you effectively have changed the MOOD of the scale!
Here is a break down of each Mode!
Ionian (1st mode):
The Ionian mode is just the major scale. So you take the root and follow this pattern to produce the notes of the major scale: Tone, Tone, Semitone, Tone, Tone, Tone, Semitone. So, for the C major scale it would be C D E F G A B C.
Dorian (2nd Mode):
The Dorian mode is a minor scale with an added lift. You raise the sixth note (from a flat 6th) of the minor scale to produce the Dorian mode. So the D Dorian scale is D E F G A B C. Sounds so much better playing a natural 6th than a flat 6th !
Phrygian (3rd Mode):
The Phrygian mode also resembles a minor scale, but the second note of the Minor scale is lowered a half step to produce the Phrygian mode for that root note. E minor: E F# G A B C D. E Phrygian: E F G A B C D. Sounds very Spanish !
Lydian (4th Mode):
The Lydian mode resembles the major scale this time but with an altered note (like every mode but two in here). You raise the fourth note in the major scale one half step to get the Lydian mode for that root. The F Lydian mode is F G A B C D E. Sounds very “floaty” and very Satch / Vai like.
Mixolydian (5th Mode):
The Mixolydian mode also resembles the major scale. This time the altered note is the seventh note. In the Mixolydian Mode, you lower the seventh note of the scale one half step to a b7. The G Mixolydian scale is G A B C D E F G. This is a very “Cheeky” mode as it contains Major tones (major 3rd!) but also Minor tones (b7!). A bit like a scale that “sits on the fence and can’t make it’s mind up!”
Aeolian (6th Mode):
The Aeolian scale is another name for the Minor scale. The A minor scale is A B C D E F G A while the A Aeolian scale is, you guessed it, the same thing!
Locrian (7th Mode):
The seventh and final mode is Locrian. The Locrian mode is the "ugly duckling" of all of the modes because of its unusual construction. The Locrian mode is a minor scale with a lowered second and a lowered fifth. B Locrian mode is B C D E F G A B!
So a quick chart to show how these 7 modes come from Major/Minor scales.
C Ionian: C D E F G A B C (1, 2, 3, 4, 5, 6, 7) “Major Based”
D Dorian: D E F G A B C D (1, 2, b3, 4, 5, 6, b7) “Minor Based”
E Phrygian: E F G A B C D E (1, b2, b3, 4, 5, b6, b7) “Minor Based”
F Lydian: F G A B C D E F (1, 2, 3, #4, 5, 6, 7) “Major Based”
G Mixolydian: G A B C D E F G (1, 2, 3, 4, 5, 6, b7) “Major Based”
A Aeolian: A B C D E F G A (1, 2, b3, 4, 5, b6, b7) “Minor Based”
B Locrian: B C D E F G A B (1, b2, b3, 4, b5, b6, b7) “Dim Based”
I have “Bolded” the important note in each mode that is the only difference between that mode and a Major/Minor shape. E,g, D Dorian is based on the Minor scale but has a 6th instead of a (minor) b6!
Bear in mind the Ionian mode is the Major scale and the Aeolian mode is the Minor Scale!