# Guitar scales and modes relationship

### Scales, Modes And Chords Relationship

Learn how to play guitar scales the easy way. You may even have applied scales and modes to your guitar solos. Here are those modes back to back to visualize their relationship on the fretboard, as well as hear how. Adding in the 7th note of the scale (B) is pretty nice sounding, and this is the is only one note different between a Major Scale and The Lydian Mode and it is. Discover how easy it is to understand modes for guitar and how you can use them to If we look at the first mode (major scale), we will see the relation between.

To help visualise this, we can use our knowledge of the other relative mode patterns to expand our Dorian pattern across the fretboard.

## Relationships between Modes and Scales

We know that Dorian is the 2nd mode of the major scale and is therefore built on the 2nd degree of the major scale. Using our knowledge of the intervals of this parent major scale, we should know, for example, where the 3rd degree would lie in relation to this 2nd degree note.

The 3rd degree is one whole step W higher than the 2nd. You should be confident with how intervals work on the guitar. I highly recommend this interactive software to help you with this and bring together many other important aspects of fretboard theory. On the fretboard we can visualise this whole step as two frets up from our D note. So our 3rd degree note would be E. Now, just as the 2nd degree note corresponds with its 2nd mode, so too does the 3rd degree note correspond with the 3rd mode - Phrygian.

If we play phrygian's root box pattern from that 3rd degree note, we are essentially playing a related pattern of that D Dorian mode. This is because the backing chord, as we established, is D minor, and because we chose Dorian as our mode on that D root note, all its related mode positions get put into that context.

So continuing, 4th mode Lydian's pattern would lie a half step up from the phrygian pattern based on its position in the major scale. As we're beyond the 12th fret, we could also visualise this pattern an octave lower 5th mode Mixolydian's pattern would lie a whole step from lydian, based on its 5th degree major scale position. As you can see, we now have a large pattern based on that original D Dorian position. All these related mode patterns essentially become an extension of that D Dorian pattern.

Now, here's where people tend to get confused about the role these related mode patterns play. We're still playing in the context of D minor and D Dorian, so when we talk about playing "E phrygian" over a D minor chord, it won't sound like phrygian, it will sound like Dorian. This is because the root note of that D minor chord corresponds to D Dorian in its related position.

E phrygian simply becomes an extension of that D Dorian pattern, because it uses the same notes just from a different position.

### Chord to Scale Relationships | Guitar Lesson World

Strictly speaking it should not be called phrygian for that reason, but associating a pattern to its mode name can help you visualise its relative position. Many musicians prefer to simply number these patterns as relative positions to the mode you're playing, therefore the "phrygian box pattern" would more accurately be the 2nd position of Dorian.

Lydian, the next mode pattern, would be the 3rd position of Dorian and so on. The easiest way to understand this concept of related mode positions is to play over a chord backing track. Try playing the pattern or any of the related box patterns over the D minor track below, and you'll essentially be playing D Dorian.

In a nutshell, if Dorian is our chosen mode over this D minor chord, then all its related modes will sound like D Dorian. E Phrygian over D minor will sound like Dorian. F Lydian over D minor will sound like Dorian. G Mixolydian over D minor will sound like Dorian. Knowing how chords and scales relate to each other helps you to find them more easily than if you were not to know their relation.

You can see that the chords are all major chords, but they can be other chords also.

The scale patterns shown in this lesson are all major scale patterns, therefore all major chords will relate to the major scale pattern. If you remember Lesson 14, you know that certain chords work with certain modes, and you know that the major scale and all the modes share the same patterns, but they change root notes. Knowing this, you know that only the chords that work with a certain mode will fit into the patterns for that mode.

## Functional Harmony – The Relationship Between Chords And Modes

If you know that the Mixolydian Mode is formed from the 5th degree of the major scale, then you know that G Mixolydian is formed from the C Major scale. Now look at the chart below. Notice that the C Major pattern and the G Mixolydian pattern are the same pattern, and in the same place on the fretboard. You will also notice that there is both a C Major chord and a G7 chord that works in this pattern.

The only difference in the pattern is the root note. If you want to learn how each and every chord works with each mode, I suggest that you write out the patterns for each mode, and the chords as I did in the first chart with the Major Scale notice that in the 2nd chart, the G7 chord is in the E form.

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