The remaining modes of the major scale are the Phrygian and Locrian modes.

Phrygian mode

The 3rd mode is the Phrygian mode. As it is derived by playing the notes of a major scale starting on the 3rd degree (up to the 10th), we can see that the C Phrygian reflected in Figure 1 (below) comprises the notes of the Ab major scale...but approached from the perspective of the root note being C.

FIGURE 1

The scale degrees of the Phrygian mode are:

1, b2, b3, 4, 5, b6, b7, octave.

The Phrygian mode can be thought of as a natural minor scale (Aeolian mode) with a flat 2nd. Compare it to the similar fingering pattern for the Aeolian mode (Lesson 12, Figure 3); it’s very apparent that the only distinction between them is the 2nd degree.

EXERCISE 1

Memorize the Phrygian mode as the 3rd mode. As with the other modes, practice playing the C Phrygian mode in both ascending & descending manner. Play it as slowly as necessary to keep focused and aware of the scale degree at all times, and how it relates to the root (i.e. assimilate it intervallically).

EXERCISE 2

Transpose and play the Phrygian mode in all 12 keys. Yes, over-achievers are 
encouraged to play through it using the staggered 3rd’s from Lessons 3 - 5!

Locrian mode

The 7th and final mode of the major scale is the Locrian mode.

The C Locrian mode is reflected in Figure 2 (below).

FIGURE 2

As it is the 7th mode, C is the 7th relative to the root of the major scale from which this mode is derived. C is the 7th relative to Db. So the C Locrian mode encompasses the notes of the Db major scale (i.e. Db Ionian), but from the perspective of the root note being C.

EXERCISE 3

Memorize the Locrian mode as the 7th mode. Play through C Locrian in both ascending and descending manner, taking time to absorb it intervallically.

EXERCISE 4

Once you’re comfortable with C Locrian, transpose this mode to all other keys. Again, try to resist the urge to mechanically blaze through this: it’s far more important to really assimilate the musical concepts this exercise involves. Don’t worry - the speed will happen on its own, once familiarity is established.

EXERCISE 5

Fill in the last two blank spaces on that mode reference sheet.

FIGURE 3

 
 

You’ll notice that the arpeggio built on the root of the Locrian mode is a chord quality we haven’t encountered thus far (1, b3, b5, b7). You can see that it is a m7 chord with a flat 5th. This chord quality is commonly referred to as either m7(b5) or half-diminished.