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One of the things I find hardest to teach to guitar students is modes. The concept of modes is actually not hard to understand, but it is a hard thing to explain in person. There are a few key concepts in modes theory that seem at first to contradict each other, or at least ‘get in the way’ of each other when trying to explain it in conversation.

In written format, or more specifically blog-style written format, the task of explanation becomes quite simple and easy. For example, I can quite easily mention the Ab major scale, or the Lydian mode, or mention that F Dorian and Bb Mixolydian are both derived from the same major scale (Eb major, that is) and provide linked text that allows the reader to explore further, without digressing to far from the main point, whereas in conversation, I probably would have lost the listener a few sentences in.

I have always thought that a written guide to understanding modes was needed and I finally got round to putting it all together. Here it is…

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The Locrian mode is the 7th mode of the major scale. The locrian mode contains the following ‘lowered’ or ‘flattened’ notes:

2, 3, 5, 6, 7

The locrian mode is quite a dark sounding mode. It is used often over half diminished chords, because it contains a flat 3, flat 5 and flat 7. We are not going to go into too much detail in this post regarding its sound and its use in musical contexts. What we will explore here is what the mode is and how to construct it.

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The Aeolian mode is the 6th mode of the major scale. It is contains a ‘flat 3’, ‘flat 6’ and ‘flat 7’. The aeolian mode is an important scale because it is also the relative minor scale, or the natural minor scale. It is used frequently as a kind of ‘default’ minor scale and its sound can be heard across many styles of music. In this post we are going to discuss how to construct the aeolian mode.

If you have read the post, guitar modes explained, or any of the other posts on the different modes, you might already have a solid understanding of modes and its theory. In that case, this post will be a good reinforcement of some key ideas and concepts.

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The Mixolydian mode is the 5th mode of the major scale. It contains a lowered (or flat) 7. It is used frequently over dominant 7th chords. In this post we will explore the mixolydian mode and discuss how to construct it.

If you have read the post on guitar modes explained, you might already have a solid understanding of how modes work and may not need the extra theory that is presented in this post. If however, you are still trying to grasp the concept of modes, this post should serve as extra reinforcement of some key ideas and concepts. The mixolydian mode, just like the lyidan mode is a good practical mode to analyze, as there is only 1 note that differentiates it from the major scale.

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The Phrygian mode is the 3rd mode of the Major scale. It has a ‘flat 2, ‘flat 3, ‘flat 6’ and ‘flat 7. In this post, we are going to look at how to construct the phrygian mode and explain how it works.

To understand the Phrygian mode, just like any other mode, you need to understand the concept of major scales. This means you need to know what a major scale is, what it sounds like and how to construct it. Read the post on major scales if you need to brush up on any of this theory.

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