More 3-String Mode Forms

The next two modes we'll examine are the Mixolydian and Aeolian modes, the Vth and VIth modes, respectively.

Like the Ionian and Phrygian, these two modes are mirror image interval patterns;

Study the diagram at the top of this post. Notice that the modes are geometrically opposite.

As with all patterns on the guitar, there are various forms for playing each mode. The specific forms in these diagrams are chosen because they clearly illustrate the symmetry of the patterns. This is a useful way of learning modes, because you can learn two at a time while also achieving a better understanding of their tonal character.

Remember that symmetry is an inherent element in the diatonic system. ( Review the blog entry on this subject ) Just as specific tones are arranged in geometrically opposing pairs, so are modes.

All contents of this blog are © Mark Newstetter

Modes ( 3-String Forms )

When you play a major scale you are in fact playing a mode. Any time the tones of a key are played in sequence spanning an octave, it's a mode. For example; the sequence C D E F G A B C, usually referred to as a major scale, is also known as the Ionian Mode. The sequence D E F G A B C D is the Dorian Mode, E F G A B C D E is the Phrygian Mode.

Modes are useful for playing harmonies and are important in understanding how melodies work. Songs don't all begin and end on the tonic.

Two modes are shown above; Ionian and Phrygian. Notice that the note positions in one are the exact opposite of the other. The interval structures of these two modes are mirror images of each other;

Each mode contains all the tones of the key, but they each begin and end on a different tone. Play each mode and you'll find that they have their own individual musical character. These two modes harmonize because they are a 3rd apart. If two guitars each play one of these modes in synch with each other, the result will be a harmonious scale.

There are seven modes, one for each scale degree. Below is a list of the modes and their interval structures;

I = Ionian Mode;

C D E F G A B C / W W H W W W H

II = Dorian Mode;

D E F G A B C D / W H W W W H W

III = Phrygian Mode;

E F G A B C D E / H W W W H W W

IV = Lydian Mode;

F G A B C D E F / W W W H W W H

V = Mixolydian Mode;

G A B C D E F G / W W H W W H W

VI = Aeolian Mode;

A B C D E F G A / W H W W H W W

VII = Locrian Mode;

B C D E F G A B / H W W H W W W

-------------------------------------------------------------

We'll look at the symmetrical relationships of the other modes in the next posting.

All contents of this blog are © Mark Newstetter

Spiral Galaxy Pattern

When the notes between the half-step clusters are connected they can be organized into a pattern that resembles a spiral galaxy. The benefit of this pattern is that it greatly simplifies visualizing the positions of the notes on the fretboard as you play.

Notice that the pattern is based on the top four strings. Also notice that the lower three strings contain their own symmetry. The half-step clusters on the lower three strings are shown as white ovals in the diagram above.

Study the pattern and try playing the notes along the curved arms extending from the center cluster, naming the notes as you play them. Notice that there are only three notes which are not part of any of the half-step clusters; A, D, and G. D the central note in both arms, while A and G reverse their positions relative to the central cluster from one arm to the other, though A is always the lower pitched tone and G the higher. In the arm on the left G is the highest tone, in the arm on the right, A is the lowest tone.

In Fretography, these spiral arms are named for the diatonic super-zones in which they are found, which also coincides with the lowest pitched tone in each arm. The left arm is the Phrygian arm, the right arm is the Aeolian arm.

An interesting characteristic of the spiral arms is that each of them contains six of the seven notes of the key. Arranged alphabetically. the left arm (Phrygian) comprises the notes D, E, F, G, A, B. The right arm (Aeolian) comprises F, G, A, B, C, D. Notice that one begins where the other leaves off. The note D is the beginning of one arm and the end of the other when the tones in each are arranged alphabetically. C is missing from one arm, E is missing from the other. Of course, each of these notes is found inside the half-step cluster from which each arm stems.

Again, by studying the diagram you can discover other characteristics of the symmetry.


All contents of this blog are © Mark Newstetter

Pentatonic Axis Positions

Pentatonic scales on the guitar are often thought of primarily as the basis of blues solo styles, usually in the minor mode, usually A minor;

-----------------------------------------------------5----8---------

--------------------------------------------5----8------------------

-----------------------------------5----7---------------------------

--------------------------5----7------------------------------------

-----------------5----7---------------------------------------------

--------5----8------------------------------------------------------

In fact, this pattern is both A minor and C major. This is only one of many pentatonic patterns. This particular pattern is by far the most widely used because of its technical simplicity. There is a note on each string at the 5th fret, each played with the 1st finger. There are no notes played with the second finger and there are three notes played with the 3rd finger (3rd, 4th and 5th strings), and three with the 4th finger (1st, second and 6th strings).

Before examining all the other pentatonic patterns, let's examine the actual tonal structure of the pentatonic scale.

The scale in the tablature above has the following tones;

A - C - D - E - G

The scale degrees of these five tones are;

VI - I - II - III - V

The interval pattern is;

A [minor 3rd] C [whole-step] D [whole-step] E [minor 3rd] G

Of course, we can add the octave of the first tone of the scale at the end;

A [minor 3rd] C [whole-step] D [whole-step] E [minor 3rd] G [whole-step] A

All five of these tones are found at the 5th fret. String by string;

1) A

2) E

3) C

4) G

5) D

6) A

Because the interval relationships are the same at all fret positions on the guitar, if the axis of tones on the 5th fret belong to a pentatonic scale, then so do those at the the other axis positions; the open strings, 10th fret, 12th fret, 17th fret.

Remember, the intervals between the strings are;

1)

[perfect 4th]

2)

[major 3rd]

3)

[perfect 4th]

4)

[perfect 4th]

5)

[perfect 4th]

6)

The three axes are shown in the diagram at the top of this entry at the open strings, 5th fret and 10th fret along with a look at the scale intervals for each, and notation. Also, the rest of the tones are shown as white circles, with gray ovals emphasizing the half-step clusters to bring out the overall diatonic symmetry.

So there are actually three pentatonic scales within each key. The major tonic of each scale is on the 3rd string of that axis, and the minor tonic is on the 6th string.

____________________________________________________________________


All contents of this blog are © Mark Newstetter

Symmetrical Root Position Triads

Triads are simple chords consisting of three tones. In the most fundamental form, the Root Position, the lowest pitched tone in a triad is the root. Chords are named for the root tone. The next tone in the chord is the 3rd, which is two steps above the root. The highest pitched tone in a root position triad is the 5th, which is two steps above the 3rd.

Every major key contains a set of seven triads, one rooted in each tone of the key. Because of the sequence of whole-steps and half-steps which comprise a key, three of the triads are major, three of the triads are minor, and one triad is diminished. The structure of these three triad forms is as follows;

Major Triad

Root [ major 3rd ] 3rd [ minor 3rd ] 5th

C - - - - - - - - - - - - E - - - - - - - - - - - - G

Minor Triad

Root [ minor 3rd ] 3rd [ major 3rd ] 5th

D - - - - - - - - - - - - F - - - - - - - - - - - - A

Diminished Triad

Root [ minor 3rd ] 3rd [ minor 3rd ] 5th

B - - - - - - - - - - - - D - - - - - - - - - - - - F

The sequence of major, minor and diminished chords in each key is as follows;

I - - - - ii - - - - iii - - - - IV - - - - V - - - - vi - - - - vii - - - - I

major -- minor -- minor -- major -- major -- minor -- dimin -- major

The diagram at the top of this entry shows the triads of the keys of C, D and E on the four top strings in their symmetrical positions around the Aeolian Axis and the Void Axis.


All contents of this blog are © Mark Newstetter

More Symmetrical Triad Inversions

The diagram above shows 1st and 2nd inversion triads. As in the previous entry, they are shown in the keys of C, D, and E. While all the roots of the triads in the previous entry were on the 2nd string. This time, the 1st inversion (blue shapes) roots are on the 1st string, and the 2nd inversion (green shapes) roots are on the 3rd string.

Once again, the chord shapes line up symmetrically around the Aeolian Axis (2nd inversion vi, 1st inversion vi) and the Void Axis (2nd inversion ii & iii, 1st inversion IV & V).


All contents of this blog are © Mark Newstetter

Symmetrical Triad Inversions

Lets return to the tones of the key of C for a study of chord symmetry on the four top strings. The pattern above (click for larger image) shows the symmetry of some triad inversions.

Triad inversions are simple three note chords where the Root is not the lowest pitched tone in the chord as it is in the Root voicing. In a 1st inversion the 5th of the chord is lower in pitch than the Root, while the 3rd remains above the Root so that the pitch sequence from low to high is; 5th - Root - 3rd. A C major triad in its Root voicing is;

G - (5th)

E - (3rd)

C - (Root)

A 1st inversion C major triad moves the Root to the top;

C - (Root)

G - (5th)

E - (3rd)

A 2nd inversion C major triad moves the 3rd to the top;

E - (3rd)

C - (Root)

G - (5th)

The Diagram above shows 1st and 2nd inversion triads found within the top four strings with their roots on the 2nd string. The green triangles placed on strings 4, 3 and 2 represent 1st inversion triads, the blue triangles on strings 3, 2 and 1 represent 2nd inversions of the same triads. notice that the green and blue triangles are paired so that each 1st inversion and second inversion of the same three tones is connected. The gray triangles are a continuation of the pattern outside the primary symmetry.

Notice that the triads form a symmetrical pattern around the Aeolian Axis (indicated by a red vertical bar) where the E minor (iii chord) and F (IV chord) major chords are aligned in the key of C, and also around the Void Axis (gray vertical bar) which is the position of the B diminished (vii chord) in the key of C.

The pattern is shown in 3 keys; C, D, and E. E is shown with Roman numerals instead of alphabetical note names so that you can see the scale degree relationships. In the key of C, the triads are;

C major, D minor, E minor, F major, G major, A minor, B diminished.

The same pattern can be expressed as scale degrees as follows;

I = major, ii = minor, iii = minor, IV = major, V = major, vi = minor, vii = diminished.

(It's traditional to use lower case Roman numerals to identify minor and diminished chords)

The overall symmetry of the pattern can be expressed as;

vii - I - ii - iii --- IV - V - vi - vii

... with the iii and IV chords at the center, and two instances of the vii chord, an octave apart, as a pair of bookends, or as;

IV - V - vi - vii - I - ii - iii

... with the vii chord at the center and IV & iii at the lower and higher ends of the pattern, respectively.

These relationships apply to every key, so you can extrapolate from the three patterns shown and play the triads in all keys.


All contents of this blog are © Mark Newstetter