L 11Modes and Non-Western

Scales

Modes

• Ionian – Major Scale• Dorian – 2nd of Major Scale• Phrygian – 3rd of Major Scale• Lydian – 4th of Major Scale• Mixolydian – 5th of Major Scale• Aolian – 6th of Major Scale (Minor)• Locrian – 7th of Major Scale

Ionian

• Major

CDEFGABC

Click to listen to Ionian Mode

Dorian

• Starts on the 2nd of the Major Scale

DEFGABCD

Click to listen to Dorian Mode

Dorian

• Eleanor Rigby, by the Beatles

• Also common in Jazz Tunes and Solos

Phrygian

• Starts on the 3rd of the Major Scale

EFGABCDE

Click to listen to Phrygian Mode

Phrygian

• Flamenco Music

Lydian

• Starts on the 4th of the Major Scale

FGABCDEF

Click to listen to Lydian Mode

Lydian

• Simpson’s Theme song

• Very common in Jazz Solos

Mixolydian

• Starts on the 5th of the Major Scale

GABCDEFG

Click to listen to Mixolydian Mode

Mixolydian

• Norwegian Wood, by the Beatles

• Common in Jazz

Aolian

• Starts on the 6th of the Major Scale

ABCDEFGA

Click to listen to Aolian Mode

Aolian

• Typically called “minor” scale• Three forms– Natural Minor – Aolian– Harmonic Minor• Raised 7th – A B C D E F G# A

– Melodic Minor• Raised 6th and 7th Ascending – A B C D E F# G# A• Natural Minor Descending – A G F E D C B A

Locrian

• Starts on the 7th of the Major Scale

BCDEFGAB

Click to listen to Locrian Mode

Dorian Mode ExampleFreddie Hubbard’s “Little

Sunflower”

Blue Grass Mixolydian and AeoleanModes Example

Ryan and Elliot project

Mixolydian Mode

Instruments

An exception to the Rule

Presented By:

Ryan & Elliot

MIXOLYDIAN MODE•All bluegrass music with few exceptions is played in the Mixolydian mode•The Mixolydian Mode originally ascended from G to G'

The "G" Mixolydian Mode

NOTE G A B C D E F G

FORMULA Tonic WholeStep

WholeStep

HalfStep

WholeStep

WholeStep

HalfStep

WholeStep

The “D" Mixolydian Mode

NOTE D E F# G A B C D

FORMULA Tonic WholeStep

WholeStep

HalfStep

WholeStep

WholeStep

HalfStep

WholeStep

•The Mixolydian mode can be played in any note following it’s interval structure

MIXOLYDIAN MODE

•For example, lets construct the D Mixolydian Mode Using this pattern

• State the Tonic • Go up two whole steps • Go up a half step • Go up two more whole steps • Go up one more half step • Go up one more whole step

INSTRUMENTSAcoustic Bass

Acoustic Guitar

•Tuned to E-A-D-G•Fretless•Played by Plucking or with bow

•Tuned to E-A-D-G-B-E•Played in Flat Picking or Finger Style

INSTRUMENTSMandolin

Dobro – Resonator Guitar

•Tuned to G-B-D-G-B-D (Open G) •Played with slide and finger Picks•Steel resonator

•Tuned to E-A-D-G •Eight strings set in pairs•F and A style

Fiddle

Banjo

INSTRUMENTS

•Tuned to E-A-D-G•Played with a bow•Fretless

•Tuned to D-B-G-D-C (open G)•Finger picking•Fifth string mounted halfway down neck•Resonating Chamber Similar to Drum Head

AN EXEPTION TO THE RULE

•“Dusty Miller” (1966)•Uses Mixolydian & Aeolian Modes•First Part in Aeolian Mode in A scale•Second Part in Mixolydian Mode in G scale

This recording is from The Bluegrass Mandolin Extravaganza album

Featuring some the best mandolin players of all time

Including: Ricky Skaggs, Ronnie McCoury, David

Grisman, Buck White, Jesse McReynolds, Bobby Osborne and

Frank Wakefield

SOURCES

•Northwest Bluegrass Mag Onlinehttp://www.nwbn.freeserve.co.uk

•BanjoLin.comhttp://www.banjolin.supanet.com

•Upon Request Productionshttp://urp.home.cyberverse.com/mixolydian.htm

MUSIC BY : Don Reno- Cincinnati Rag BME- Dusty Miller

Certain scales (in some cases modes) are linked with particular

chords. Would you expect a dominant 7th chord or a major 7th chord to be associated with the Mixolydian

mode?A) major 7th

B) dominant 7th

Non-Western Scales

True or false:The Jewish scale is a subset of the

diatonic scale.A) TB) F

True or false:The Arabian scale is a subset of the

chromatic scale.A) TB) F