Modal Scales

This three part scale exercise will help you to unlock the entire fretboard and help you to understand the practical application of music theory. Each part asks you play the seven modes of the G major scale: the first part in the lower octave; the second part in the higher octave; and the third part in two octaves.  Before starting practice it will be useful to analyse the theory behind modal scales.

The G Major Scale

G,  A, B, C, D, E, F#, G

1,   2, 3,  4, 5, 6, 7,    8

The A Dorian Modal Scale

A, B, C,   D, E, F#, G,    A

1,  2, b3, 4, 5, 6,    b7, 8

Simply put, the A dorian modal scale starts on the second note (A) of the G major scale. However, because we have changed the order in which the notes occur; we have changed the relationship that notes have towards each other. Remember that intervals (2, b3, 4 etcetera) always relate back to the root note (1).

The A Major Scale

A, B, C#, D, E, F#, G#,    A

1,  2, 3,    4, 5, 6,    7, 8

The A Dorian Modal Scale

A, B, C,   D, E, F#, G,    A

1,  2, b3, 4, 5, 6,    b7,

To make the dorian modal scale sound like the major scale we must raise the flat notes (b3 and b7) because the major scale does not contain any flat notes. Starting the major scale on any one of its seven notes will form a new scale with a new set of intervals, we call these scales modes of the major scale. Each mode has different musical characteristics and can be used to create different sorts of musical sounds.

Modal Scale Intervals

Ionian (I): 1, 2, 3, 4, 5, 6, 7, 8 (same as the major scale)

Dorian (ii): 1, 2, b3, 4, 5, 6, 7, 8

Phrygian (iii): 1, b2, b3, 4, 5, b6, b7, 8

Lydian (IV): 1, 2, 3, #4, 5, 6, 7, 8

Mixolydian (V): 1, 2, 3, 4, 5, 6, b7, 8

Aeolian (vi): 1, 2, b3, 4, 5, b6, b7, 8 (same as natural minor scale)

Locrian (vii): 1, b2, b3, 4, b5, b6, b7, 8

Modal Scales – One Octave Modes in G (part one)

Modal Scales – One Octave Modes in G (part two)

Modal Scales – Two Octave Modes in G