The Modal Guitarist Part I Major Melodic or Natural Modes

Modes From the Major Scale

by John Ruffi

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

The Modes Part I Major Melodic or Natural Modes

Forward After many years of studying, exploring and teaching guitar, Ive developed a system that communicates to the student the modes and how they are used. But, most importantly, it shows where they come from and enables the student to create modes and scales on-the-fly which is the ultimate goal of studying any kind of theory. Who is this book for? Any guitarist who already has a little bit of playing ability can benefit from the Modal Guitarist series. A guitar instructor will most likely draw hundreds of charts to teach the modes to students. In this book all of the charts are already clearly printed in a way that will give greater insight into how the modes are made and what makes them sound the way they do. The Modes What are they? The Modes are a specific type of scales. they all have 7 notes and all have a slightly different sound. The guitarist, by learning all of them both how to play them, and how they sound will never be at a loss for playing just the right phrase or melody to fit the piece of music at hand. The C major scale is shown below. Notice that it begins and ends on C. This is also the C Ionian Mode. The numbers below also begin and end on 1. A D Ionian would have a D as its first note, or its 1. An E Phrygian mode would have E as its 1, and so on. C 1 D 2 E 3 F 4 G 5 A 6 B 7 C 1

Part I & II contain all the 7 note modes that can be created using two intervals: half steps and whole steps, without two adjacent half steps. All the modes have 7 degrees, and all in this group have 5 whole steps, or whole tones and 2 half steps as intervals between the adjacent degrees. Since the half steps never occur twice in a row, that means there are only 2 possibilities for grouping the whole steps: a group of 2 and a group of 3, or a group of 4 and a group of 1 whole steps. All the modes that can be made with one group each of 2 and 3 whole steps are called the Natural Modes, or Melodic Major Modes. Those made with one group each of 4 and 1 whole steps are called the Melodic Minor Modes not because they are all minor, but because they are derived from the ascending Melodic Minor Scale. In Part I we explore the Natural Modes. If youve never learned any modes this is a good place to start, because these are the seven modes that include the Major Scale and Natural Minor Scale in other words, the most commonly used scales. If you already are familiar with some or all of these modes, this book will enable you to know them exhaustively. In other words, youll know them on every fret, on every string, in any position all over the guitar neck. Youll also be able to see where all the various degrees (the 3rds, 7ths, and so on) fall for every mode. What are they for? Every tone contained in the chosen scale or mode affects the color, or flavor of the music. Playing these modes will both give guitarists a wider palate of flavors to use, but also allow them to taste more sounds, so that they can recognize them when these flavors come along in music they like and want to learn or emulate. So, in other words, if you practice these modes youll be able to: 1 2 play a greater variety of melodies and phrases. develop your ear to be able to interpret more melodies and phrases. 1

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

How To Use The Modes

The Modes in Improvisation Improvisation means making up the music spontaneously. Improvisation can be in a solo, or ride, where the lead instrument is showcased and is making its own musical statement. Improvisation can also be scattered throughout a piece of music, in what are usually called fills. A good guitarist uses the right mode for the chord being played. This is based, not only on the type of chord (major, minor, 7th, and so on) but on the relationship between that chord and what comes before it and after it. For example, the Ionian mode is a major mode with a major 7th arpeggio. This mode is used for the one chord (roman numeral I) of the key. The Lydian Mode is also a major mode with a major 7th arpeggio, but it is the IV chord - it has a subtle but distinctly different sound than the Ionian. Of course, once you know which modes have the correct sound for the piece of music, you may choose to play those in notes, or be a little more daring by playing a mode that has some notes which alter the harmonic structure in other words out notes. Roman numerals are used throughout this series to indicate what order the modes appear within a key. They also indicate whether the modes are major, minor, or have some other kind of arpeggio. Major modes are indicated by upper case roman numerals, while minors are indicated by lower case roman numerals. The symbols for various chords and modes are shown below. IV - major V7 - seventh ii - minor vii - diminished V+ - augmented Guitar Solos Guitar Solos, also called rides, are created by guitarists most often by improvisation. Always remember the most important thing is to be musical. Being musical is often not as easy as it sounds. The temptation for the guitar player, or any other musician for that matter, is to show off what they know. After all, that's the point, isn't it? Music is a performance art. The real issue is this: what makes for good performance? Always try to play what makes sense for the piece you're playing. Guitar Solos Using one Mode The simplest way to use modes in improvisation is to find one mode that fits over every chord in the progression and just stay with that. this is limiting, because only certain combinations of chords will work. More complex progressions always require at least a minimal amount of changing the mode being used as certain chords appear in the progression. Guitar Solos Using Changing Modes When you learn to change modes to fit whatever chord comes along you'll find that a ton of limitations have been lifted. Not only that, but you'll be able to actually define the chord progression by the notes you use in your solo. The arpeggio, or chord tones, within the mode define the sound of the chords. This means a listener will be able to hear the flow of the chord changes without even having someone playing the chords themselves.

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

Technique
Playing scales and modes are to a musician what running is to an athlete. Its a great way to work on strength, speed, coordination and stamina. A good way to warm up is to play them slowly. Playing through the modes very slowly when you first pick up the guitar is a great way to relax, focus, and get the fingers ready for playing, as well as getting one in the right frame of mind for making music. Using the left hand properly and safely. its good to remember the Three Rules of Superior Technique: When at all possible... 1 2 3 When you skip a fret skip a finger. This first rule is most important because it prevents us from spreading the 2nd and 3rd fingers across more than 2 adjacent frets. Never use the same finger twice in a row (unless shifting or sliding). Never shift twice in a row.

Of course, like every rule, these sometimes have to be broken. Thats why it says when at all possible. In the diagram below, the numbers indicate the fingers.

1 1 2 3 4 4

The first finger may occasionally reach out of position to reach a note on the lower fret.

The fourth finger occasionally needs to reach out of position to grab a note one fret higher.

Notation method in this book

Strings are shown as vertical lines, with the 6th string on the left. Frets are shown as horizontal lines. Flat ( ) moves the note one fret down (toward the head of the guitar). A Sharp (#) moves the note one fret higher (toward the body of the guitar). The numbers denote the order the notes are to be played in the scale. These numbers also tell us where the roots are (1), the other chord tones, or notes in the triad (3 and 5) and which note to add to make a 7th chord (the 7). And, as you become more familiar with the modes youll begin to be able to identify the sounds of the tones by these numbers. For example, a 6 always has a certain sound that can be very easily memorized, as can the other degrees of the modes. There is no use of tabulature or traditional musical notation here, so knowing how to read music is not a prerequisite. 3

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

The Natural, or Melodic Major Modes

Many students learn some or all of these seven modes sooner or later. They are the seven based on the Major Scale, and are by far the most common.

The Major Scale, also known as the Ionian Mode

The intervals are as follows: 1 1 1/2 1 1 1 1/2 In other words, the half steps are from 3 to 4, and from 7 to 1. This can be easily seen in the diagram to the right. You can play the mode entirely on one string starting from any fret, and it will be an Ionian mode.

1 2

4 7 3 4

1 2

3 4

5
3 6 2 7

6
Notice how the 7th is right up against the 1, or root note. This makes it one of the two Major 7th modes found in these natural or melodic major modes, because the chord that emerges from it create a major 7th chord. the wide stretch from the 1 to the 3 make it a major mode. The 1, 3 and 5 of this mode form the major triad (in other words, the chord). 1 notes 4 that 7 make 3 up5the major 1 1 Below are chords that will sound good with the Ionian mode played 2 6 with improvising over over them. The student should experiment these chords in the C Ionian Mode (8th position).

1 2

1 2
4 7 1 5

7 1 3

6 4

Typical chord progression 3 6 for 2 using the 7 C Ionian Mode: 7 7 C | F or Cmaj | Fmaj

3
4

7
Modal Guitarist Part I Major Melodic or Natural Modes

3 4
copyright 2006 John Ruffi 6
1

2
1

ii The Dorian Mode

One of the 3 minor 7th modes here, its like an Ionian, but with a flatted ( ) 3 and 7.
3 6 2

7
1 2 2 3

1 2

This mode has a minor sound often interpreted as sad but not as sad as, say, 2 the Aeolian mode. Below are chords that will sound good with the D Dorian mode played over them (10th position).
1 2 3

4 1

5 6

1 4

1 4

2 2 3 6 2 5 1 4 6 7
6 5

5 3 6

1 2

4 7
1 2

1 5 2

3
7

Typical chord progression for using the D Dorian Mode: 1 4 5 1 Dm | G or Dmin7 | G7

7 2 1 5 4 1 7 3 4
3

1 2

7 1 1

6 5

5 6

1 2
1 2

4 5

iii The Phrygian 3 Mode 6 2 2 5 1 4

1

7 6

1 2

1 3 6

Another minor 7th mode. 7 and 3 are flatted, as in the Dorian, and also the 6 and 2. 7 3 scale. 6 7 Remember, the flats are always in comparison 2 to the Ionian mode, or Major 2
3 6
1 42

2
3

1 2

1 2

5 6

1 4 7 1 4 3

4 1 2

6 7 3

5 6

1 54 2
6

52

3 6 2

7
1 2 63 7

1 2

5 6

7
7 1 2

Typical chord progression for using the E 7 Phrygian Mode (12th position): 1 Em | F or Emin7 | Fmaj7 2
1 1 1

7 3

5 6

1 5

1 2

4 5

3 6

6
copyright 2006 John Ruffi

Modal Guitarist Part I Major Melodic or Natural Modes

IV2 The Mode 7 Lydian 1

2 1 2

The only difference between this mode and the Ionian mode is 4, which has been 2 sharped, or moved up against the 5. From this mode we can derive a major7 #11 chord.
2 3 3

1 2 the

4 7 3 4

1 2

1 2

51 1
2

3 4

1 4 2 5 7 43 1
5

1
4

1 2

6 5 1 2 4 7

6 4 7
6 7 7 1 2 5 6

1 7 2

4 5

3
6

6
1 2

1 2

1 4 7 3 5 1 Typical chord progression for using the F Lydian Mode (1st position): 1 7 1 7 | G7 F | G or Fmaj 2
1 1 1

5
1 2 6

7 1

1 4 2 5

2 5 3 6 1 1 2 1 1 1 1 4

5 6

1 2 2 3
1

4 5 5 6

7 1

3 4

6 6 7

7 1 1 1 1
1 2

2
1

5 6

3
2

V The 7 Mixolydian 3 Mode 5

1 62 2 1 2 1 2 3 3

1 2

4
1

1
1

1 1
2

1 1 1

Only difference between this and the Ionian is the flat 7, making it the only dominant 7th 2 1 1 1 mode in this group. Youll see this mode called Mix for short. 2 2
1 5
43

1 1 1 2
1 2

3 4 4

3 1

4 1 7 1 3 1 5 1 1 13 1 6
4

4 5

2
5 5

5
1 2

1
5

6 7

1 2

4 2 5 3

5 6

4 7
5

6 1
2

3
6 1 2 6 7

6 6 7

2
1 2 6 7

7 1

Typical chord progression for using the G Mixolydian Mode (3rd position): G | F or G | C (or G7 | Fmaj7 or G7 | C) 7 1
1 1 2 1

6 7 3

5 6

1 2

4 7

1 4

3 6 2

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

vi The Aeolian Mode 1 1 1

2 classic 2

3
1

7
1 1 2

This is the Natural Minor Scale. It differs from the Ionian by having flatted 7th, 3rd 2 and 6th degrees.
2 1 2 2 3

7 3

5 11 4 7
4

5 1 1 4 3 4 6 2 3 2 7 5
1 62

7
3

5 6

1
1 2 3

1 2
4

4 5

3 6

6 2 7

4 5

4 7
5

1 3 6 2

4 5 7
1 2 5 6

1 2 1

1 23

1 1 1

6
6

2
6 1 2 6 7

Typical chord progression for using the 7 A Aeolian Mode (5th position): 1 Am | F or Amin7 | Fmaj7 2
1 4 1 7 3 5 6 5 1 4 2 1
1

5 1

4 5

7 1

3 6 4
1 1 2 1 2

3 6 7 1 2 1 vii The Locrian Mode

In the Locrian mode the 7, 3, 6, 2, and 5 are flatted. The flatted 5th makes this the only 2 with a diminished triad2(1,3 and 5) and the seventh 2 chord derived mode in this group 1 from it is called a minor 7 flat 5, or half diminished. The symbol2 is sometimes used, 3 as well as the symbol m7-5, or m7 5
3 1 2 3 4

1
1 2

4
4 5

5 6

1 2

4 5

1 2

4 5

6 1 1 4
2 5

2 3

4 7

1
6

1 1 1 1 1

1 1 1 1 1

1 1 1 1 1

1 1 1 1 1

6
6

3
1 2 6 7

1 1
7

Typical chord progression for using 7 1 the B Locrian Mode (7th position): 2 Bm7-5 | Em7 1

1
1 1 1 1

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

The Arpeggios
Below are each of the seven modes weve just gone over. Here they are shown with the arpeggios highlighted. The roots (or 1s) are highlighted in red; all other arpeggio notes, or chord tones, are shown in blue. It is recommended that after playing the mode ascending and descending, you should play the corresponding arpeggio ascending and descending first without the 7th (1 3 5s only), and then with 1, 3, 5 and 7.

4 7 3 4

I Ionian major 7th arpeggio

ii Dorian minor 7th arpeggio

1 4 7 3 5 1 1 2 2 3 6 2 5 1 4 6 7 3

iii Phrygian minor 7th arpeggio

4 7 3 5 6 5 6 1 2 4 7 3 2 1 1

IV Lydian major 7th arpeggio

5 4 5 7 1 4 6 2 7 3 6 1

V Mixolydian dominant 7th arpeggio

1 4 7 3 2 5 1 4 6 7 3 6 2 2 3 5 1 1

vi Aeolian minor 7th arpeggio

4 7 3 5 6 5 6 2 1 4 7 1

vii Locrian half diminished arpeggio

1 2 4 5 1 3 6 2 4 5 7 7 3 6 1

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

Every Mode Within Every Other Mode

Thinking of the numbers while playing the modes is very important. This will help you to develop a sense of what a major 3 (the 3 in an Ionian) sounds like compared with a minor 3 (the 3 in Dorian), for example. As your ear develops youll probably realize that you can hear the same note in a few ways: Its number in relationship to the root of the chord over which its being played Its number in relationship to the key in which that chord appears. Its relationship to the tones in the chords before and after the chord being played.

Another important but obvious reason for learning how to play every mode within every other mode is this: any mode can then be played at any position on the neck. The following page shows how the Ionian mode can be played within the fingerings of the other 6 modes that were shown earlier in this book. The arpeggios can also be played in this way as well. After connecting the modes together so they belong to the same key, you will actually be able to play any mode on the entire neck of the guitar - in every position, and on every string. Here are explanations of the Ionian mode fingerings as shown on the following page: The Ionian 6 - 1 This is the Ionian mode as seen on page 4. The root of the scale is played on the 6th string with the first finger - hence the name Ionian 6 - 1. Ionian 6 - 2 Here the Ionian mode is played one fret lower. The root is played by the 2nd finger on the 6th string, but the 7 below it is also shown, since its a part of the mode. Notice that this looks exactly like the Locrian mode on page 7, but the numbers have changed. Ionian 6 - 4 The mode root is on the 6th string, 4th finger. This fingering would be played 2 frets lower than the Ionian 6 - 2, so that the root lands on the same note, just played with a different finger. This mode looks just like the Aeolian on page 7, but the numbers have changed. Ionian 5 - 1 By moving the hand down 2 positions (2 frets) from Ionian 6 - 4, you will find the root on the 5th string, with the first finger. Ionian 5 - 3 By moving the hand down 2 positions from Ionian 5 - 1, you will find the root on the 5th string, with the third finger. Ionian 5 - 4 By moving the hand down 1 position from Ionian 5 - 3, you will find the root on the 5th string, with the fourth finger. Ionian 4 - 1 By moving the hand down 2 positions from Ionian 5 - 4, you will find the root on the 4th string, with the first finger. Become familiar with these different fingerings of the Ionian mode, by playing them ascending and descending, as well as playing the arpeggios (1 3 5 first, then 1 3 5 7) ascending and descending, in order see how they link together and hear how they sound, before going on to the other modes in every position.

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

The Ionian Mode in 7 Positions

This is also called the Natural Major scale.

Ionian 6 - 1 6th string, 1st finger

1 4 7 2 5 1 3 4 6 5 1

Ionian 6 - 2 6th string, 2nd finger

7 1 3 4 7 2 5 1 3 4 6 6 2 5 7 1

Ionian 6 - 4 6th string, 4th finger

6 2 5 1 3 4 7 1 3 4 7 6 2 5 7 1 6

Ionian 5 - 1 5th string, 1st finger

5 1 4 7 6 2 5 1 3 4 7 3 6 7 6 2 5

Ionian 5 -3 5th string, 3rd finger

4 7 5 1 3 4 7 6 2 5 3 6 6 2 5 1 4

Ionian 5 - 4 5th string, 4th finger

3 4 7 5 1 3 4 6 2 5 6 2 5 7 1 3 4

Ionian 4 - 1 4th string, 1st finger

2 5 1 4 6 2

3 4

7 1

3 4

10

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

The Dorian Mode in 7 Positions

The Dorian Mode has a flat 3 and flat 7 in comparison to the Major Scale.

Dorian 6 - 1 6th string, 1st finger

1 4 7 3 5 1

2 3

6 7

Dorian 6 - 3 6th string, 3rd finger

7 3 6 1 4 7 2 3 5 1 4 7

Dorian 6 - 4 6th string, 4th finger

6 7 2 3 6 1 4 7 2 3 5 1 5 1 4 6 7

Dorian 5 - 1 5th string, first finger

5 1 4 7 2 3 6 7 2 3 6 5 1 4 6 7 5

Dorian 5 - 3 5th string, third finger

4 7 3 6 5 1 4 7 2 3 6 2 5 6 5 1 4

Dorian 5 - 4 5th string, 4th finger

3 6 4 7 2 3 6 5 1 4 2 5 5 1 4 7 3

Dorian 4 - 1 4th string, 1st finger

2 3 6 4 7 2 3 5 1 4 5 1 4 6 7 2 3

11

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

The Phrygian Mode in 7 Positions

The Phrygian Mode has flatted 7, 3, 6, and 2, when compared to the Major Scale.

Phrygian 6 - 1 6th string, 1st finger

1 2 5 3 6 1 2 4 7 4 7 3 5 6 1

Phrygian 6 - 3 6th string, 3rd finger

7 3 6 2 4 7

Phrygian 6 - 4 6th string, 4th finger

6 2 5 1 2 4 7 6

Phrygian 5 - 1 5th string, 1st finger

5 6 1 2 5 7 3 6 1 2 4 7 4 7 3 5 6

1 2

5 6

Phrygian 5 - 3 5th string, 3rd finger

4 7 3 6 1 2 5 6 1 2 5 4 7 3 5 6 4

Phrygian 5 - 4 5th string, 4th finger

3 6 2 5 4 7 3 6 1 2 5 1 4 5 4 7 3

Phrygian 4 - 1 4th string, 1st finger

2 5 3 6 1 2 5 4 7 3 1 4 4 7 3 6 2

12

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

The Lydian Mode in 7 Positions

The Lydian Mode has a sharp 4 in comparison to the Major Scale.

Lydian 6 - 1 6th string, 1st finger

1 4 2 5 7 1 4 3 6 2 7 3 6 5 1

Lydian 6 - 2 6th string, 2nd finger

7 1 4 2 5 7 1 3 6 3 6 2 4 5 7 1

Lydian 6 - 4 6th string, 4th finger

6 2 5 1 3 6

Lydian 5 - 1 5th string, 1st finger

5 1 4 7 1 3 6 2 5

7 1

4 5

7 1

Lydian 5 - 2 5th string, 2nd finger

4 5 7 1 4 6 2 5 7 1 3 6 3 6 2 4 5

Lydian 5 - 4 5th string, 4th finger

3 6 2 5 7 1 4 5 7 1 4 3 6 2 4 5 3

Lydian 4 - 1 4th string, 1st finger

2 5 1 4 3 6 2 5 7 1 4 7 3 4 3 6 2

13

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

The Mixolydian Mode in 7 Positions

The Mixolydian Mode has a flat 7, in comparison to the Major Scale.

Mixolydian 6 - 1 6th string, 1st finger

1 4 7 3 2 5 1 4 6 7 3 6 2 5 1

Mixolydian 6 - 3 6th string, 3rd finger

7 3 1 4 6 7 3 2 5 1 4 6 2 5 1 7

Mixolydian 6 - 4 6th string, 4th finger

6 7 3 1 4 6 7 2 5 1 2 5 1 3 4 6 7

Mixolydian 5 - 1 5th string, 1st finger

5 1 4 7 2 5

6 7

3 4

6 7

Mixolydian 5 - 3 5th string, 3rd finger

4 7 3 5 1 4 6 7 2 5 1 4

Mixolydian 5 - 4 5th string, 4th finger

3 4 6 7 3 5 1 4 6 7 2 5 2 5 1 3 4

Mixolydian 4 - 1 4th string, 1st finger

2 5 1 4 6 7 3 4 6 7 3 2 5 1 3 4 2

14

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

The Aeolian Mode in 7 Positions

The Aeolian Mode has a flat 7, 3 and 6 in comparison to the Major Scale.

Aeolian 6 - 1 6th string, 1st finger

1 4 7 3 5 6 2 3 5 6 2 1 4 7 1

Aeolian 6 - 3 6th string, 3rd finger

7 3 6 2 1 4 7 3 5 6 2 5 1 1 4 7

Aeolian 6 - 4 6th string, 4th finger

6 2 7 3 5 6 2 1 4 7 3 5 1 1 4 7 6

Aeolian 5 - 1 5th string, 1st finger

5 6 2 7 3 5 6 1 4 7 1 4 7 2 3 5 6

Aeolian 5 - 3 5th string, 3rd finger

4 7 3 6 1 4

Aeolian 5 - 4 5th string, 4th finger

3 6 2 5 6 1 4 7 3

Aeolian 4 - 1 4th string, 1st finger

2 3 5 6 2 4 7 3 5 6 1 4 1 4 7 2 3

5 6

2 3

5 6

15

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

The Locrian Mode in 7 Positions

The Locrian Mode has flatted 7, 3, 6, 2, and 5 in comparison to the Major Scale.

Locrian 6 - 1 6th string, 1st finger

1 2 4 5 1 3 6 2 4 5 7 7 3 6 1

Locrian 6 - 3 6th string, 3rd finger

7 3 6 2 4 5 1 2 4 5 1 7 3 6 1 7

Locrian 6 - 4 6th string, 4th finger

6 2 5 1 7 3 6 2 4 5 1 4 7 3 1 7 6

Locrian 5 - 1 5th string, 1st finger

5 1 6 2 4 5 1 7 3 6 4 7 7 3 6 2 5

Locrian 5 - 3 5th string, 3rd finger

4 5 1 6 2 4 5 7 3 6 7 3 6 1 2 4 5

Locrian 5 - 4 5th string, 4th finger

3 6 2 5 7 3

Locrian 4 - 1 4th string, 1st finger

2 5 1 4 5 7 3 6 2

4 5

1 2

4 5

16

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

Chords used in this book

The numbers above the diagrams indicate the best fingerings. An X means the string shouldnt be played. An 0 means the string is played open.

The Notes on the Guitar

E A D G B E
6 5 4 3 2 1

C major C
0 3 2 0 1 0

C major seventh Cmaj7

0 3 2 0 0 0

F major F
1 3 4 2 1 1

F major seventh Fmaj7

X 0 3 2 1 0

strings

F B E A
D minor Dm
X 0 0 3 2 1

C F

D minor seven Dm7

X 0 0 3 1 1

G major G
1 2 0 0 0 3

G seven G
3 2 0 0 0 1

G C F B

D G

A D G C E A
E minor Em
0 2 2 0 0 0

E minor 7 Em7
0 2 0 0 0 0

A minor Am
0 0 2 3 1 0

A minor seven Am7

0 0 2 0 1 0

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

B minor 7 flat 5 Bm7-5

X 0 3 2 4 X

F seven F7
1 3 1 2 1 1

A seven A7
0 0 2 0 3 0

D seven D7
X 0 0 2 1 3

D G C F A D

E A D G B E
B flat major 7 Bbmaj7
X 1 3 2 4 X

C minor7 Cm7
3 X 1 4 1 X

F sharp minor 7 F#m7

1 3 1 1 1 1

17

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

Additional Chord Progressions

modes to use: progression: C Ionian F Lydian B Locrian E Phrygian

||: |

Cmaj7
A Aeolian

F
D Dorian

| |

Bm7-5
G Mixolydian

Em
C Ionian

|
:

Am

Dm

G7

Cmaj7

||

The Circle of Fifths in the Key of C The above progression has been used so many times and in so many ways that book could be filled just with it alone. All of the chords in the progression are descending fifths apart (moving down 5 notes in the scale). The shift from F to Bm7-5 is a diminished fifth (every major key has one of these) and the rest are called perfect fifths. The chords and modes are as follows: I, IV, vii, iii, vi, ii, V, I. As you become more familiar with the above modes in all seven positions you could play all the modes without shifting position at all. For example, try playing all in the 5th position: C Ionian 6-4, F Lydian 5-4, B Locrian 6-3, E Phrygian 6-3, A Aeolian 6-1, and so on. Focus on the arpeggios at first to hear the changing of the chords without having to actually play them. All the progressions here are in the key of C, so once you master these you can begin to try them in different keys.

C Mixolydian

C Mixolydian

||: C7
F Mixolydian

| | |

C7

| | |

C7

| | |

C7

| |
:

C Mix

| |

F7

F7

C7

C7

G Mix

C Mix

G7

G7

C7

C7

||

The 12 Bar Blues in the Key of C Here we begin to shift keys subtly with the changing of the chords. This is the simplest form of the 12 bar blues there are many more complicated variations. This most basic blues progression uses only the I, IV, and V chords of the key but, all use the mode that normally belongs with the V chord. 18

Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

D Dorian

G Mix

C Ionian

||: Dm7
C Dorian

G7
F Mix

| |

Cmaj7
Bb Ionian

|
:

|
ii - V - Is

Cm7

F7

Bbmaj7

||

Here are 2 sets of ii V I chords. These are the last three chords in the circle, on the preceding page. ii V Is often appear in sequence, helping to establish the sound of a key in the listeners ear.

||: Am7

F#m7

||

The above progression uses a slightly more dramatic shift than the others shown here, because Am and F#m arent in similar keys at all. To keep the subtle try using A Dorian and F# Phrygian. To give the chord change a more dramatic sound try using A Dorian and F# Aeolian or F# Dorian.

C Mixolydian

A Mix

D Mix

G Mix

||: C

A7

D7

G7

||

Dominant (7th) chords Following the Circle of Fifths Here are a few chords each descending a fifth. Try extending it all the way around the circle: A, D, G, C, F, Bb, Eb, Ab, Db, F#, B, E and back to A. Then try going around the circle using any of the other modes play all major 7s using the Ionian or Lydian, or play all minor 7s using the Dorian or Aeolian, etc.

These are just a few of the many possibilities when modes and chords from different keys are combined. After trying all the above progressions in several keys, try making up a few of your own.

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Modal Guitarist Part I Major Melodic or Natural Modes

copyright 2006 John Ruffi

In Closing
This book contains everything you need to know to become thoroughly familiarized with the Natural Modes. There are 4 books in the Modal Guitarist series:

The Modal Guitarist Part I Modes from the Major Scale

The Melodic Major or Natural Modes

The Modal Guitarist Part II

The Melodic Minor Modes

Modes from the Melodic Minor Scale

The Modal Guitarist Part III

The Harmonic Minor Modes

Modes from the Harmonic Minor Scale

The Modal Guitarist Part IV

The Harmonic Major Modes

Modes from the Harmonic Major Scale

Learn more. Visit www.modesforguitar.com.

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