p a g e · 2019. 2. 12. · p a g e | 4 contents introduction modes pg. 5 chapter 1 the key of c...

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MARTYN KRÜGEL’S BASS MANUAL

Book 6: Modes

FREE ELECTRONIC PDF VERSION 1.2

NOT FOR SALE This is a COMPLIMENTARY Internet e-book

First draft completed 2007 – Revised and updated 2008 – Version 1.2 updated for 2010

Copyright © by Martyn Krügel 2007 onwards

All Rights Reserved – The moral right of the author has been asserted

This PDF file was created as an additional educational aid for students of the bass guitar.

The content, structure, format, analysis, design, artwork, photographs, methodology and model, remains the property of Martyn Krügel.

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FOREWORD Welcome to this the sixth installment in my Bass Manual Series. In this book you will be shown how the Modes are applied on the bass guitar. To begin with – I must point out that it’s important to note that the first book of this series that deals with the major keys lays the groundwork and is the basis for all the other books in this series. If you have a good understanding of the major keys the application of the modes will be very easy. The chronological order of the seven books in this series (as presented) is not necessarily the order that you need to work through these books – with the exception of the first book that deals with the major keys that must be done first. Once you have a thorough understanding of the major keys and can play in the major keys you can then carry on at your own discretion. I suggest that you work through the series in the following order and I’ll also divide my order into two groups and then explain why:

1) Book 1: Major Keys (Must start with this book – Not Negotiable) 2) Book 5: Chords 3) Book 6: Modes 4) Book 7: Pentatonic

5) Book 2: Natural Minor Keys 6) Book 3: Harmonic Minor Keys 7) Book 4: Melodic Minor Keys

The reason for dividing the above order into these two groups is simply because in practice (the actual playing that we do and are required to do – so it is also out of necessity) we predominantly utilize and relate and focus on the subject matter of the four books in the first group. It is absolutely essential to have a very good understanding of the subject matter in these four books. The second group in the above order deals with the minor keys and the minor keys are often neglected by musicians (I can confess that I am guilty of this too and I often refer to these three books myself) but we must strive to learn these keys properly. Well, I hope my Bass Manual Series will be of some benefit to you and good luck with your musical endeavors. Regards,

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CONTENTS

INTRODUCTION Modes Pg. 5

Chapter 1 THE KEY OF C MAJOR

The Notes

The Bass Fingerboard

Modes: 1. Ionian 2. Dorian 3. Phrygian 4. Lydian 5. Mixolydian 6. Aeolian 7. Locrian

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Chapter 2 THE KEY OF G MAJOR Pg. 15

Chapter 3 THE KEY OF D MAJOR Pg. 23

Chapter 4 THE KEY OF A MAJOR Pg. 31

Chapter 5 THE KEY OF E MAJOR Pg. 39

Chapter 6 THE KEY OF B MAJOR Pg. 47

Chapter 7 THE KEY OF F# MAJOR Pg. 55

Chapter 8 THE KEY OF C# MAJOR Pg. 63

Chapter 9 THE KEY OF F MAJOR Pg. 71

Chapter 10 THE KEY OF Bb MAJOR Pg. 79

Chapter 11 THE KEY OF Eb MAJOR Pg. 87

Chapter 12 THE KEY OF Ab MAJOR Pg. 95

Chapter 13 THE KEY OF Db MAJOR Pg. 103

Chapter 14 THE KEY OF Gb MAJOR Pg. 111

Chapter 15 THE KEY OF Cb MAJOR Pg. 119

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INTRODUCTION

Modes By starting (individually) on every degree of the seven degrees of the major scale, a mode is produced. You can think of it as seven mini scales within the major scale or major key and you will also notice or must observe how each mode has its own particular sound and nuance even though we are still only playing within a major key. By starting on the seven (various) degrees of the major scale we will be shifting to a new starting point within the major key and every individual degree of the major scale will produce a particular mode and the new – Modal Tonality. Yet again we see the importance of understanding the application of the major keys. There are a total of seven modes (corresponding to the seven degrees of the major scale) and the names of the seven modes are:

Starting on the 1st

degree of any particular major scale will always produce the – Ionian Mode Starting on the 2

nd degree of any particular major scale will always produce the – Dorian Mode

Starting on the 3

rd degree of any particular major scale will always produce the – Phrygian Mode

Starting on the 4

th degree of any particular major scale will always produce the – Lydian Mode

Starting on the 5

th degree of any particular major scale will always produce the – Mixolydian Mode

Starting on the 6

th degree of any particular major scale will always produce the – Aeolian Mode

Starting on the 7

th degree of any particular major scale will always produce the – Locrian Mode

Here are two examples of the position of modes in the major key: Modes in C Major:

I II III IV V VI VII

C Ionian D Dorian E Phrygian F Lydian G Mixolydian A Aeolian B Locrian

C⇨C D⇨D E⇨E F⇨F G⇨G A⇨A B⇨B

Major Minor Minor Major Sharp

Four Seventh Minor Diminished

1st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

Modes in A Major:


A Ionian B Dorian C# Phrygian D Lydian E Mixolydian F# Aeolian G# Locrian

A⇨A B⇨B C#⇨C# D⇨D E⇨E F#⇨F# G#⇨G#



1st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

The name of the mode will be determined by the root note and the specific mode, for example: The mode D Lydian will be found in the key of A Major because in the key of A Major the note D is on the fourth degree and the location and starting point of the Lydian mode. The mode G Mixolydian will be found in the key of C Major because in the key of C Major the note G is on the fifth degree and the location of the Mixolydian mode.

There is also a close correlation between the scale tone chords of the major key and the modes. In practice for example, if you are given a certain chord progression like a II – V – I in the key of C major, you could then use the modes as a guide for improvising or comping around the given chord progression. You’ll be using the Dorian mode around the chord of II, the Mixolydian mode around the chord of V and the Ionian mode around the chord of I in that particular major key.

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The practical application of playing the modes will again be a matter of principal because you have already done the bulk of the work if you have a good understanding of the major keys that we covered in book 1. In this book we will again use the same methodology that we used throughout this series of using patterns to get a visualization of the mode – that will then serve as a guide of where to play. Learning all these patterns may seem like a lot of work but remember that you will still only be playing within the major scale and major key and it is our ability and understanding of playing within a major key that we use as a reference when we play the seven modes in a major key. You will also notice when working through this book that I have only given you a total of six patterns for every mode (with the exception of the first mode – the Ionian mode – that corresponds to the major scale so all I had to do was to extract the seven major scale patterns as given in the first book and place it here). But take note that it is not about a set number of patterns – the objective of the patterns (as I have presented it to you in this series) is basically to find the quickest and most logical way to get a visual reference of something over the entire playing surface of the instrument. If you can find your own patterns or visual references of where to play then that would be excellent. Below is a table outlining the chapters of book 1 and the modes in that particular key, as it will appear in this book 6:

Book 1: Major

Keys Book 6: Modes

Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian

Chapter 1 C Major C D E F G A B

Chapter 2 G Major G A B C D E F#

Chapter 3 D Major D E F# G A B C#

Chapter 4 A Major A B C# D E F# G#

Chapter 5 E Major E F# G# A B C# D#

Chapter 6 B Major B C# D# E F# G# A#

Chapter 7 F# Major F# G# A# B C# D# E#

Chapter 8 C# Major C# D# E# F# G# A# B#

Chapter 9 F Major F G A Bb C D E

Chapter 10 Bb Major Bb C D Eb F G A

Chapter 11 Eb Major Eb F G Ab Bb C D

Chapter 12 Ab Major Ab Bb C Db Eb F G

Chapter 13 Db Major Db Eb F Gb Ab Bb C

Chapter 14 Gb Major Gb Ab Bb Cb Db Eb F

Chapter 15 Cb Major Cb Db Eb Fb Gb Ab Bb

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Chapter 1 MODES IN THE KEY OF C MAJOR

The Notes The key of C MAJOR is derived from the C MAJOR SCALE. The notes of the C MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


C D E F G A B

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the C MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the C MAJOR SCALE shows up as follows:

Modes

By starting individually on every degree of the seven degrees of the major scale, a mode is produced. You can think of it as seven mini scales within the major scale or major key and when you practice these modes, observe how every mode has its own particular sound and characteristic.

I II III IV V VI VII Ionian/Major

Scale Dorian Phrygian Lydian Mixolydian Aeolian Locrian



C⇨C D⇨D E⇨E F⇨F G⇨G A⇨A B⇨B 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

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I. Ionian Patterns (Major Scale) C IONIAN

The three major scale patterns with the root note on the TOP STRING:

Pattern to the Left Pattern in the Center Pattern to the Right

The three major scale patterns with the root note on the SECOND STRING:


The single string major scale pattern with the root note on ALL FOUR STRINGS:

Single String Pattern

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II. Dorian Patterns (b3) (b7) D DORIAN

Pattern One Pattern Two Pattern Three

Pattern Four Pattern Five

Pattern Six (Single String)

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III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) E PHRYGIAN




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IV. Lydian Patterns (#4/#11) F LYDIAN




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V. Mixolydian Patterns (b7) G MIXOLYDIAN




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VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) A AEOLIAN




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VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) B LOCRIAN




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Chapter 2 MODES IN THE KEY OF G MAJOR

The Notes The key of G MAJOR is derived from the G MAJOR SCALE. The notes of the G MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


G A B C D E F#

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the G MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the G MAJOR SCALE shows up as follows:

Modes By starting individually on every degree of the seven degrees of the major scale, a mode is produced. You can think of it as seven mini scales within the major scale or major key and when you practice these modes, observe how every mode has its own particular sound and characteristic.





G⇨G A⇨A B⇨B C⇨C D⇨D E⇨E F#⇨F# 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

G A B C D E F# G

A B C D E F# G A

B C D E F# G A B

C D E F# G A B C

D E F# G A B C D

E F# G A B C D E

F# G A B C D E F#

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

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I. Ionian Patterns (Major Scale) G IONIAN







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II. Dorian Patterns (b3) (b7) A DORIAN




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III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) B PHRYGIAN




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IV. Lydian Patterns (#4/#11) C LYDIAN




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V. Mixolydian Patterns (b7) D MIXOLYDIAN




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VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) E AEOLIAN




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VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) F# LOCRIAN




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Chapter 3 MODES IN THE KEY OF D MAJOR

The Notes The key of D MAJOR is derived from the D MAJOR SCALE. The notes of the D MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


D E F# G A B C#

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the D MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the D MAJOR SCALE shows up as follows:

Modes






D⇨D E⇨E F#⇨F# G⇨G A⇨A B⇨B C#⇨C# 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

D E F# G A B C# D

E F# G A B C# D E

F# G A B C# D E F#

G A B C# D E F# G

A B C# D E F# G A

B C# D E F# G A B

C# D E F# G A B C#

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

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I. Ionian Patterns (Major Scale) D IONIAN







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II. Dorian Patterns (b3) (b7) E DORIAN




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III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) F# PHRYGIAN




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IV. Lydian Patterns (#4/#11) G LYDIAN




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V. Mixolydian Patterns (b7) A MIXOLYDIAN




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VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) B AEOLIAN




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VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) C# LOCRIAN




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Chapter 4 MODES IN THE KEY OF A MAJOR

The Notes The key of A MAJOR is derived from the A MAJOR SCALE. The notes of the A MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


A B C# D E F# G#

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the A MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the A MAJOR SCALE shows up as follows:

Modes






A⇨A B⇨B C#⇨C# D⇨D E⇨E F#⇨F# G#⇨G# 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

A B C# D E F# G# A

B C# D E F# G# A B

C# D E F# G# A B C#

D E F# G# A B C# D

E F# G# A B C# D E

F# G# A B C# D E F#

G# A B C# D E F# G#

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

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I. Ionian Patterns (Major Scale) A IONIAN







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II. Dorian Patterns (b3) (b7) B DORIAN




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III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) C# PHRYGIAN




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IV. Lydian Patterns (#4/#11) D LYDIAN




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V. Mixolydian Patterns (b7) E MIXOLYDIAN




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VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) F# AEOLIAN




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VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) G# LOCRIAN




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Chapter 5 MODES IN THE KEY OF E MAJOR

The Notes The key of E MAJOR is derived from the E MAJOR SCALE. The notes of the E MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


E F# G# A B C# D#

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the E MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the E MAJOR SCALE shows up as follows:

Modes






E⇨E F#⇨F# G#⇨G# A⇨A B⇨B C#⇨C# D#⇨D# 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

E F# G# A B C# D# E

F# G# A B C# D# E F#

G# A B C# D# E F# G#

A B C# D# E F# G# A

B C# D# E F# G# A B

C# D# E F# G# A B C#

D# E F# G# A B C# D#

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

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I. Ionian Patterns (Major Scale) E IONIAN







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II. Dorian Patterns (b3) (b7) F# DORIAN




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III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) G# PHRYGIAN




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IV. Lydian Patterns (#4/#11) A LYDIAN




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V. Mixolydian Patterns (b7) B MIXOLYDIAN




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VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) C# AEOLIAN




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VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) D# LOCRIAN




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Chapter 6 MODES IN THE KEY OF B MAJOR

The Notes The key of B MAJOR is derived from the B MAJOR SCALE. The notes of the B MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


B C# D# E F# G# A#

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the B MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the B MAJOR SCALE shows up as follows:






B⇨B C#⇨C# D#⇨D# E⇨E F#⇨F# G#⇨G# A#⇨A# 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

B C# D# E F# G# A# B

C# D# E F# G# A# B C#

D# E F# G# A# B C# D#

E F# G# A# B C# D# E

F# G# A# B C# D# E F#

G# A# B C# D# E F# G#

A# B C# D# E F# G# A#

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

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I. Ionian Patterns (Major Scale) B IONIAN







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II. Dorian Patterns (b3) (b7) C# DORIAN




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III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) D# PHRYGIAN




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IV. Lydian Patterns (#4/#11) E LYDIAN




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V. Mixolydian Patterns (b7) F# MIXOLYDIAN




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VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) G# AEOLIAN




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VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) A# LOCRIAN




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Chapter 7 MODES IN THE KEY OF F# MAJOR

The Notes The key of F# MAJOR is derived from the F# MAJOR SCALE. The notes of the F# MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


F# G# A# B C# D# E#

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the F# MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the F# MAJOR SCALE shows up as follows:






F#⇨F# G#⇨G# A#⇨A# B⇨B C#⇨C# D#⇨D# E#⇨E# 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

F# G# A# B C# D# E# F#

G# A# B C# D# E# F# G#

A# B C# D# E# F# G# A#

B C# D# E# F# G# A# B

C# D# E# F# G# A# B C#

D# E# F# G# A# B C# D#

E# F# G# A# B C# D# E#

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

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I. Ionian Patterns (Major Scale) F# IONIAN







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II. Dorian Patterns (b3) (b7) G# DORIAN




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III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) A# PHRYGIAN




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IV. Lydian Patterns (#4/#11) B LYDIAN




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V. Mixolydian Patterns (b7) C# MIXOLYDIAN




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VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) D# AEOLIAN




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VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) E# LOCRIAN




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Chapter 8 MODES IN THE KEY OF C# MAJOR

The Notes The key of C# MAJOR is derived from the C# MAJOR SCALE. The notes of the C# MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


C# D# E# F# G# A# B#

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the C# MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the C# MAJOR SCALE shows up as follows:

Modes






C#⇨C# D#⇨D# E#⇨E# F#⇨F# G#⇨G# A#⇨A# B#⇨B# 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

C# D# E# F# G# A# B# C#

D# E# F# G# A# B# C# D#

E# F# G# A# B# C# D# E#

F# G# A# B# C# D# E# F#

G# A# B# C# D# E# F# G#

A# B# C# D# E# F# G# A#

B# C# D# E# F# G# A# B#

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

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I. Ionian Patterns (Major Scale) C# IONIAN







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II. Dorian Patterns (b3) (b7) D# DORIAN




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III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) E# PHRYGIAN




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IV. Lydian Patterns (#4/#11) F# LYDIAN




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V. Mixolydian Patterns (b7) G# MIXOLYDIAN




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VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) A# AEOLIAN




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VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) B# LOCRIAN




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Chapter 9 MODES IN THE KEY OF F MAJOR

The Notes The key of F MAJOR is derived from the F MAJOR SCALE. The notes of the F MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


F G A Bb C D E

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the F MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the F MAJOR SCALE shows up as follows:

Modes






F⇨F G⇨G A⇨A Bb⇨Bb C⇨C D⇨D E⇨E 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

F G A Bb C D E F

G A Bb C D E F G

A Bb C D E F G A

Bb C D E F G A Bb

C D E F G A Bb C

D E F G A Bb C D

E F G A Bb C D E

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

P a g e | 72

I. Ionian Patterns (Major Scale) F IONIAN







P a g e | 73

II. Dorian Patterns (b3) (b7) G DORIAN




P a g e | 74

III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) A PHRYGIAN




P a g e | 75

IV. Lydian Patterns (#4/#11) Bb LYDIAN




P a g e | 76

V. Mixolydian Patterns (b7) C MIXOLYDIAN




P a g e | 77

VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) D AEOLIAN




P a g e | 78

VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) E LOCRIAN




P a g e | 79

Chapter 10 MODES IN THE KEY OF Bb MAJOR

The Notes The key of Bb MAJOR is derived from the Bb MAJOR SCALE. The notes of the Bb MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


Bb C D Eb F G A

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the Bb MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the Bb MAJOR SCALE shows up as follows:

Modes






Bb⇨Bb C⇨C D⇨D Eb⇨Eb F⇨F G⇨G A⇨A 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

Bb C D Eb F G A Bb

C D Eb F G A Bb C

D Eb F G A Bb C D

Eb F G A Bb C D Eb

F G A Bb C D Eb F

G A Bb C D Eb F G

A Bb C D Eb F G A

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

P a g e | 80

I. Ionian Patterns (Major Scale) Bb IONIAN







P a g e | 81

II. Dorian Patterns (b3) (b7) C DORIAN




P a g e | 82

III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) D PHRYGIAN




P a g e | 83

IV. Lydian Patterns (#4/#11) Eb LYDIAN




P a g e | 84

V. Mixolydian Patterns (b7) F MIXOLYDIAN




P a g e | 85

VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) G AEOLIAN




P a g e | 86

VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) A LOCRIAN




P a g e | 87

Chapter 11 MODES IN THE KEY OF Eb MAJOR

The Notes The key of Eb MAJOR is derived from the Eb MAJOR SCALE. The notes of the Eb MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


Eb F G Ab Bb C D

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the Eb MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the Eb MAJOR SCALE shows up as follows:

Modes






Eb⇨Eb F⇨F G⇨G Ab⇨Ab Bb⇨Bb C⇨C D⇨D 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

Eb F G Ab Bb C D Eb

F G Ab Bb C D Eb F

G Ab Bb C D Eb F G

Ab Bb C D Eb F G Ab

Bb C D Eb F G Ab Bb

C D Eb F G Ab Bb C

D Eb F G Ab Bb C D

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

P a g e | 88

I. Ionian Patterns (Major Scale) Eb IONIAN







P a g e | 89

II. Dorian Patterns (b3) (b7) F DORIAN




P a g e | 90

III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) G PHRYGIAN




P a g e | 91

IV. Lydian Patterns (#4/#11) Ab LYDIAN




P a g e | 92

V. Mixolydian Patterns (b7) Bb MIXOLYDIAN




P a g e | 93

VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) C AEOLIAN




P a g e | 94

VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) D LOCRIAN




P a g e | 95

Chapter 12 MODES IN THE KEY OF Ab MAJOR

The Notes The key of Ab MAJOR is derived from the Ab MAJOR SCALE. The notes of the Ab MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


Ab Bb C Db Eb F G

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the Ab MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the Ab MAJOR SCALE shows up as follows:

Modes






Ab⇨Ab Bb⇨Bb C⇨C Db⇨Db Eb⇨Eb F⇨F G⇨G 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

Ab Bb C Db Eb F G Ab

Bb C Db Eb F G Ab Bb

C Db Eb F G Ab Bb C

Db Eb F G Ab Bb C Db

Eb F G Ab Bb C Db Eb

F G Ab Bb C Db Eb F

G Ab Bb C Db Eb F G

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

P a g e | 96

I. Ionian Patterns (Major Scale) Ab IONIAN







P a g e | 97

II. Dorian Patterns (b3) (b7) Bb DORIAN




P a g e | 98

III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) C PHRYGIAN




P a g e | 99

IV. Lydian Patterns (#4/#11) Db LYDIAN




P a g e | 100

V. Mixolydian Patterns (b7) Eb MIXOLYDIAN




P a g e | 101

VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) F AEOLIAN




P a g e | 102

VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) G LOCRIAN




P a g e | 103

Chapter 13 MODES IN THE KEY OF Db MAJOR

The Notes The key of Db MAJOR is derived from the Db MAJOR SCALE. The notes of the Db MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


Db Eb F Gb Ab Bb C

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the Db MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the Db MAJOR SCALE shows up as follows:

Modes






Db⇨Db Eb⇨Eb F⇨F Gb⇨Gb Ab⇨Ab Bb⇨Bb C⇨C 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

Db Eb F Gb Ab Bb C Db

Eb F Gb Ab Bb C Db Eb

F Gb Ab Bb C Db Eb F

Gb Ab Bb C Db Eb F Gb

Ab Bb C Db Eb F Gb Ab

Bb C Db Eb F Gb Ab Bb

C Db Eb F Gb Ab Bb C

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

P a g e | 104

I. Ionian Patterns (Major Scale) Db IONIAN







P a g e | 105

II. Dorian Patterns (b3) (b7) Eb DORIAN




P a g e | 106

III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) F PHRYGIAN




P a g e | 107

IV. Lydian Patterns (#4/#11) Gb LYDIAN




P a g e | 108

V. Mixolydian Patterns (b7) Ab MIXOLYDIAN




P a g e | 109

VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) Bb AEOLIAN




P a g e | 110

VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) C LOCRIAN




P a g e | 111

Chapter 14 MODES IN THE KEY OF Gb MAJOR

The Notes The key of Gb MAJOR is derived from the Gb MAJOR SCALE. The notes of the Gb MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


Gb Ab Bb Cb Db Eb F

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the Gb MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the Gb MAJOR SCALE shows up as follows:

Modes






Gb⇨Gb Ab⇨Ab Bb⇨Bb Cb⇨Cb Db⇨Db Eb⇨Eb F⇨F 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

Gb Ab Bb Cb Db Eb F Gb

Ab Bb Cb Db Eb F Gb Ab

Bb Cb Db Eb F Gb Ab Bb

Cb Db Eb F Gb Ab Bb Cb

Db Eb F Gb Ab Bb Cb Db

Eb F Gb Ab Bb Cb Db Eb

F Gb Ab Bb Cb Db Eb F

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

P a g e | 112

I. Ionian Patterns (Major Scale) Gb IONIAN







P a g e | 113

II. Dorian Patterns (b3) (b7) Ab DORIAN




P a g e | 114

III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) Bb PHRYGIAN




P a g e | 115

IV. Lydian Patterns (#4/#11) Cb LYDIAN




P a g e | 116

V. Mixolydian Patterns (b7) Db MIXOLYDIAN




P a g e | 117

VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) Eb AEOLIAN




P a g e | 118

VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) F LOCRIAN




P a g e | 119

Chapter 15 MODES IN THE KEY OF Cb MAJOR

The Notes The key of Cb MAJOR is derived from the Cb MAJOR SCALE. The notes of the Cb MAJOR SCALE may be presented as follows with a numerical value attributed to each note:


Cb Db Eb Fb Gb Ab Bb

1/8 2/9 3/10 4/11 5/12 6/13 7 In written musical form the Cb MAJOR SCALE is presented in this manner: Treble Clef

Bass Clef

The Bass Fingerboard On the bass fingerboard the notes of the Cb MAJOR SCALE shows up as follows:

Modes






Cb⇨Cb Db⇨Db Eb⇨Eb Fb⇨Fb Gb⇨Gb Ab⇨Ab Bb⇨Bb 1

st degree 2

nd degree 3

rd degree 4

th degree 5

th degree 6

th degree 7

th degree

Cb Db Eb Fb Gb Ab Bb Cb

Db Eb Fb Gb Ab Bb Cb Db

Eb Fb Gb Ab Bb Cb Db Eb

Fb Gb Ab Bb Cb Db Eb Fb

Gb Ab Bb Cb Db Eb Fb Gb

Ab Bb Cb Db Eb Fb Gb Ab

Bb Cb Db Eb Fb Gb Ab Bb

(b3) (b7) (b2/b9) (b3) (b6/b13) (b7)

(#4) (b7) (b3) (b6/b13)

(b7)

(b2/b9) (b3) (b5) (b6/b13)

(b7)

P a g e | 120

I. Ionian Patterns (Major Scale) Cb IONIAN







P a g e | 121

II. Dorian Patterns (b3) (b7) Db DORIAN




P a g e | 122

III. Phrygian Patterns (b2/b9) (b3) (b6/b13) (b7) Eb PHRYGIAN




P a g e | 123

IV. Lydian Patterns (#4/#11) Fb LYDIAN




P a g e | 124

V. Mixolydian Patterns (b7) Gb MIXOLYDIAN




P a g e | 125

VI. Aeolian Patterns (Natural Minor Scale) (b3) (b6/b13) (b7) Ab AEOLIAN




P a g e | 126

VII. Locrian Patterns (b2/b9) (b3) (b5) (b6/b13) (b7) Bb LOCRIAN




p a g e · 2019. 2. 12. · p a g e | 4 contents introduction modes pg. 5 chapter 1 the key of c...

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