Harmonized Modal Scales

Alright! Just as we have harmonized the major scale in triads and 7th chords, we can also harmonize the modes! This is an important thing to practice because it really requires you to know your fretboard. If you get comfortable in knowing what triads and four note 7th chord shapes are around each other, you can truly master the neck.

For you convenience, I have re-attached the major, minor, and diminished triads, as well as, the four note seventh chord shapes for major 7, minor 7, dominant 7 and minor 7(b5) in the PDF for download.

We will be practicing harmonizing modes in three different approaches. There is a lot to cover in this lesson so take it slow and make sure not to skip any parts. Once you have the three different aspects down individually, you can then start to mix and match to get the sounds you desire when utilizing this technique. 

For all of the examples below we will be referring to the key of C major (Ionian) but please practice the following in a variety of different keys.

First, let's do triads built on the root of the chord.

This, obviously, is what we have already done before in our previous harmonization lesson. This time, play the harmonized scale of each mode up and down the neck instead of just the major (Ionian) mode. 

For example:

C Major (Ionian) - Cma, Dmi, Emi, Fma, Gma, Ami, Bdim

D Dorian - Dmi, Emi, Fma, Gma, Ami, Bdim, Cma

E Phrygian - Emi, Fma, Gma, Ami, Bdim, Cma, Dmi

F Lydian - Fma, Gma, Ami, Bdim, Cma, Dmi, Emi

G Mixolydian - Gma, Ami, Bdim, Cma, Dmi, Emi, Fma

A Minor (Aeolian) - Ami, Bdim, Cma, Dmi, Emi, Fma, Gma

B Locrian - Bdim, Cma, Dmi, Emi, Fma, Gma, Ami

 

Begin by practicing these in three string sets as we did before. 

Start with the 123 strings, then to the 234 strings, 345 strings, and 456 strings. Make sure to play up and down the neck! 

Next, play across the neck in position using the closest moves technique.  

For example:

In C major (Ionian) start in open position and play a C major triad on the 654 strings, then a D minor triad on the 654 strings, then an E minor triad on the 543 strings, then an F major triad on the 543 strings then a G major triad on the 432 strings, then an A minor triad on the 432 strings, then a B diminished triad on the 432 strings and finally back to a C major triad on the 321 strings.

Obviously, there are many different choices one can make in selecting triads when we move horizontally, as they overlap as we go across the neck (arpeggios), so realize that there is a freedom in going horizontal and the choices players make when utilizing this technique are based on the sound they want to make. Just be sure to practice this technique in at least five different sections of the neck to ensure you are not leaving any holes. 

Second, let's do four note 7th chords built on the root.

This again, should be pretty obvious. Play these 7th chords one shape at a time up and down the modes.  Then, just as above, try playing these harmonized 7th chord scales horizontally across the fretboard using the basic moves technique.  

Use the 7th chord shapes that you already know in each of the five patterns. Just be sure to stay in one area of the neck and try to find your closest moves. Again, be sure to try these in five different places on the neck to ensure total absorption. 

The 7th chords for the modes in C Major (Ionian) are as follows:

C Major (Ionian) - Cma7, Dmi7, Emi7, Fma7, G7, Ami7, Bmi7(b5)

D Dorian - Dmi7, Emi7, Fma7, G7, Ami7, Bmi7(b5), C ma7

E Phrygian - Emi7, Fma7, G7, Ami7, Bmi7(b5), C ma7, Dmi7

F Lydian - Fma7, G7, Ami7, Bmi7(b5), C ma7, Dmi7, Emi7

G Mixolydian - G7, Ami7, Bmi7(b5), C ma7, Dmi7, Emi7, Fma7

A Minor (Aeolian) - Ami7, Bmi7(b5), C ma7, Dmi7, Emi7, Fma7, G7

B Locrian - Bmi7(b5), C ma7, Dmi7, Emi7, Fma7, G7, Ami7

 

And lastly, let's play triads starting on the 3rd of the 7th chord.

What? Yes, that's right. I want you to practice playing the upper register of the seventh chords. Of course, this only works with another instrument playing the bass note (root) of the chord. 

As we learned before, 7th chords are made up of stacked triads. 

For example:

The C ma7 chord is a C triad with a B (the 7th note in the C major scale) on top. The four note chord is comprised of C, E, G, and B.

Therefore, this chord can also be viewed as an E minor triad with a C in the bass. So what we are going to do is just play the upper triad of the 7th chord and let another instrument play the bass notes.

Also, for your convenience I have written out the triads for the same modes. 

Again, be sure to play these as we did above! Do all of your string sets up and down the neck as well as horizontally!

C Major (Ionian) - Emi, Fma, Gma, Ami, Bdim, Cma, Dmi

D Dorian - Fma, Gma, Ami, Bdim, Cma, Dmi, Emi

E Phrygian - Gma, Ami, Bdim, Cma, Dmi, Emi, Fma

F Lydian - Ami, Bdim, Cma, Dmi, Emi, Fma, Gma

G Mixolydian - Bdim, Cma, Dmi, Emi, Fma, Gma, Ami

A Minor (Aeolian) - Cma, Dmi, Emi, Fma, Gma, Ami, Bdim

B Locrian - Dmi, Emi, Fma, Gma, Ami, Bdim, Cma

 

I know this is a lot. 

Seriously: if you can get this lesson down you have basically mastered diatonic harmony. 

This is for real.