Is this is best way to learn all the scale modes?

Question

So I was looking at other questions and guitarczar put:

The Dorian mode is the minor scale with a #6th (A B C D E F# G A)
The Phrygian mode is a minor scale with a b2nd (A Bb C D E F G A)
The Lydian mode is a major scale with a #4th (C D E F# G A B C)
The Mixolydian mode is a major scale with a b7th (C D E F G A Bb C)
The Locrian mode is a minor scale with a b2nd and a b5th (A Bb C D Eb F G A)


If this the best way to remember all the modes rather then trying to remember trhe patterns on the guitar.

Are the good solo/improv players thinking in their head "oh, we are in the key of "C" and I want to play in Lydian mode so I'm just gonna sharpen the 4th note of my C maj scale" ? I know they probly aren't consciously thinking it after awhile but at first? It just seems easier. Any insight?


Bonus Question: It seems much more difficult for more to play scales/solos way up towards the bridge end of the neck on the low E and A strings (ie. frets 15-24). Do most guitarist just not use these frets b/c of difficulty to fret and also timbre? should I just not worry about playing that high on the lower strings and just play the same notes on different strings?

Answer 1

I'm glad someone is paying attention!

The thing to remember is that any position of the major scale can serve as any mode. You still need to memorize all the positions of the major scale. What I have explained in the answer that you sited was how the modes are actually USED.

Depending on which system of scale patterns you use there are either 5 patterns for what is known as the "caged" system, or 7 patterns for the "Van Eps" system (named for famed jazz guitarist George Van Eps). I teach the caged system to my students because it is easier to use and corresponds to the standard chord shapes as well as the pentatonic scales and all the standard arpeggio forms. I also use and teach aspects of the Van Eps system because they are extremely useful in connecting the various positions across the neck.

Once you have memorized the positions then it becomes very easy to use them as major or minor scales or as any mode you wish. For example: The A dorian mode as I explained it is the A minor scale with a #6th (A B C D E F# G A) This is how my EARS hear it but my HANDS are playing the G major scale! Try this with the progression Am7 to D7 (a Santana favorite) The #6th works well because it is the major 3rd of the D7 chord (F#). So I can use ANY position of G major over this progression and it SOUNDS like the A minor with a #6th!

Okay, lets try another one. Remember that the Mixolydian mode is the major scale with a b7. Lets use a very basic progression D Csus2 Gadd5 D (sweet home alabama etc.) The D mixolydian scale is D E F# G A B C D. So my ears are HEARING D major with a b7, but once again, my FINGERS are playing G major!

These are two basic examples of how we actually use and perceive the modes. We kind of have to separate the physical form of the scale and how we are using it. Use the two examples I have given and play the G major scale over the entire fretboard. You will begin to see that ANY position can be ANY mode, it just depends on the chord progression we are using it over.

The real truth is that the progression is based out of the mode. There is no C major in the key of D major so why does the D C G progression sound cool? That is because the PROGRESSION is based out of the Mixolydian mode! The same applies to the Am to D progression. There is no D major in A minor, so this progression is a Dorian based progression! This takes a while to get a grasp of so be patient and keep practicing!



Bonus question; You are not the only one who has trouble playing on the lower strings above the 14th fret. I think the main reason is that the frets themselves are just too damn small! It is hard to maneuver on those tiny frets unless we are using mainly the upper 3 strings!

Also, once you have memorized the 5 basic positions than you are just repeating them way up there.



Good Questions!! feel free to get a hold of me directly if you wish.

Answer 2

Today I was studying Ravel's Bolero to see what scale he used for the second part. The first part just uses the C major scale, I could tell by the way it sounded. In the second part, there are some strange notes and the whole sound changes even though the key is still C. It begins with the C mixolydian mode. I could tell by the Bb. After that, a Db and Ab show up which made me think of the C phrygian mode, but then E was natural? Ravel's melody is a mixture of several modes. Modes are also useful in jazz music for improvising over certain chord changes.

Answer 3

Excellent question, I have been trying to learn these scales since 1967 and can only retain a few that seem relevant to the songs I have learned. I imagine if you could spend five hours a day working each scale mode you could memorize all of them in a few years. The question then would be what to do with them, but you could write a song every day using each scale mode and that would help give you a reference point for them. Seems like a lot of time to invest in musical knowledge but it could be an advantage.

Them short wave length frets are better served by the next two strings at the same tone with better resonance.