Are there definitions for terms like Ionian:

Kenny Brown · From: Auburn, Alabama, USA

Aolean
Locrian
Mixolydian
Dorian?

Is there anything behind these different mode names? I think I read here one night someone saying they could tell when someone was playing in a particular mode.

[This message was edited by Kenny Brown on 19 May 2004 at 05:09 PM.]

chas smith R.I.P. · From: Encino, CA, USA

They are, in fact, a misinterpretation of the original Greek modes, but they have become accepted as the Greek modes. They are scales, based on the diatonic scale degrees which we normally call the Major scale. The Major scale is thus, the first mode, the Ionian mode.

So for simplicity sake we'll use the C major scale as our reference scale, but any major scale can be the referrence scale and all of the modes will relate to that scale.

All of the modes related to the C major scale will have the C major key signature, that being, no sharps or flats.

The second mode, Dorian, will start on the 2nd degree of the scale, D, and thus be, D, E, F, G, A, B, C, D. It's a minor scale because it has a flat 3rd, F instead of F# and also a flat 7, C instead of C#.

The 3rd mode is Phrygian, usually associated with Spanish music because it's a minor scale with a b2. Starts on the 3rd degree, E, and is E, F, G, A, B, C, D, E.

The 4th mode, Lydian is a major scale with a raised 4th. Starting on the 4th degree, F, G, A, B, C, D, E, F. The raised 4th is the B, the F major scale has a Bb.

The 5th, Myxolydian, is the dominant mode. Starting on the 5th degree, G, it's G, A, B, C, D, E, F, G. The V chord, G7, comes from here.

The 6th mode, Aeolean, is the natural minor, startng on the 6th dgree, A, B, C, D, E, F, G, A. It's a minor scale with a flattted 3rd, 6th and 7th. ( A major has 3 sharps).

The Locrian can be thought of in a number of ways, but it's a minor scale with a flatted 2 and 5, or flatted everything except 1 and 4. It starts on the 7th degree and is B, C, D, E, F, G, A, B. B major has 5 sharps.

Denny Turner · From: Oahu, Hawaii USA

Another way to look at it is to realize that the NOTES of CMaj7 = Dmin7 = Em7b9 = F(#4) = G7 = Amin7b6 = B(halfDim).

Where that might at first seem complicated in transposing to other keys, it becomes quite simple and the basis for scale and chord voicing substitution by realizing that if the above is true then we can also say: IMaj7 = IImin7 = IIImin7b9 = IV(#4) = IV7 = VImin7b6 = VII(halfDim):

So if I want to have the notes of Dmin7 without even thinking about it, I simply play the notes of CMaj7. Likewise if I want the notes of F#min7 I can simply play the notes of EMaj7. If I want to play the notes of Amin7 I simply play the notes of GMaj7.

Cooler yet, especially for steel is that if I want to play notes of CMaj7 then I find them in the G7 box .... and vice versa.

Click here if you're up to reading 8 pages of discussion of modes here on the SGF.

Aloha,
Denny T~

Kenny Brown · From: Auburn, Alabama, USA

Well, that just made a big difference in my life! Now it makes a lot more sense to me! I'm glad I asked.

Thanks yall!

Ed Altrichter · From: Schroeder, Minnesota, USA

I wonder if all the steel guitar players who ever played all that good steel guitar music in all the places where I was having the best times of my life knew all that. Hmm, I wonder if Brother Oswald knew it...

Denny Turner · From: Oahu, Hawaii USA

Yea Ed, I think they knew as much as most Pickers will use of it nowadays; They just called it by differnt names. It's simply allot easier to combine allot of notes in all keys into a 7 simple mode names that cover all keys. It's allot easier to say "play Aolean" than it was way back then to say "play it in minor with flatted 6 and 7 notes". And allot easier to say "I/mixolydian = IV/ionian" than "G6 and 2 frets down at F6 are the same notes as CMaj7". There's no doubt in my mind that most of the old grand Steel Players commonly got Cmin7 chord by playing Eb6 without ever knowing / considering that Mixolydian = Dorian. After all, the most efficient way by far to play Cmin7 scale is to play F6 scale; And the only way (with a 6th tuning) to get it in a 2 fret box. A good example is Reece Anderson's (and others') excellent scale / chord navigation learning lessons and devices for pedal steel that use allot of scale / chord substitution using the number system that can be easier said by their 7 simple mode names and their application and substitution ...that applies to all keys.

I kinda look at it like I knew how to drive cars and race-cars quite well for almost half my life; But then I climbed into an 18 wheeler with Rand McNally on the dog house, and a whole new world of driving was opened up and was quite easy; And Rand McNally's USA is THOUSANDS of times more complicated than 7 simple modes! And indeed, the Steel neck seemed more complicated to me than Rand McNally's USA ...until I sat down and worked it out into the amazing simplicity of the 7 modes.

Aloha,
Denny T~

[This message was edited by Denny Turner on 22 May 2004 at 11:10 AM.]

Chuck Fisher · From: Santa Cruz, California, USA * R.I.P.

I always liked this approach to an explanation.

for example; Dorian is the mode of the second.

If you want to play A Dorian, ask yourself" A is the second of what key?" A is the second of G - thus A Dorian is G major (G Ionian)

Ionian = I
Dorian = II
Phryigian = III
Lydian = IV
Myxolydian = V
Aolean = VI
Locrian = VII

Regards,
CF

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