Major Scale Modes & Chords

To get the most out of the diagrams in The Tao of Tunings, it helps to have a basic understanding of how the seven modes of the major scale work and which chords they go with.

Key of C

1. The C major (Ionian) scale (C-D-E-F-G-A-B-C)
   goes with the I: major 7 chord (Cmaj7).
2. The D Dorian mode (D-E-F-G-A-B-C-D)
   goes with the ii: minor 7 chord (Dm7).
3. The E Phrygian mode (E-F-G-A-B-C-D-E)
   goes with the iii: minor 7 chord (Em7).
4. The F Lydian mode (F-G-A-B-C-D-E-F)
   goes with the IV: major 7 chord (Fmaj7).
5. The G Mixolydian mode (G-A-B-C-D-E-F-G)
   goes with the V: dominant 7 chord (G7).
6. The A Aeolian mode (A-B-C-D-E-F-G-A)
   goes with the vi: minor 7 chord (Am7).
7. The B Locrian mode (B-C-D-E-F-G-A-B)
   goes with the vii: minor 7 flat 5 chord (Bm7^b5).

Key of G

1. G major (Ionian) scale (G-A-B-C-D-E-F^#-G): Gmaj7
2. A Dorian (A-B-C-D-E-F^#-G-A): Am7
3. B Phrygian (B-C-D-E-F^#-G-A-B): Bm7
4. C Lydian (C-D-E-F^#-G-A-B-C): Cmaj7
5. D Mixolydian (D-E-F^#-G-A-B-C-D): D7
6. E Aeolian (E-F^#-G-A-B-C-D-E): Em7
7. F^# Locrian (F^#-G-A-B-C-D-E-F^#): F^#m7^b5

Key of E

1. E major (Ionian) scale (E-F^#-G^#-A-B-C^#-D^#-E): Emaj7
2. F^# Dorian (F^#-G^#-A-B-d-D^#-E-F^#): F^#m7
3. G^# Phrygian (G^#-A-B-d-D^#-E-F^#-G^#): G^#m7
4. A Lydian (A-B-C#-D^#-E-F^#-G^#-A): Amaj7
5. B Mixolydian (B-C#-D^#-E-F^#-G^#-A-B): ^b7
6. C^# Aeolian (C#-D^#-E-F^#-G^#-A-B-C#): C^#m7
7. D^# Locrian (D^#-E-F^#-G^#-A-B-C#-D^#): D^#m7^b5

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It is the chord progression and key that determines the proper use of a particular mode. For example:

• Cmaj7 in C is the I chord, therefore you would use a C major scale to play over it.
• Cmaj7 in G is the IV chord, therefore you would use a C Lydian scale to play over it.

Also bear in mind the subtle differences in scales.

The difference between the Dorian and Aeolian modes, for instance, is the sixth tone.

C Dorian

C – D – E^b – F – G – A – B^b – C

1 – 2 – ^b3 – 4 – 5 – 6 – ^b7 – 1

C Aeolian

C – D – E^b – F – G – A^b – B^b – C

1 – 2 – ^b3 – 4 – 5 – ^b6 – ^b7 – 1

C Dorian is useful when playing over Cm7-F7, a chord progression that has an A note.

C Aeolian would be useful in playing over Cm7-A^b, a chord progression that has an A^b note.

C Dorian is derived from the B^b major scale:

B^b Major Scale:
B^b – C – D – E^b – F – G – A – B^b

1 – 2 – 3 – 4 – 5 – 6 – 7 – 1

It is the second mode: C-D-E^b-F-G-A-B^b-C.

C Aeolian is derived from the E^b major scale:

E^b Major Scale:
E^b – F – G – A^b – B^b – C – D – E^b

1 – 2 – 3 – 4 – 5 – 6 – 7 – 1

It is the sixth mode: C-D-E^b-F-G-A^b-B^b-C.

A working knowledge of keys and modes is helpful in using the information in the fretboard maps in the book.

However, even if you approach the diagrams from a totally fresh and uninformed point of view, there’s plenty of information here to inspire every player.

Each diagram represents a tonality to improvise in.

The more you know about how music fits together, the easier it will be to switch quickly from one color to another while playing. I often sit in front of a tuning map and find new possibilities of fingering combinations, and I am very familiar with these tunings, having used them for many years.

The thrill of discovery is constant and never ending when putting tones together-the variations are inspirational. Each tuning presents musical and mathematically unique formations.

Exploration of new tonalities remains the goal.