Now that we have introduced all of the modes, let’s look at what roles individual notes take in these scales. In a tonal context, they all have certain tendencies.

Stable Tones: (1,3,5)

Tonic:

• The tonic is the 1st degree of the scale. All other notes are based around the tonic and gravitate towards it.

Dominant:

• The dominant is the 5th degree. This is a solid or stable note.

Third degree:

• The 3rd degree is stable; however, it is not as stable as the tonic or the dominant.

Unstable Tones: (2,4,6,7)

Second degree:

• The 2nd degree moves most commonly to the tonic but also to the 3rd.

Sixth degree:

• The 6th degree tends to move to the dominant (5th) which is most stable. The 6th degree also moves to the 7th but it is not as stable as 5th degree.

Seventh and Fourth degrees:

• The 7th and 4th degrees usually move by half steps and are the most unstable tones.
• The 7th (not the b7) commonly resolves to the tonic (1st). The pull from the 7th to the tonic is very strong.
• The 4th degree commonly resolves to the 3rd as the 4th is not a chord tone in tonic chords.

Please note: all of the modes contain the same stable tones (1,3,5) and unstable tones (2,4,6,7).

© 2009, Synaptic Systems Inc.

As we discussed in previous lessons, the Major scale is also know as Ionian and the Minor scale as Aeolian. We also know that the relative minor is the major scale starting from it’s 6^th degree. The scales starting from all of the other degrees will now be introduced. This group of scales is known as “the modes”.

Lets start in the key of C.

If we re-spell the C Major scale (Ionian) starting from each subsequent degree in the scale, we end up with the following:

Mode Name	1	2	3	4	5	6	7
C Ionian	C	D	E	F	G	A	B
D Dorian	D	E	F	G	A	B	C
E Phrygian	E	F	G	A	B	C	D
F Lydian	F	G	A	B	C	D	E
G Mixolydian	G	A	B	C	D	E	F
A Aeolian	A	B	C	D	E	F	G
B Locrien	B	C	D	E	F	G	A

In the example above, the modes are all relative to C Ionian or the key of C Major. They are simply a re-spelling of that scale.

Now, lets see the modes in parallel to C Ionian. Each mode is related to a different key / different major scale.

C Ionian

C

D

E

F

G

A

B

C Dorian

C

D

Eb

F

G

A

Bb

C Dorian is parallel to C-Ionian. It is relative to Bb Major / Bb Ionian.

C Phrygian

C

Db

Eb

F

G

Ab

Bb

C Phrygian is parallel to C-Ionian. It is relative to Ab Major / Ab Ionian.

C Lydian

C

D

E

F#

G

A

B

C Lydian is parallel to C-Ionian. It is relative to G Major / G Ionian.

C Mixolydian

C

D

E

F

G

A

Bb

C Mixolydian  is parallel to C-Ionian. It is relative to F Major / F Ionian

C Aeolian

C

D

Eb

F

G

Ab

Bb

C Aeolian is parallel to C-Ionian. It is relative to Eb Major / Eb Ionian

C Locrian

C

Db

Eb

F

Gb

Ab

Bb

C Locrian is parallel to C-Ionian. It is relative to Db Major / Db Ionian.

Memorize the names of the modes and their relative and parallel relationships. In time, this will help you apply them to your instrument. Once you have begun improvising with the modes, knowing their characteristic pitches will help you to capture each modes individual sound.

© 2009, Synaptic Systems Inc.

Just like we did in lesson 6, we are again going to harmonize the C major scale except this time, rather than just using triads (3 notes) we are going to use 4 notes.

To harmonize the scale, we simply take the 1st 3rd, 5th and 7th notes of the C scale and spell them out.

C D E F G A B C D E F G A B C

C E G B

Then we start again from the 2nd note in the scale and count the 1st, 3rd , 5th and 7th notes from that point.

C D E F G A B C D E F G A B C

D F A C

Again from the 3rd note in the scale, count the 1st, 3rd , 5th and 7th  note from that point.

C D E F G A B C D E F G A B C

E G B D

Continue to do this all the way to the 7th note in the scale and you end up with:

C E G B
D F A C
E G B D
F A C E
G B D F
A C E G
B D F A

In lesson 6, we saw that C E G (1 3 5)  made up the major chord in the key of C. Here, we have added the 7th note (B)  from the scale.

The result (1 3 5 7) is the CMaj7 chord.

So, what are all the other ones? Lets start with D F A C

First, lets spell out the major scale that starts on D. (see lesson 3)

D E F# G A B C# D

The scales 3rd note is F#. Our 3rd note is F. The note F is a flatted 3rd (b3) in the D major scale. We know from lesson 6 that D F A =  minor triad.

The 7th note C is a flatted 7th (b7) note from the scale.

1 b3 5 b7 = minor 7

So the resulting chord is a Dmin7 chord.

Lets look at E G B D

Again, lets spell out the major scale that starts on E.

E F# G# A B C# D# E

The scales 3rd note is G#. Our 3rd note is G. The note G is a flatted 3rd (b3) in the E major scale.

We know from lesson 6 that E G B = minor triad

Again, the 7th note D is a flatted 7th (b7) note from the scale.

1 b3 5 b7 = minor7

So the resulting chord is a Emin7 chord.

Using the same procedure all the way up the scale, we end up with:

F A C E – FMajor7

G B D F – G7

A C E G – Amin7

B D F A – Bmin7b5  (also known as B half diminished)

If we put them all together now, we end up with:

Notes in the Cmajor scale	Degree of scale	Chord
C E G B	1  3  5  7	Major 7
D F A C	1  b3  5  b7	Minor 7
E G B D	1  b3  5  b7	Minor 7
F A C E	1  3  5  7	Major 7
G B D F	1  3  5  b7	7th – (or dominant 7th)
A C E G	1  b3  5  b7	Minor 7
B D F A	1  b3  b5 b7	Minor7b5 -(or half diminished)

This order of chords will result regardless which major scale you harmonize. Knowing this is very useful for several reasons.

1) If you are asked to play a 2 5 1 chord progression in any key, with a little thought, you now can.

With the added 7th, a 2 5 1 chord progression in the key of C is Dmin7, G7 and C Maj7.

Exercise: What is a 2 5 1 in the key of G?

2) Another reason is that if you want to transpose a song from its existing key to another that better matches your vocal range, you can do this as well. Suppose that a song on a chart has the following chord progression in the key of C.

C Maj7     G7    Amin7     F Maj7

Now suppose that you are way more comfortable singing in the key of D ( C is just a little to low for you ). To transpose this, we simply determine what number in the key of C these chords represent. We find that:

C Maj7     G7    Amin7     F Maj7  =  1  5  6  4 in the key of C.

Now apply those numbers to the key of D and you will find that:

1  5  6  4 in the key of  D  =   D Maj7     A7    Bmin7     G Maj7

Exercise: Transpose  the progression C Maj7   G 7   A Min7   F Maj7   into the key of E.

3) From the standpoint of improvisation, it is very useful to know the relationship between chords and scales.  We won’t  really get into this now other than to say that if you played the 1 5 6 4 progression we just mentioned in the key of  C, the C Major scale can be played over that whole chord progression as these chords are all made up of notes  from that scale. Much more on this later in the lesson on “the modes”.

© Synaptic Systems Inc., 1999

In this lesson, you are going to have to start using some of the concepts learned in lessons 1 – 5.

What we are going to do is “harmonize” the C major scale.
To harmonize the scale, we simply take the 1st 3rd and 5th note of the C scale and spell them out.

C D E F G A B C D E F G A B C

C E G

Then we start again from the 2nd note in the scale and again count the 1st 3rd and 5th note from that point.

C D E F G A B C D E F G A B C

D F A

Again from the 3rd note in the scale, count the 1st 3rd and 5th note from that point.

C D E F G A B C D E F G A B C

E G B

Continue to do this all the way to the 7th note in the scale and you end up with these triads:

C E G
D F A
E G B
F A C
G B D
A C E
B D F

Now the fun begins. You will remember from lesson 5 that C E G (1 3 5)  made up the major chord in the key of C.

So, what are all the other ones? Lets start with D F A

First, lets spell out the major scale that starts on D. (see lesson 3)

D E F# G A B C# D

The scales 3rd note is F#. Our triads 3rd note is F. The note F is a flatted 3rd (b3) in the D major scale.

D F A = 1 b3 5 out of our D major scale. 1 b3 and 5 = minor triad

Therefore, D F A = D minor

Look at E G B

Again, lets spell out the major scale that starts on E.

E F# G# A B C# D# E

The scales 3rd note is G#. Our triads 3rd note is G. The note G is a flatted 3rd (b3) in the E major scale.

E G B = 1 b3 5 out of our D major scale. 1 b3 and 5 = minor triad

Therefore, E G B = E minor

Exercise: Using the same procedure, do the next 4 triads yourself.

F A C
G B D
A C E
B D F

If you’ve done it right, you will find the following chords are the result of this exercise:

F A C Major
G B D Major
A C E Minor
B D F Diminished

If we put them all together now, we end up with:

Notes in the C Major Scale	Degree of Scale	Chord
C E G	1 3 5	Major
D F A	1 b3 5	Minor
E G B	1 b3 5	Minor
F A C	1 3 5	Major
G B D	1 3 5	Major
A C E	1 b3 5	Minor
B D F	1 b3 b5	Diminished

This order of chords will result regardless which major scale you harmonize in triads. Knowing this is very useful for several reasons.

1) If you are asked to play a 2 5 1 chord progression in any key, with a little thought, you now can.

A 2 5 1 chord progression in the key of C is D Minor, G Major, C Major.

Exercise: What is a 2 5 1 in the key of G?

2) Another reason is that if you want to transpose a song from its existing key to another that better matches your vocal range, you can do this as well. Suppose that a song on a chart has the following chord progression in the key of C.

C Major     G Major     A Minor     F Major

Now suppose that you are way more comfortable singing in the key of D ( C is just a little to low for you ).

To transpose this, we simply determine what number in the key of C these chords represent. We find that:

C Major     G Major     A Minor     F Major  =  1  5  6  4 in the key of C.

Now apply those numbers to the key of D and you will find that:

1  5  6  4 in the key of D =  D Major     A Major     B Minor     G Major

Exercise: Transpose  the progression C Major   G Major   A Minor   F Major   into the key of E.

3) From the standpoint of improvisation, it is very useful to know the relationship between chords and scales. We won’t really get into this now other than to say that if you played the 1 5 6 4 progression we just mentioned in the key of C, the C Major scale can be played over that whole chord progression as these chords are all made up of notes from that scale. Much more on this later in the lesson on “the modes”.

© Synaptic Systems Inc., 1999

Hopefully in lessons 1 through 4, you have seen that there is a “logic” or “formula” that can be applied to work out major scales in all the keys. While memorizing all the scales in all the keys is useful, in my opinion, it is more important to memorize the logic behind how they are derived.

Similarly, there are formulas that can be applied to determine or construct any chord in any key.

What is a triad?
A triad is a combination of three notes sounded together.

Major Chords (triads):

Major chords are always made up of the 1st, 3rd and 5th note of any major scale.

For example, in the key of C: C D E F G A B C

C E G are the notes that make up the C major chord. The C note is the root of this chord.

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A word on Inversions:

It is important to know that these notes do not necessarily need to be played in that order. In fact, they can be played in any sequence and are called inversions.

C E G     E G C    G C E     C G E    E C G   etc.

For now, lets concentrate on the basic 1st, 3rd and 5th notes for learning our triads.

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Minor Chords (triads):

Minor chords are always made up of the 1st,  b3rd and 5th note of any major scale.

For example, in the key of C: C D E F G A B C

C Eb G are the notes that make up the C minor chord. The C note is also the Root of this chord.

Diminished Chords (triads):

Diminished chords are always made up of the 1st,  b3rd and b5th note of any major scale.

For example, in the key of C: C D E F G A B C

C Eb Gb are the notes that make up the C diminished chord. Once again, the C note is the Root of this chord.

Memorize:

1 3 5      = major triad

1 b3 5    = minor triad

1 b3 b5  = diminished triad

© Synaptic Systems Inc., 1999