Modes For Bass Guitar: What Are They? Why Do They Matter?
Lydian. Phrygian. Mixolydian. It just sounds confusing, right? These words used to intimidate the heck out of me, and this is honestly why I didn’t learn about modes for a long time.
Well I’m here to tell you that MODES AREN’T THAT SCARY. You don’t need to transcend time and space or have a PhD in music theory to play a Locrian scale.
Let’s take a look at this not-so-confusing musical concept.
Mode Origins and Basic Concepts
First, let’s talk about these weird mode names. In short, each mode was named after it’s place of origin in ancient Greece. Each region had different modes they based their music off of – hence the funky names. That’s it!
So what exactly is a mode? By definition, a mode is an alternative scale, and even though they existed before key signatures we tend to identify them based on their relationship to the various degrees of the major scale.
The names of the seven modes are:
- I – Ionian
- ii – Dorian
- iii – Phrygian
- IV – Lydian
- V – Mixolydian
- vi – Aeolian
- vii – Locrian
Listed above are the mode names with their corresponding major scale degrees. Ionian starts on the first degree of a major scale, Dorian starts on the second degree of a major scale, and so on.
Hint: As stated above, a mode is a type of scale, and chances are you’re already familiar with two of the seven! Let’s take the key of C for example. First, the Ionian mode is a major scale (in this case, a C major scale). Second, you already know the Aeolian scale because this is the same as a natural minor scale (in this case, A minor since this is C major’s relative minor AND because A is the sixth degree of the C major scale). See what’s happening here?
Approaching Modes on Bass Guitar
Memorizing Intervals
You can always memorize modes by memorizing the intervals between each note of the scale, like we do with the major scale (Whole Whole Half Whole Whole Whole Half).
For example, let’s continue with the key of C and look at the Dorian scale. In this case, we’re looking at the D Dorian scale (since Dorian represents the second scale degree, and D is the second note of the C major scale). So D Dorian is essentially a minor scale with the sixth degree raised by a half step (if you’re a gamer, think of the Halo theme).
Here’s the full list in the key of C major:
I – C Ionian
- What it sounds like: a major scale.
- Interval sequence: W W H W W W H
- Note names: C D E F G A B C
ii – D Dorian
- What it sounds like: a minor scale with a raised sixth degree.
- Interval sequence: W H W W W H W
- Note names: D E F G A B C D
iii – E Phrygian
- What it sounds like: a minor scale with a lowered second degree.
- Interval sequence: H W W W H W W
- Note names: E F G A B C D E
IV – F Lydian
- What it sounds like: a major scale with a raised fourth degree.
- Interval sequence: W W W H W W H
- Note names: F G A B C D E F
V – G Mixolydian
- What it sounds like: a major scale with a lowered seventh degree.
- Interval Sequence: W W H W W H W
- Note names: G A B C D E F G
vi – A Aeolian
- What it sounds like: a minor scale.
- Interval sequence: W H W W H W W
- Note names: A B C D E F G A
vii – B Locrian
- What it sounds like: a minor scale with a lowered second degree AND a lowered fifth degree.
- Interval sequence: H W W H W W W
- Note names: B C D E F G A B
I also encourage you to practice each mode using the same root note. So rather than focusing on modes based off of each major scale degree like the above – C Ionian, D Dorian, E Phrygian, etc. – choose a note as the tonic and stick with it when running through the modes (C Ionian, C Dorian, C Phrygian, etc.). You can still use the same finger positions listed above for each mode, no matter what your root note is. Making the tonic static will help you truly hear the tonal characteristics and differences between each mode.
Shortcut For Remembering Modes
I don’t know about you, but I love shortcuts. If you’ve learned the various modes by memorizing the intervals between each scale degree, that’s great! But we all get brain farts from time to time. If you’re having trouble remembering how to play modes, then keep reading!
Let’s say you’re auditioning for a part and are asked to play an F Mixolydian scale.
Let’s break this down into two parts: the given pitch, aka your starting note (F) and the mode (Mixolydian, fifth degree). Now ask yourself this simple question: “F is the fifth degree of what major scale?” A perfect fifth below F is B-flat, so you would apply the B-flat major key signature. And ta-da! An F Mixolydian scale would be played F G A B-flat C D E-flat F.
There are several different ways to look at this:
- An F Mixolydian scale is an F scale, but rather than using the key signature for F major (one flat), you’re going to apply the key signature for B-flat major (two flats).
- You’re playing a B-flat major scale, but instead of beginning at the root and playing from B-flat to B-flat you’re starting on the fifth scale degree- from F to F.
Why do Modes Matter to Bassists?
At this point you may be asking “Okay, that’s great and all. But how is this applicable?” Modes are incredibly useful when writing basslines. They help you think outside the box of major/minor keys and unlock a whole new world of musical possibilities, which can result in the creation of something original and amazing.
So go ahead, pick up your bass and see what happens when you play a F-sharp Phrygian lick over a D major 7th chord. Experiment and create. Happy moding!
