An Introduction to modes on guitar - Ionian (Major) to Mixolydian

To many aspiring jazzters, rockstars and all other style-favoring guitarists, the concept of 'modes' can seem very baffling. That's hardly surprising when one (assuming one is not yet familiar with them) opens a tutorial book and is assailed by the words Ionian, dorian, phrygian etc... Hell! These words are Alien-sounding. But in truth, these are words of Greek origin, often representing the root province from which these modes rose. 

A mode is really only a scale with certain characteristics that make it fit better with certain chords than others. They are expressive tools, and once understood, they make it a great deal easier to for one to choose the right notes to play for a given piece of music. The Jazz great and master of the CAGED system (to be addressed another time) used to say that modes were far less important to him than the question of whether the sound required was a 'major' or 'minor' sound. I would not argue with proponents of this view however, apart from forming a guideline as to what to play over major and minor chords, modes also encompass characters that sit nicely with different chord types, for example, the Locrian mode suits diminished chord tones very well. 

Today I am writing about the Mixolydian mode and how it relates to a C Major scale. I am doing this as an introduction to the topic because a) It's the most popular scale to use in rock'n'roll music and it's parent forms and b) It is exquisitely simple to remember what makes it what it is, and to apply it. It has a major key sound and fits very well over a C7 chord.

I have chosen to relate it to C major because C major has no sharps or flats. It goes C,D,E,F,G,A,B and finally, C again to complete one octave. Tabbed on one string it appears thus:

If you play it for yourself you see that the first step from C is a whole step (two frets up), the second, likewise is a whole step, and the third is a half step (only one fret up). That is followed by another three whole steps, and finally, and half-step to complete the octave. This is the formula for a Major (or Ionian) scale. 

W, W, H, W, W, W, H 

Numerically, counting the first C note as 1, the major scale goes 1, 2, 3, 4, 5, 6, 7, 8. This sequence never changes in the case of the major scale.

1 is always the root. 

2 is always a full-step from the root. Whole (W)

3 is always a full step from 2. Whole (W)

4 is always a half-step from 3. Half (H)

5 is always a full-step from 4. Whole (H)

6 is always a full step from 5. Whole (H)

7 is always a full step from 6 (Whole) (W) and finally,

8 is always a half step from 7. Half (H)

For now, you should cement that good and proper, because all of the other modes are relative in practice to that scale.

Now, a C Mixolydian scale is the same as that but for one note. That note is the 7th note of the scale. The 7th note of the Mixolydian scale is flattened a half step making it:

1, 2, 3, 4, 5, 6, flat 7 (-7), 8

To demonstrate in tab:

 Note that the seventh note of the scale a half-tone back from the seventh note of the major scale. That is what makes the Mixolydian scale what it is. In numbers it runs:

1, 2, 3, 4, 5, 6, flat 7, 8

If you're confused now, don't worry. A lot of people are confused at this point. It is only important that you remember that the major scale is numbered 1, 2, 3, 4, 5, 6, 7, 8. It is the first of the  7 modes and all of the others spring from it. Continuing with the Mixolydian. Have a look at the tab below.

That is the C major (Ionian) scale played from C to C for one octave only in the 1st - open position on the guitar. 

This is the C Mixolydian scale played in the same position. Play it, and note the flattened seventh. Notice it in terms of the scale pattern as made by your hand on the fret-board, as if your fingers were covered in paint and you were leaving spots where your fingers landed.

In the following example, I have tabbed both the major and the Mixolydian scales in a second position on one staff. Again, note the patterns, as if you were leaving spots on the fret-board.

Another position. This time two octaves:

Another, again two octaves:

And finally, just for fun, an example that moves up the neck through three positions using slides from one position to another:

Sample a C7 Chord, or get a friend to jam one for you, and play over it with this scale in these positions. It works so well simply because the C7 chord as detailed above consists of a 1 (C), a 3 (E), a 5 (G) and a flattened 7 (B flat). C7 again:

Now, all that's left to you is to internalize these patterns. Once you've done that, try shifting it all up half a step to C sharp. Then to D and so on. So long as the pattern made by your hand remains the same you'll be playing in the same mode. You will find that, over a normal C chord, the Major Scale will sound good. Over the C7, the Mixolydian is perfect. 

Next time I write on this subject, I will be detailing further how all the Modes relate to the first mode - the Ionian - and I will be providing scale exercises for the next easiest mode to internalize - this time with a minor feel - the Dorian.

Cheers.