7.7.07

Scalar Sounds and Intervals

Different scales of course have different sounds. Not only does the C major scale sound different from the E major scale, but different modes of the scales sound different. Modes are specific arrangement of the scales that do not start of the root of the scale, thus changing the intervallic formula within the scale itself. An interval is the distance between two notes, and are very important for the sounding of chords (called vertical or harmonic intervals) as well as for developing melodies (called horizontal or melodic intervals). While intervals make up the different sound of the scales, I have found that intervals can be used even without a scale to create a specific sound or mood.

Let's look at how to construct modes first, which will also help us to understand intervals. As I stated before, a mode is nothing more than a rearranged scale. You might be thinking, "Isn't that just another scale?" Well, no, it isn't, as long as the intervallic formula shifts with the scale, it will remain the same scale, just with a different root. Confused yet? Let me give you an example. The C major scale is composed like this: C-D-E-F-G-A-B-C. The E major scale is this: E-F#-G#-A-B-C#-D#-E. If we want the mode E phrygian, which is the third root of the C major scale, we get E-F-G-A-B-C-D-E. That is very different from the E major scale, despite the fact that they both start on E.

This is where intervals come into play. Intervals are usually broken up into half-steps and whole-steps when considering their role in scales. On a guitar neck, a half-step is the distance of one fret, while a hole-step is the distance of two frets. All major scales have the intervallic formula of whole-whole-half-whole-whole-whole-half. C to D is two frets, D to E is two frets, E to F is one fret, and so on. When you shift to a different root or a mode of the major scale, you must shift the formula around. E phrygian has the intervallic formula of half-whole-whole-whole-half-whole-whole, which is a different formula than C major, yet they have the same notes! The effect of this to create a different sound. Phrygian modes, when used properly, tend to have a more haunting, minor sound. Many Spanish classical guitarists used this mode. If you want to hear a modern example, listen to the group Alice in Chains.

Modes can be derived from any of the notes in a scale. In fact, the major scale is also known as the ionian mode. Here are the list of modes in order of their root: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian. Just make sure to shift the intervallic formula "forward" when you derive a mode from the major scale. With a little practice, modes can greatly enhance your playing and songwriting. Here's a list of what the modes sound like:

Ionian -- Major, "Happy"
Dorian -- Minor, Bluesy (Metallica is notorious for using this mode)
Phrygian -- Minor, Haunting
Lydian -- Major, Jazzy
Mixolydian --Major, Folksy and Jazzy
Aeolian -- Minor, Heavy
Locrian -- Minor, Jazzy and Diminished

The only way to really get comfortable with these modes is to play them, and a lot. Develop chord progressions from certain scales and play different modes of the scale over the progression. Which sounds good? Which are weird? Make a note of this in your journal. Again, the only way to fully understand how to employ these modes to their fullest "flavor" potential is to play them over as many different progressions as possible. The more you play them, the more you will be able to hear and develop the little nuances that characterize these great improvisational soloing and songwriting tools.

In the next posting, I will cover how to use intervals to your songwriting advantage without really having to think about keys and scales. In fact, I believe that if you understand how to construct the intervals, you can create any mood that you desire in a song. But until next time, keep the chops moving.

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