As a bass player, it’s essential to have a solid understanding of music theory, including modes. Modes are essentially different scales that can be derived from the major scale. Each mode has its unique characteristics and can create a specific mood or feeling in a piece of music. In this article, we’ll demystify bass modes and modal shapes, explaining what they are and why they’re important for any serious bass player.
Understanding Modes in Music Theory
Before diving into bass modes, it’s essential to have a basic understanding of modes in music theory. Modes are scales that are derived from a parent scale, and to start things off, we’ll use the major scale as our example of a parent scale.
Note that this process of building modes is the same whether your parent scale is a major or minor scale. More on that later but just keep it in mind for now.
The major scale is made up of seven notes, and each mode is created by starting and ending on a different note of the major scale.
If you write out the notes of a major scale (C major scale, for example) in a circle, you can create each mode by starting on each individual note of the scale and completing one full rotation round that circle, proceeding in alphabetical order, until you can get back to the note you started on.
Do this from each note of the scale and you’ll get all of the modes of that parent scale.
There are seven modes of the major scale in total, each with its unique set of intervals and characteristics.
The seven modes are of the major scale are: – Ionian – Dorian – Phrygian – Lydian – Mixolydian – Aeolian – Locrian
Each of these modes has its unique sound and mood. For example, the Ionian mode is the major scale and has a happy and uplifting sound, while the Aeolian mode is the natural minor scale and has a sad and melancholic sound.
What are Bass Modes and Why are They Important?
Bass modes are simply the modes that have been adapted to the bass guitar. Understanding bass modes is crucial for any serious bass player because they allow you to create unique basslines and solos that are based on the specific mood or feeling you want to convey in a piece of music.
Knowing bass modes also allows you to communicate better with other musicians, especially if they’re familiar with modes themselves. By understanding the different modes and their characteristics, you can quickly adapt to different styles and genres of music.
Types of Modes – Major, Minor, Harmonic Minor and Melodic Minor
Each mode will have an underlying tonality. That is to say that it’s either a mode that sounds fundamentally major, minor, diminished or has an altered tonality.
We’ll start by looking at three types of modes found in major scale modes: major, minor, and diminished. We’ll save a look at harmonic minor, and melodic minor modes for later on. Each of these types has its unique set of intervals and characteristics.
To figure out the tonality of a major scale mode, you must look at the triad formed by combining the root note of the mode, the 3rd of the mode and the 5th of the mode.
Here’s a list of the different types of mode found in the major scale.
The major modes are: – Ionian (major scale) – Lydian – Mixolydian
The natural minor modes are: – Aeolian (natural minor scale) – Dorian – Phrygian
The diminished mode is: Locrian mode
The harmonic minor modes are: – Harmonic minor – Locrian #6
And finally, the melodic minor modes are: – Melodic minor – Dorian b2 – Lydian #5 – Mixolydian b6 – Locrian #2 – Super Locrian (aka altered scale)
How to build a bass mode – An example with the C major scale
Let’s now use the C major scale as a starting point to build our major scale modes.
Ionian mode (The Major Scale)
The C ionian mode (sometimes known as the ionian scale, or in the key of C, the C major scale) is C, D, E, F, G, A, B and C.
Notice that this is a complete cycle of the notes of the C major scale from the starting note (known as the root note) C, all the way round to C again.
This process is the same with every mode of every scale in every key.
Try it with a G major scale, D major scale or by reconstructing the C ionian scale to practice.
Because the C major scale is the scale that we are going to extract all the other modes from, this is the scale that we’ll refer to as the parent scale.
Dorian mode
The process for building the dorian mode is the same as we did for the ionian mode but this time we start from a different root note.
Each time we build a new mode we need to move one note forward through our parent scale. Our last starting note was C so that means our dorian mode will be built from D.
One full rotation of the parent scale from D to D will give us D, E, F, G, A, B, C and D which creates a D dorian mode.
Dorian is a minor mode because the triad formed from it’s root, 3rd and 5th is a minor chord.
This scale has a very open and airy quality to it. For this reason, it’s used a lot in film scores to create chord progressions that have a broad and epic quality to them.
The Phrygian Mode and Its Characteristics
The Phrygian mode is one of the most common modes used in metal and flamenco music. It has a dark and exotic sound and is characterized by its flattened second scale degree. It’s also the third mode of the major scale.
To play the Phrygian mode on bass, you start and end on the third note of the major scale (i.e., E Phrygian is E-F-G-A-B-C-D). The intervals for the Phrygian mode are: – Root (E) – Minor second (F) – Minor third (G) – Perfect fourth (A) – Perfect fifth (B) – Minor sixth (C) – Minor seventh (D)
To play the Phrygian mode on bass, you can use the following fingerings: – Root on the E string, third fret – Minor second on the E string, fifth fret – Minor third on the A string, third fret – Perfect fourth on the A string, fifth fret – Perfect fifth on the A string, seventh fret – Minor sixth on the D string, fifth fret – Minor seventh on the D string, seventh fret
Lydian mode
The Lydian mode is a musical mode that is built on the fourth degree of the major scale. It is characterized by its raised 4th scale degree, which creates a unique sound that is bright and uplifting. The raised fourth is often referred to as the “Lydian” note, giving the mode its name.
Starting from F the lydian mode is F, G, A, B, C, D, E and F. It’s characteristic sound is major but with a sharp 11th (raised 4th degree) which sounds very bright and airy.
In terms of chord progressions, the Lydian mode is often used over major chords, particularly when the chord progression includes a IV chord. This is because the raised fourth of the mode creates a strong tension that resolves nicely to the fifth scale degree.
The Mixolydian Mode and Its Characteristics
The Mixolydian mode is one of the most commonly used modes in blues, rock, and country music. It’s characterized by its flattened seventh scale degree and has a bright and upbeat sound. It’s also the fifth mode of the major scale.
To play the Mixolydian mode on bass, you start and end on the fifth note of the major scale (i.e., G Mixolydian is G-A-B-C-D-E-F). The intervals for the Mixolydian mode are: – Root (G) – Major second (A) – Major third (B) – Perfect fourth (C) – Perfect fifth (D) – Major sixth (E) – Minor seventh (F)
To play the Mixolydian mode on bass, you can use the following fingerings: – Root on the E string, third fret – Major second on the A string, second fret – Major third on the A string, fourth fret – Perfect fourth on the D string, second fret – Perfect fifth on the D string, fifth fret – Major sixth on the G string, second fret – Minor seventh on the G string, fifth fret
Aeolian mode
The Aeolian mode is a musical mode that is built on the sixth degree of the major scale. It is also known as the natural minor scale and is characterized by its unique combination of whole-step and half-step intervals. The Aeolian mode has a minor tonality and is often used in sad or melancholic compositions.
Starting from A, the Aeolian mode is A, B, C, D, E, F and G. This is the same set of notes as the C major scale, but starting and ending on A.
In terms of chord progressions, the Aeolian mode is often used over minor chords, particularly when the chord progression includes a VI chord. This is because the VI chord in a major key is often used as a substitute for the i chord in the relative minor key. For example, in the key of C major, the VI chord is A minor, which is the i chord in the key of A minor.
An example of a musical composition in an Aeolian mode is “Nothing Else Matters” by Metallica. The verse section of the song song is based on a simple chord progression of E minor, D, C, A minor and B, which (apart from the B major chord borrowed from the E harmonic minor scale) are all chords that can be found in the key of E minor. The melody and harmony of the song are based on the E Aeolian mode, which gives it a melancholic and introspective feel.
Locrian mode
The Locrian mode is a musical mode that is built on the seventh degree of the major scale. It is characterized by its unique combination of half-step and diminished intervals, which creates a dissonant and unstable sound. The Locrian mode has a diminished tonality and is often used in jazz and metal compositions.
Starting from B, the Locrian mode is B, C, D, E, F, G and A. This is the same set of notes as the C major scale, but starting and ending on B.
In terms of chord progressions, the Locrian mode is often used over diminished chords, particularly when the chord progression includes a vii° chord. This is because the vii° chord in a major key is a diminished chord built on the seventh scale degree, which is the root of the Locrian mode.
An example of a musical composition in a Locrian mode is “YYZ” by Rush. The opening riff of the song is based on a B Locrian mode, which creates a sense of tension and dissonance. The chord progression of the song is based on a series of power chords, including B(b5), C5, D5 and F5, which are all chords that can be found in the B Locrian mode.
The use of the Locrian mode in this song gives it a dark and mysterious feel that is characteristic of progressive rock and metal.
How to Play Bass Modes – Scales and Fingerings
To play bass modes effectively, you need to be comfortable with the scales and fingerings for each mode. The scales for each mode are simply the seven notes of the mode played in sequence.
The fingerings for each mode will depend on the specific mode and the position you’re playing in. In general, you want to use fingerings that allow you to play the mode smoothly and efficiently.
It’s essential to practice playing each mode up and down the fretboard using different fingerings. This will help you develop muscle memory and finger dexterity, allowing you to play more complex basslines and solos.
Bass Modes Chart – Visual Representation of Modes on the Fretboard
A bass modes chart is a visual representation of the modes on the fretboard. It’s a useful tool for understanding the different modes and their positions on the bass guitar.
A bass modes chart will typically show the notes of each mode on the fretboard and indicate which fingers to use to play each note. It will also show the different positions you can play each mode in, which is essential for playing basslines and solos in different keys.
Using Modes in Bass Playing – Examples and Exercises
To understand how to use modes in bass playing, it’s helpful to look at some examples and exercises. One common exercise is to play a simple bassline using a single mode, gradually increasing the tempo until you can play it smoothly and accurately.
Another exercise is to play a bassline that combines different modes, creating a more complex and layered sound. For example, you could play a bassline that starts in the Phrygian mode and transitions to the Mixolydian mode.
It’s also helpful to listen to and analyze basslines in different genres of music to understand how modes are used. For example, in metal music, you’ll often hear basslines that use the Phrygian mode to create a dark and heavy sound.
Modal Shapes on Bass Guitar – Understanding the Shapes and Patterns
Modal shapes on bass guitar are simply the patterns and shapes that correspond to each mode on the guitar fretboard. They’re essential for understanding the different positions you can play each mode in and for creating basslines and solos.
There are many different modal shapes on guitar, depending on the specific mode and the position you’re playing in. However, most modal shapes follow a similar pattern and can be easily memorized with practice.
Melodic Minor Scale and Its Modes for Bass
The melodic minor scale is a scale that’s commonly used in jazz and fusion music. It’s characterized by its unique set of intervals, which are different when ascending and descending the scale.
The modes of the melodic minor scale are: – Melodic minor – Dorian b2 – Lydian #5 – Lydian Dominant – Mixolydian b6 – Locrian #2 – Super Locrian (aka altered scale)
Each of these modes has its unique set of intervals and characteristics, making them useful for creating different moods and textures in bass playing.
Modes of the Harmonic Minor scale
The seven modes of the harmonic minor scale are as follows:
1. Aeolian #7 (also known as the harmonic minor scale) – This mode is built on the 6th degree of the major scale and is characterized by its raised 7th degree, which creates a leading tone that resolves strongly to the tonic. In A harmonic minor, the scale is A, B, C, D, E, F, G#.
2. Locrian #6 – This mode is built on the 7th degree of the major scale and is characterized by its flat 2nd and flat 5th degrees. In A harmonic minor, the scale is B, C, D, E, F, G, A#.
3. Ionian #5 – This mode is built on the 1st degree of the major scale and is characterized by its raised 5th degree. In A harmonic minor, the scale is A, B, C, D, E#, F#, G#.
4. Dorian #4 – This mode is built on the 2nd degree of the major scale and is characterized by its raised 4th degree. In A harmonic minor, the scale is B, C#, D, E, F, G, A#.
5. Phrygian Dominant – This mode is built on the 3rd degree of the major scale and is characterized by its flat 2nd, flat 6th, and raised 3rd degrees. In A harmonic minor, the scale is C, Db, E, F, G, Ab, B. An example of a composition in this mode is “Caravan” by Duke Ellington.
6. Lydian #2 – This mode is built on the 4th degree of the major scale and is characterized by its raised 2nd degree. In A harmonic minor, the scale is D, E, F#, G#, A, B, C#.
7. Super Locrian (also known as the altered scale) – This mode is built on the 7th degree of the major scale and is characterized by its flat 2nd, flat 3rd, flat 5th, flat 6th, and flat 7th degrees. In A harmonic minor, the scale is G, Ab, Bb, Cb (or B), Db, Eb, F.
Popular Guitar Modes and Their Applications in Bass Playing
There are many popular guitar modes that can be adapted to bass playing, including the major modes, natural minor modes, and melodic minor modes. Each mode has its unique set of applications in bass playing, depending on the specific genre and style of music.
For example, the Dorian mode is commonly used in funk music to create a smooth and groovy sound, while the Lydian mode is often used in jazz fusion to create a complex and harmonically rich sound.
Resources for Learning and Practicing Bass Modes – Tabs, PDFs, and Online Courses
There are many resources available for learning and practicing bass modes, including tabs, PDFs, and online courses. These resources can help you develop your skills and understanding of bass modes, allowing you to create more complex and dynamic basslines and solos.
Conclusion – Why Mastering Bass Modes is Essential for Any Serious Bass Player
In conclusion, mastering bass modes is essential for any serious bass player. By understanding modes and their characteristics, you can create unique basslines and solos that are tailored to the specific mood and feeling you want to convey in a piece of music.
It’s also essential to practice playing each mode up and down the fretboard using different fingerings and to listen to and analyze basslines in different genres of music to understand how modes are used. With practice and dedication, you can master bass modes and take your bass playing to the next level.
What are the seven modes of a bass guitar?
The seven modes of the major scale on bass guitar are Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian.
What are the seven modes of the minor scale?
The seven modes of the minor scale on bass guitar are Aeolian, Dorian, Phrygian, Locrian, Ionian, Lydian, and Mixolydian.
Does the minor scale have modes?
Yes, the minor scale has seven modes that are derived from the major scale modes.
The minor scale is actually a related scale to the major scale, and both scales share the same notes. The natural minor scale, for example, is the sixth mode of the major scale. This means that if we take the notes of the major scale starting from the sixth note and use those notes to form a new scale, we get the natural minor scale.
Likewise, if we start the major scale from a different note, we can create a new scale with a different tonal center. These new scales are called modes, and they can be used to add variety and interest to a musical composition.
So, the seven modes of the minor scale are derived from the major scale modes because they use the same notes, but start on a different note of the scale. The modes of the minor scale are Aeolian, Dorian, Phrygian, Locrian, Ionian, Lydian, and Mixolydian, and each mode has its own unique sound and character.
What are the modes on scale degrees?
The modes on scale degrees are the different scales that can be derived from a particular note in a scale. For example, the modes on the scale degrees of the C major scale are Ionian (C), Dorian (D), Phrygian (E), Lydian (F), Mixolydian (G), Aeolian (A), and Locrian (B).
What are the 12 major scales for bass guitar?
The 12 major scales for bass guitar are C, C#, D, D#, E, F, F#, G, G#, A, A#, and B. However, it’s more accurate to say that these are 12 keys for bass guitar rather than twelve scales because we can actually have two different keys on each of the twelve starting notes written above.
Each can be both a major key and a minor key giving us 24 keys in total rather than 12. And this means that each of those keys will have a parent scale.
However, if you’ve read the answer above on related keys then you’ll know that some of these scales will share the same notes and be modes of one another.
C major and A minor are related keys for example and are both made up of the notes C, D, E, F, G, A, B and C.
For this reason, many musicians will class these two scales as being part of the same key and only refer to 12 keys rather than 24.
Neither answer is correct or incorrect. It’s just a question of how you choose to make sense of the musical theory and how you want to apply that in the music that you write, perform and play.
What is the melodic minor scale on bass guitar?
The melodic minor scale on bass guitar is a minor scale that is slightly altered from the natural minor scale. It is often used in jazz and fusion music.
What is the formula for a melodic minor scale?
The formula for a melodic minor scale is W-H-W-W-W-W-H, where “W” represents a whole step and “H” represents a half step.
What is the difference between Phrygian and Phrygian dominant?
The Phrygian mode has a flat 2nd degree, while the Phrygian dominant mode has a raised 3rd degree. The Phrygian dominant mode is often used in flamenco and Middle Eastern music, while the Phrygian mode is used in jazz and rock music.
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