Single(ish) position mode diagrams for 5 (and 4) String

[P-T-P]

I was looking for some old files on the computer earlier and came across these which I drew up for myself many moons ago when I got back into playing seriously again. Might be of use to some of you.

Four stringers, just use the bottom four strings in the diagram.

These modes are scales which are built using each note in a particular key signature. Each mode uses a different step of the key as it's tonic or root and as they only use the notes which appear in the key signature, they can be called diatonic scales.

The diagrams deliberately don't include fret numbers or note names as they can be applied to any key, just work out what the tonic note should be, find it on your fretboard and away you go.

I'll refer to the key of C throughout when talking about them so as to give a clearer picture.

I'm proposing the use of the one finger per fret method with these modes, but don't worry if you find that too much of a stretch or just too uncomfortable. It's where the notes occur that's most important, not so much the technique you use to get to them. If you need to shift position to play them, go right ahead. I've got small hands myself and, especially when on a long gig, I often switch to using my ring and little finger as a duo, or sometimes one or other of them. Comfort is the watchword!

[b]Ionian Mode[/b]

This is the mode formed from the first step or root of the major key.

So if we're playing in the key of C, on a 5 string bass we're going to be starting at the 13th fret (8th fret for 4 stringers) as we need the note C to be the tonic or root (R in the diagram) of the mode.

[attachment=5992:ionian.gif]

With middle finger fretting the R note, we can play the whole scale using the one finger per fret method.

Those of you who've had your Cheerios this morning will notice that the Ionian mode has the same structure as a major scale.

[b]Dorian Mode[/b]

This is the mode formed from the second step of the major key.

So if we're playing in the key of C, on a 5 string bass, we're going to be starting at the 3rd fret (10th fret for 4 stringers) as we need the note D to be the tonic or root (R in the diagram) of the mode.

[attachment=5993:dorian.gif]

With our index finger on the R note, we can play each note in the mode using the one finger per fret method... kind of.

We need to shift position as we get to the 4-5-6 first time up. The way I do it is to fret the b3 with my little finger, the 4 with my index finger and the 5 with my little finger again, this means my index finger is free to comfortably fret the 6 and I can then revert to the one finger per fret.

Note that the Dorian is a minor mode that differs from the natural minor scale (e.g. the white notes on a piano from A to A) as it has a major 6th interval rather than a minor 6th.

To put that in context, the natural A minor scale would be A B C D E F G A while the A Dorian mode would be A B C D E [b]F#[/b] G A.

[b]Phrygian Mode[/b]

This is the mode formed from the third step of the major key.

So if we're playing in the key of C, on a 5 string bass, we're going to be starting at the 5th fret (12th fret for 4 stringers) as we need the note E to be the tonic or root (R in the diagram) of the mode.

[attachment=5994:phrygian.gif]

With our index finger on the R note, we can play each note in the mode using the one finger per fret method... kind of (again). If you're on a four string, skip the next paragraph as you can do it all in one position, five stringers, read on.

We need to shift position as we get to the b3-4-5 second time up. The way I do it is to fret the b2 with my little finger, the b3 with my index finger and the 4 with my little finger again, this means my index finger is free to comfortably fret the 5 and I can then revert to the one finger per fret.

Note that the Phrygian is a minor mode that differs from the natural minor scale (e.g. the white notes on a piano from A to A) as it has a minor 2nd interval rather than a major 2nd.

To put that in context, the natural A minor scale would be A B C D E F G A while the A Phrygian mode would be A [b]bB[/b] C D E F G A.

[b]Lydian Mode[/b]

This is the mode formed from the fourth step of the major key.

So if we're playing in the key of C, on a 5 string bass, we're going to be starting at the 6th fret (13th fret for 4 stringers) as we need the note F to be the tonic or root (R in the diagram) of the mode.

[attachment=5995:lydian.gif]

With our middle finger on the R note, we can play each note in the mode using the one finger per fret method... kind of (yet again). If you're on a four string, skip the next paragraph as you can do it all in one position, five stringers, read on.

We need to shift position as we get to the 2-3-#4 second time up. The way I do it is to fret the R with my little finger, the 2 with my index finger and the 3 with my little finger again, this means my index finger is free to comfortably fret the #4 and I can then revert to the one finger per fret.

Note that the Lydian is a major mode that differs from the major scale (e.g. the white notes on a piano from C to C) as it has an augmented 4th interval rather than a perfect 4th.

To put that in context, the C major scale would be C D E F G A B C while the C Lydian mode would be C D E [b]F#[/b] G A B C.

[b]Mixolydian Mode[/b]

This is the mode formed from the fifth step of the major key.

So if we're playing in the key of C, on a 5 string bass, we're going to be starting at the 8th fret (3rd fret for 4 stringers) as we need the note G to be the tonic or root (R in the diagram) of the mode.

[attachment=5996:mixolydian.gif]

With our middle finger on the R note, we can play each note in the mode using the one finger per fret method.

Note that the Mixolydian is a major scale that differs from the Major scale (e.g. the white notes on a piano from C to C) as it has a minor 7th interval rather than a major 7th.

To put that in context, the C major scale would be C D E F G A B C while the C Mixolydian mode would be C D E F G A [b]bB[/b] C.

[b]Aeolian Mode[/b]

This is the mode formed from the sixth step of the major key.

So if we're playing in the key of C, on a 5 string bass, we're going to be starting at the 10th fret (5th fret for 4 stringers) as we need the note A to be the tonic or root (R in the diagram) of the mode.

[attachment=5997:aeolian.gif]

With our index finger on the R note, we can play each note in the mode using the one finger per fret method... kind of (yeah I know).

We need to shift position as we get to the b7-R-2 first time up. The way I do it is to fret the b6 with my little finger, the b7 with my index finger and the R with my little finger again, this means my index finger is free to comfortably fret the 2 and I can then revert to the one finger per fret.

If you're still with me, you've probably had some lunch by now and will hopefully have spotted that the Aeolian mode has the same structure as the natural minor scale.

[b]Locrian Mode[/b]

This is the mode formed from the seventh step of the major key.

So if we're playing in the key of C, on a 5 string bass, we're going to be starting at the 12th fret (7th fret for 4 stringers) as we need the note B to be the tonic or root (R in the diagram) of the mode.

[attachment=5998:locrian.gif]

With our index finger on the R note, we can play each note in the mode using the one finger per fret method.

Unlike the other modes, the Locrian is neither major or minor, it is in fact a diminished mode as it is graced with a diminished 5th.

Note that the Phrygian differs from the natural minor scale (e.g. the white notes on a piano from A to A) as it has a minor 2nd interval rather than a major 2nd as well as a diminished 5th instead of a perfect 5th.

To put that in context, the natural A minor scale would be A B C D E F G A while the A Locrian mode would be A [b]bB[/b] C[b] bD [/b]E F G A.

I hope some of you find a use for this info, feel free to pass it on (though for personal use only, don't use this as the second chapter of your book without my permission!)

Once you've got the modes down (both ascending and descending) try applying them to different key signatures and then from there try playing them in thirds, fourths fifths etc. i.e. for thirds you'd play R-3-2-4-3-5-4-6-5-7-6-R etc. as it's great exercise for both hands.

Edited February 27, 2008 by P-T-P

[silverfoxnik]

Cheers Pete!

That's really useful - it must have taken a lot of work on your part!! And I bet it took ages as well.. Just amazes me how different these modes sound from each other, yet they're all so closely related??

Thanks again... Hope all's well with you.

Nik