Today, let’s take a look at two more modes.By the way, you’ll notice that I’m not covering these modes in sequential order (i.e. starting with the 1st mode, then 2nd, etc.), but there’s a method to the madness: I find it helpful to start with the scales we already know, move on to a few others that are fairly straightforward and easily assimilated, then save the “weirder” ones for last! As mentioned in the last lesson, we’ll tie it all together soon.

Dorian mode

The 2nd mode is the Dorian mode. As we covered last time, it is derived from the major scale, but played from the 2nd up to the 9th. In other words, the 2nd of the major scale is the root of the 2nd (or Dorian) mode.Here’s the C Dorian mode...

FIGURE 1

Based upon the methodology we’ve been discussing, it’s clear that C Dorian contains the notes of the Bb major scale ( C is the 2nd scale degree of the Bb major scale). However, this fretboard pattern makes sense for thinking of this as a scale in its own right, instead of a derivative of Bb major. The resulting scale degrees are:

1, 2, b3, 4, 5, 6, b7, octave.

Again, if you’re finding it challenging to grasp, play through the C Dorian as reflected on Figure 1, then play the notes of the Bb major scale from its 2nd through 9th scale degrees, you’ll find that the notes are identical.So it’s easy to see that the Dorian mode can be thought of as:

a major scale with a flat 3rd and flat 7th,
or a Mixolydian mode with a flat 3rd, 
or a natural minor scale with a natural (major) 6th.

EXERCISE 1

Memorize the Dorian mode as the 2nd mode. Spend some time playing through 
C Dorian in both ascending and descending manner. As with our earlier scale exercises, focus on what scale degree is being played at any given moment, how it relates to the root, and just work to truly assimilate the musical concepts that the pattern represents.

EXERCISE 2

Transpose this pattern and play it in all 12 keys, being constantly aware of what scale degree is being played.

For extra practice, play through this exercise using the staggered 3rd’s that we employed in Lessons 3 - 5.

Lydian mode

The 4th mode is the Lydian mode. Here’s the C Lydian mode.

FIGURE 2

Based upon the methodology we’ve discussed, we can easily conclude that the 
C Lydian mode contains the notes of the G major scale, but played from the 4th ( C is the 4th degree of the G major scale) up an octave.

In scale degrees, the Lydian mode is:

1, 2, 3, #4, 5, 6, 7, octave.

EXERCISE 3

Memorize the Lydian mode as the 4th mode. Practice playing C Lydian (see Figure 2) in both ascending and descending manner. Focus on the musical concepts that the pattern represents.

EXERCISE 4

Transpose this Lydian pattern and play it in all 12 keys, being constantly aware of what scale degree is being played.

As with Exercise 2, for extra practice, play through this exercise using the staggered 3rd’s that we employed in Lessons 3 - 5.

EXERCISE 5

Let’s add these two modes to our mode reference sheet from last time.

FIGURE 3

 
 

We can quickly conclude that the corresponding chord qualities for the Dorian mode and Lydian mode are m7 and M7, respectively (use the same methodology as before - refer to Lesson 12, Exercise 4 to review).

That leaves only the 3rd and 7th modes, which we’ll look at next time!