Reclaiming The Church Modes For Gospel Guitar:
Free-form improvisation is like singing in the Spirit. It is "making melody in your heart", using an instrument that has a greater range than your voice, and with some instruments - multiple voices. Also with some instruments, your voice is free to participate and interact with your instrument. Sing songs, hymns, and spiritual songs unto the Lord; with your voice, your instrument, or both! Make a joyful noise before the Lord and rejoice with others who do. At times form a great choir and orchestra of voices and voices of instruments - worshiping the Lord, being directed by the Spirit - the great Composer and Conductor of Heaven. Free-form improvisation belongs to the Church.
Here are fifty six scales related to the Church Modes. It is a simple way to understand complex music theory patterns of notes. The "do,re,mi" system belongs to the Church as well!
To apply this to the guitar - tune your guitar to a standard tuning. Find a note about half way up the guitar neck on the sixth string. Build an Ionian (Major) Scale two octaves up on your chosen note. Memorize the exact finger pattern, then name and number the pattern, i,e; [#1 Ionian]. Next play the [#1 Ionian] pattern starting on any sixth string note.
If you play the [#1 Ionian] pattern only at the locations where your original note is one of the notes of the scale, you will play all of the Church Modes with one pattern! Next notice the sixth string pattern (horizontally) of patterns (vertically) that contains your chosen note: it is the Phrygian Mode pattern horizontal on the sixth string for playing the [#1 Ionian] pattern vertically.
Learn all the scales below starting on the same note on the sixth string. Memorize the pattern of patterns on the sixth string for each scale, that allows you to play all of the scale's modes with one pattern. Next realize that this vast relationship of notes and scales (related to one designated tone) are movable like a slide rule up and down the neck to any key tone needed.
As demonstrated below - it is probable that all scales, chords, arpeggios, and songs, can be related (with great advantage) to the Church Modes, not that what is here is in anyway exhaustive.
Major Scale:
1) do,re,mi,fa,so,la,ti,do,
Church Modes:
1) do,re,mi,fa,so,la,ti,do,
2) ```re,mi,fa,so,la,ti,do,re,
3) ``````mi,fa,so,la,ti,do,re,mi,
4) `````````fa,so,la,ti,do,re,mi,fa,
5) ````````````so,la,ti,do,re,mi,fa,so,
6) ```````````````la,ti,do,re,mi,fa,so,la,
7) ``````````````````ti,do,re,mi,fa,so,la,ti,
Names of Church Modes:
1) Ionian Mode
2) Dorian Mode
3) Phrygian Mode
4) Lydian Mode
5) MixoLydian Mode
6) Aeolian Mode
7) Locrian Mode
Church Modes Reduced by moving notes; 4 & 7:
08. 1) do,re,mi,,so,la,,do,
09. 2) ```re,mi,,so,la,,do,re,
10, 3) ``````mi,,so,la,,do,re,mi,
```4) `````````,,,,,,,
11. 5) ````````````so,la,,do,re,mi,,so,
12. 6) ```````````````la,,do,re,mi,,so,la,
```7) ``````````````````,,,,,,,,
Pentatonics - Five X Five:
08. 1) do,re,mi,so,la,do,
09. 2) ```re,mi,so,la,do,re,
10. 3) ``````mi,so,la,do,re,mi,
11. 5) `````````so,la,do,re,mi,so,
12. 6) ````````````la,do,re,mi,so,la,
Pentatonic Names:
08. 1) Major
09. 2) Neutral
10. 3) Mode3 [no name found]
11. 5) Chinese2
12. 6) Minor
My Church Mode Nicknames:
08.(1) Ion-Penta
09.(2) Dori-Penta
10.(3) Phrygi-Penta
11.(5) Mixo-Penta
12.(6) Aeo-Penta
ALL THE NOTES - CHROMATIC SCALE:
01) Major Scale: do,,re,,mi,fa,,so,,la,,ti,do,
) Added Notes: ,di,,ri,,,fi,,si,,li,,,
13) Chrmatic : do,di,re,ri,mi,fa,fi,so,si,la,li,ti,do,
[NOTE: the added notes have an enharmonic syllable which i have chosen not to use for simplification.]
CHURCH MODES COMPARED TO THE MAJOR SCALE:
Church Modes - same Root:
1) do,re,mi,fa,so,la,ti,do, Ionian
2) do,re,ri,fa,so,la,li,do, Dorian
3) do,di,ri,fa,so,si,li,do, Phrygian
4) do,re,mi,fi,so,la,ti,do, Lydian
5) do,re,mi,fa,so,la,li,do, Mixolydian
6) do,re,ri,fa,so,si,li,do, Aeolian
7) do,di,ri,fa,fi,si,li,do, Locrian
Pentatonics - Same Root:
08. 1) do,re,mi,so,la,do, Ion-Penta
09. 2) do,re,ri,so,la,do, Dori-Penta
10. 3) do,di,ri,so,si,do, Phrygi-Penta
11. 5) do,re,fa,so,la,do, Mixo-Penta
12. 6) do,re,ri,so,si,do, Aeo-Penta
MODE COMBINATIONS FOR LARGER SCALES:
14) Ion/Dori-Mode:
do,re,ri,mi,fa,so,la,li,ti,do, [Japanese Taishikicho Mode6]
15) Ion/Phrygi-Mode:
do,di,re,ri,mi,fi,so,si,la,li,ti,do, [no known name]
16) Ion/Lydi-Mode:
do,re,mi,fa,fi,so,la,ti,do, [Japanese Ichikosucho]
17) Ion/Mixo-Mode
do,re,mi,fa,so,la,li,ti,do, [Bebop Dominant]
18) Ion/Aeo-Mode:
do,re,ri,mi,fa,so,si,la,li,ti,do, [no known name]
19) Ion/Locri-Mode: [Chromatic]
20) Dori/Phrygi-Mode:
do,di,re,ri,fa,so,si,la,li,do, [Japanese Taishikicho Mode7]
21) Dori/Lydi-Mode:
do,re,ri,mi,fa,fi,so,la,li,ti,do, [no known name]
22) Dori/Mixo-Mode:
do,re,ri,mi,fa,so,la,li,do, [Bebop Minor]
23) Dori/Aeo-Mode:
do,re,ri,fa,so,si,la,li,do, [Bebop Dominant Mode2]
24) Dori/Locri-Mode:
do,di,re,ri,fa,fi,so,si,la,li,do, [no known name]
25) Phrygi/Lydi-Mode: [Chromatic]
26) Phrygi/Mixo-Mode:
do,di,re,ri,mi,fa,so,si,la,li,do, [no name]
27) Phrygi/Aeo-Mode:
do,di,re,ri,fa,so,si,li,do, [Bebop Minor Mode2]
28) Phrygi/Locri-Mode:
do,di,re,fa,fi,so,si,li,do, [Bebop Dominant Mode3]
29) Lydi/Mixo-Mode:
do,re,mi,fa,fi,so,la,li,ti,do, [Japanese Taishikicho]
30) Lydi/Aeo-Mode:
do,re,ri,mi,fa,fi,so,si,la,li,ti,do, [no known name]
31) Lydi/Locri-Mode: [Chromatic]
32) Mixo/Aeo-Mode:
do,re,ri,mi,fa,so,si,la,li,do, [Japanese Taishikicho Mode2]
33) Mixo/Locri-Mode:
do,di,re,ri,mi,fa,fi,so,si,la,li,do, [no known name]
34) Aeo/Locri-Mode:
do,di,re,ri,fa,fi,so,si,li,do, [Japanese Taishikicho Mode3]
SOME COMMON CHURCH MODE SINGLE ALTERATIONS:
35) Ion-Lowered3:
do,re,ri,fa,so,la,ti,do, [Melodic Minor]
36) Ion-Raised5:
do,re,mi,fa,si,la,ti,do,
37) Dori-Lowered2:
do,di,ri,fa,so,la,li,do, [Javaneese]
38) Dori-Raised4:
do,re,ri,fi,so,la,li,do, [Roumanian Minor]
39) Phrygi-Raised3
do,di,mi,fa,so,si,li,do, [Jewish Ahaba Rabbah, Spanish Gypsy]
40) Phrygi-Lowered7
do,di,ri,fa,so,si,ti,do, [Neopolitan]
41) Lydi-Raised2
do,di,mi,fi,so,la,ti,do,
42) Lydi-Lowered3
do,re,ri,fi,so,la,ti,do, [Lydian Diminished]
43) Lydi-Raised4
do,re,mi,fi,si,la,ti,do, [Lydian Augmented]
44) Lydi-Lowered7
do,re,ri,fi,so,la,li,do, [Lydian Overtone Dominant]
45) Mixo-Lowered6
do,re,mi,fa,so,si,li,do, [Hindu]
46) Aeo-Raised7
do,re,ri,fa,so,si,ti,do, [Harmonic Minor]
47) Locri-Raised2
do,re,ri,fa,fi,si,li,do,
48) Locri-Raised3
do,di,mi,fa,fi,si,li,do, [Oriental]
49) Locri-Lowered4
do,di,ri,mi,fi,si,li,do, [Super Locrian]
50) Locri-Raised6
do,di,ri,fa,fi,la,li,do,
Pentatonics - Plus The Blues Note (b5).
1) do,re,ri,mi,so,la,do,
2) ```re,ri,mi,so,la,do,re,
3) `````````mi,so,la,do,re,ri,mi,
5) ````````````so,la,do,re,ri,mi,so,
6) ```````````````la,do,re,ri,mi,so,la,
My Blues Mode Nicknames:
(1) Ion-Penta Blues
(2) Dori-Penta Blues
(3) Phrygi-Penta Blues
(5) Mixo-Penta Blues
(6) Aeo-Penta Blues
Blues Scale Modes Compared To Major Scale:
51. (1) do,re,ri,mi,so,la,do,
52. (2) do,di,re,fa,so,la,do,
53. (3) do,ri,fa,si,li,ti,do,
54. (5) do,re,fa,so,si,ti,do,
55. (6) do,ri,fa,fi,so,li,do,
56. Major/Minor Blues Scale:
(1) (1) do,,re,ri,mi,,,so,,la,,,do, Ion-Penta Plus b5
(6) (6) do,,,ri,,fa,fi,so,,,li,,do, Aeo-Penta plus b5
56. ```do,,re,ri,mi,fa,fi,so,,la,li,,do, Maj/Min Blues Scale
Chords are made by playing every other note in a mode until all the notes in the mode are included.
Here are three samples:
01. IONIAN MODE: do,re,mi,fa,so,la,ti,do,
do,mi,so, Maj
do,mi,so,ti, Maj7
do,mi,so,ti,re Maj7(9)
do,mi,so,ti,re,fa, Maj7(9,11)
do,mi,so,ti,re,fa,la, Maj7(9,11,13)
02. DORIAN MODE: do,re,ri,fa,so,la,li,do,
do,ri,so, Min
do,ri,so,li, Min7
do,ri,so,li,re, Min7(9)
do,ri,so,li,re,fa, Min7(9,11)
do,ri,so,li,re,fa,la, Min7(9,11,13)
05. MIXOLYDIAN MODE: do,re,mi,fa,so,la,li,do,
do,mi,so, Maj
do,mi,so,li, 7
do,mi,so,li,re, 7(9)
do,mi,so,li,re,fa, 7(9,11)
do,mi,so,li,re,fa,la, 7(9,11,13)
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Author: bimonics
Location: Rocklin California USA
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Age: 58
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hello, my name is grant. my user name is bimonics which is short for bible mnemonics. i am blessed with a wonderful loving wife; a gifted, mature, christian lady. between us we have 8 children and at present 27 grandchildren, and 2 great grandchildren. i was born in 1952, to...
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i was lost when jesus found me. i am still lost without his company, and without all that he does. i was a lead guitarist in a rock band, until i gave up my old life and picked up the bible. i am still a guitarist for the rock that...
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