bit more difficult – but not impossible – is the diminished vii ° chord , which is F # diminished . This is not a bar chord , but it may be less familiar to you . ( I unpack both of these chords in the video .)
I ’ m providing a multi-colored table for you that shows all seven of these modes lined up in such a way that the identical chords and qualities are in columns , even though their contexts are different . I ’ ve captured in blue the chords that depart from the Major key , and I ’ ve captured in pink the chords that depart from a natural minor key .
Note that every mode has Roman numerals I through VII , but that they are each different , depending on the mode . The upper-case Roman numerals are Major , and the lower case
are minor and on one occasion , diminished . But see how they all line up , as we survey the entire collection of modes in a key signature of one sharp .
I invite you to play through each of the modes , starting and ending on the first chord . For example , A Dorian mode starts and ends on A minor .
Ok , are you ready for some practical application ? Let me ask you a question . When I play a song in a key , do I always play all the chords in that key ? Usually , no . But there are distinct chords I can use that fall where the modal scale has been altered , which can add the flavors I need .
Let ’ s say I ’ m in the more major-quality D
Mixolydian mode , here in the key signature of one sharp , and I want to play the chords on degrees I , V , VII and IV .
Normally , in a D Major scale with two sharps , those would be I , V , vii ° and IV .
But in the D Mixolydian Mode , we only have one sharp , and the two middle chords in this progression that will be impacted by this difference will be the minor v chord and the Major VII chord , which will be totally transformed .
We instead have I , v , VII , and IV with D , A minor , C Major , and G . Very different . Much more epic . Much more refreshing . Much more … modal !
What about a minor-quality mode like A Dorian ? Normally , A minor has zero sharps , so if I played i , III , iv , I ’ d end up with A minor , C Major , and the minor iv chord , D minor , which is fine .
But what about deriving a mode from this key signature of one sharp ? What does that F # do to a D minor chord ? It makes it a D Major chord . Now , we have A minor , C Major , and D Major . Much more mysterious . Much more hauntingly beautiful … and again , more modal !
So , as you can see , modes can really come alive with chords as well . And modal melodies can sound beautiful over modal chord progressions , again in multiple styles of music .
Thanks for journeying with me today on the road to modes . Keep showing up ! © GuitarSuccess4U . All rights reserved .
David Harsh David is a nationally touring worship leader , songwriter and performing artist . He is passionate about equipping guitarists to discover their potential . Learn more and join now at www . GuitarSuccess4U . com .