Improvising With Major Scale Modes
Have you ever wondered where Jazz musicians come up with such
interesting notes to improvise with? One improvisational device
used is the application of Major scale modes. Jazz
musicians will sometimes apply a mode to a chord and use the within the
mode to improvise. Believe it or not, you already know some of
these modes and already use them in your improvisation.
Since you are probably unfamiliar with the term mode, I will start by
saying that a mode is a scale. To be more exact, a mode is formed
by creating a new scale by starting on a different note of the Major
scale while still using only notes from the Major scale. For
example, the first mode in the C Major scale, of course, is a C Major
scale. To create the second mode, we start on the second scale
step of the C Major scale - D. Starting on D and ending on D
while only using notes in the C Major scale generates the D minor scale
(mode). Before taking a look at the C Major scale modes below,
sit down with your instrument and work your way through each mode of
the C Major scale and figure out what scale each mode is.
C Major Scale Modes
Ionian - C, D, E, F, G, A, B, C
Dorian - D, E, F, G, A, B, C, D
Phrygian - E, F, G, A, B, C, D, E
Lydian - F, G, A, B, C, D, E, F
Mixolydian - G, A, B, C, D, E, F, G
Aeolian - A, B, C, D, E, F, G, A
Locrian - B, C, D, E, F, G, A, B
Whoah! Where did those funky name come from? Check out Wikipedia - Greek Modes
. If you want to learn the names, there are several mnemonics to
help you remember them. You can choose the one that you like:
- I Do Follow Lonely Men And Laugh
- I Don't Particularly Like
Modes A Lot
- I Don't Play Loud Music After Lunch
- I'm Done Playing Little Melodies Already Learned (The one
that I made up before I realized others existed. It seems fitting
since applying modes to your improvisation is definitely a breakaway
from "little melodies already learned".)
Here are some interesting things to note about these scales. I
have italicized the more interesting intervals (why are they more
interesting?):
- Ionian - Major: I think you know about this scale, but here
you go...major second, major third, perfect fourth, perfect fifth,
major sixth and major seventh.
- Dorian - Minor: major second, minor third, perfect fourth, perfect fifth, major sixth and minor seventh.
- Phrygian - Minor: minor second, minor third, perfect fourth, perfect fifth, minor sixth and minor seventh.
- Lydian - Major: major second, major third, augmented fourth, perfect fifth, major sixth and major seventh.
- Mixolydian - Major: major second, major third, perfect fourth, perfect fifth, major sixth and minor seventh.
- Aeolian - Minor: major second, minor third, perfect fourth, perfect fifth, minor sixth and minor seventh.
- Locrian - Minor or Half-Diminished: minor second, minor third, perfect fourth, diminished fifth, minor sixth and minor seventh.
Ok, so have you figured out why certain intervals have my
attention? Our ears are accustomed to the Ionian version of the
Major scale and Dorian version of the Minor scale. The intervals
I italicized are interesting because they differ from what we expect to
hear.
The general concept of applying Major scale modes to improvisation is
this - use notes from a mode that is not traditionally associated with
the chord that you are playing. For example, you are playing a
song in the key of C Major and you are playing a D Minor chord.
Typically, you would apply the dorian mode and essentially improvise
using the notes from the C Major scale (the dorian mode in the key of C
Major is a D Minor scale). Notice that there are two other minor
scales available from a modal point of view. Now you start
improvising using the Phyrgian, Aeolian or Locrian mode over the D
Minor chord and instantly have an interesting sound, especially by
focusing on those interesting (italicized) notes.
Notice this from the previous example:
- Using the Dorian mode means you are basically using a C Major scale.
- Using the Phrygian mode means you are basically using the Bb Major scale.
- Using the Aeolian mode means you are basically using the F Major scale.
- Using the Locrian mode means you are basically using an Eb Major scale.
You don't need to memorize these scales! All you need to do is
figure out which Major scale the mode you want to apply is associated
with. Memorize the following questions in your head for the two
main chord types:
- Major Chord - In what key is this the I? ...the IV? ...the V?
- Minor Chord - In what key is this the ii? ...the iii? ...the vi? ...the vii?
Now you need to practice in order to internalize this information so
you can apply it without thinking. Here are some ideas to get you
started:
- Write flash cards with the basic chord name on the front and the
associated scales on the back. You will need twenty-four cards,
twelve for the Minor chords and twelve for the Major chords. For
example, on the front, write D Minor; on the back, write C Major, Bb
Major, F Major and Eb Major (or just C, Bb, F and Eb, since you will
always associate chords with Major scales. As you get better with
these, you can add what the interesting notes are for each scale.
So the back of your D Minor card will read: C Major, Bb Major (Eb
and Bb), F Major (Bb) and Eb Major (Eb, Ab and Bb)
- Go through a chord chart of a song that you would like to apply
this concept to and write the associated Major keys above each
chord. Now start improvising!
- Pick one chord to work on. For keyboardists, play the chord
in your left hand while improvising with the different modes applicable
to that chord. As you get better, start playing in time with a
metronome or a drum machine. If you aren't a keyboardist, then
pick up a play-along album or find a keyboardist to comp for you while
you improvise. And since the keyboardist has been so thoughtful
to help you out, don't forget to give her some improv time too!
- Here's an "out there" idea. Combine two modes to create a
"poly-mode" and improvise with this newfound scale. There are
eighteen possible poly-modes (if only combining two modes of the same
type - Major or Minor).
Want to learn more? Purchase a copy of my eBook, Applicable Music Theory For Gospel Musicians.
You may also be interested in my Beginning Gospel Piano Combo or my Intermediate Gospel Piano Combo.
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