{"id":7196,"date":"2021-03-16T17:15:48","date_gmt":"2021-03-16T15:15:48","guid":{"rendered":"http:\/\/zuerichgitarrenunterricht.ch\/?p=7196\/"},"modified":"2021-03-16T17:15:48","modified_gmt":"2021-03-16T15:15:48","slug":"creating-modal-chord-progressions","status":"publish","type":"post","link":"https:\/\/zuerichgitarrenunterricht.ch\/en\/creating-modal-chord-progressions\/","title":{"rendered":"Creating Modal Chord Progressions"},"content":{"rendered":"

by Dennis Winge<\/h3>\n

 <\/p>\n

When you\u2019re studying the modes, you can always go to YouTube and search for things like \u201cA Phrygian backing track\u201d or \u201cE Lydian jam track.\u201d\u00a0 There is a wealth of free videos like that to jam with.\u00a0 However, if you really want to solidify your understanding of the modes, it is best to create your own chord progressions.<\/p>\n

In order to get at this, we will first assume that you first understand the theory behind what a harmonized scale is<\/a>.\u00a0 Second, you know how to make up chord progressions based on those scales<\/a>.\u00a0 Perhaps you might even know how to make progressions that utilize chords both<\/a> a major key and its parallel minor.<\/p>\n

You also, in order to understand this article fully, must understand at a minimum what modes are<\/a>, and, even better, memorized them<\/a>.\u00a0 Here is an excerpt from the last-cited link, which represents a simplification of what makes each mode unique.<\/p>\n

 <\/p>\n

The Modes, Simplified<\/strong><\/p>\n\n\n\n\n\n\n
Ionian = mode I = pure major<\/td>\nAeolian = mode VI = pure minor (b3, b6, b7)<\/p>\n

 <\/td>\n<\/tr>\n

Lydian = mode IV = major with a #4<\/td>\nDorian = mode II = minor with \u266e 6<\/p>\n

 <\/td>\n<\/tr>\n

Mixolydian = mode V = major with a b7<\/td>\nPhrygian = mode III = minor with b2<\/p>\n

 <\/td>\n<\/tr>\n

 <\/td>\nLocrian = mode VII = minor with b2 and b5<\/p>\n

 <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

When you make a progression in Ionian, make sure the home chord is a major chord.\u00a0 In preparation for writing modal progressions, let\u2019s define what we mean by the tonic chord, the chord of resolution, the I chord (that\u2019s first roman numeral, not a word referring to oneself), or the \u201chome chord.\u201d\u00a0 These all mean the same thing: the chord that best gives you the sense of finality, i.e. that no more chords are required to make you feel that the progression is brought to a conclusion.<\/p>\n

The tonic chord does not have to be the first chord.\u00a0 It might be the last chord, or it could even be a chord in the middle.\u00a0 Even students with minimal amounts of ear training can tell which chord feels like \u201chome\u201d if they take the time to play the entire progression, then play the chord they think is the tonic (the I chord or \u201chome\u201d chord) afterwards, as if they were saying \u201cthank you, good night!\u201d to the audience that has amassed for them.<\/p>\n

In modal writing, 7 different modes share the same 7 chords.\u00a0 In other words, the chords of E mixolydian are the same as those from A Ionian.\u00a0 Just as the \u201cE mixolydian\u201d shares the same notes as A Ionian, so it shares the same chords, although the harmonic analysis for it will look different from that of its \u201cparent scale\u201d (which is the name I give for any mode\u2019s associated Ionian key.)<\/p>\n

 <\/p>\n

A Ionian<\/h4>\n\n\n\n\n
I<\/td>\nII<\/td>\nIII<\/td>\nIV<\/td>\nV<\/td>\nVI<\/td>\nVII<\/td>\n<\/tr>\n
A<\/td>\nBm<\/td>\nC#m<\/td>\nD<\/td>\nE<\/td>\nF#m<\/td>\nG#m7b5<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

E Mixolydian<\/h4>\n\n\n\n\n
I<\/td>\nII<\/td>\nIIIm7b5<\/td>\nIV<\/td>\nVm<\/td>\nVI<\/td>\nbVIImaj<\/td>\n<\/tr>\n
E<\/td>\nF#m<\/td>\nG#m7b5<\/td>\nA<\/td>\nBm<\/td>\nC#m<\/td>\nD<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

The above analysis for E mixolydian shows that the III chord, the V chord and the VII chord are different from what they would be in the key of E Ionian.\u00a0 We are comparing to E Ionian because we want to analyze the mode from the point of view of e, <\/em>not a.<\/em> Otherwise we\u2019d be back in A Ionian.<\/p>\n

In any case the trick when it comes to writing modal progressions<\/strong> is to:<\/p>\n

a) Use the chords that contain the defining interval of that mode<\/strong>. The defining characteristic of mixolydian, for example, is a major scale with a b7. The chords that have the b7 are the III, V, and bVII chords listed above.\u00a0 So use at least one of those, as in:<\/p>\n

||: E | D | C#m Bm | E :||<\/p>\n

b) Make sure that I chord is where you want it to be<\/strong>. The tonic chord should be major or maj7 if Ionian or Lydian or Mixolodian; major or dominant 7th<\/sup> if Mixolydian; minor or min7 if Aeolian, Dorian, or Phrygian; and diminished triad or m7b5 if Locrian.<\/p>\n

 <\/p>\n

It also means to make sure you haven\u2019t \u201cflipped the mode.\u201d\u00a0 Flipping the mode is when you unintentionally make the progression sound like one of the other modes in the series.<\/p>\n

For example, notice that I put E as both the first and the last chord.\u00a0 It\u2019s not always necessary to do this, but it reinforces that E is the tonic, and the progression\u2019s analysis would look like: || I | bVIImaj | VI Vm | I ||<\/p>\n

If, however, I tried to get fancy and keep the listener in suspense with an A chord at the end, like below, the intended harmonic analysis would be || I | bVIImaj | VI Vm | IV ||<\/p>\n

||: E | D | C#m Bm | A :||<\/p>\n

However, you will see if you play this a few times, that the home chord in this new version sounds like A, not E.\u00a0 I have \u2018flipped the mode\u2019 and the analysis is now more accurately represented as | V | IV | III II | I |.<\/p>\n

 <\/p>\n

Before we go, let\u2019s see another example briefly.\u00a0 I choose F# lydian.\u00a0 Lydian is a very unstable progression, meaning that if I\u2019m not careful, I\u2019ll end up sounding like I\u2019m in the \u201cparent key\u201d of C#, even<\/em> if I put the F# chord in twice.\u00a0 Consider this:<\/p>\n

||: F# | G# | C# | F# :||<\/p>\n

Because C# Ionian is so much more stable than F# lydian, we hear C# as the tonic, and the progression as | IV | V | I | IV | even though my original intention was for it to be | I | IImaj | V | I ||.\u00a0 The II major was a good choice because it gives me the #11 that we need for Lydian, but since the mode got flipped, the experiment failed.\u00a0 What to do?<\/p>\n

Let\u2019s make the F# note a pedal tone underneath all the chords, then it can\u2019t slip away from us:\u00a0 ||: F# | G#\/F# | C#\/F# | G#\/F# :||\u00a0 I changed the last chord from what it was above to give the progression more forward motion, and because I knew I didn\u2019t have to reinforce the presence of F# because it\u2019s now a permanent bass note.\u00a0 In the end, we have set up a successful modal progression because a) we used at least one chord that had the #4 that defines Lydian, and b) we made sure our root felt like home base, not some other note.<\/p>\n

 <\/p>\n

By the way, to play the above Lydian progression, use either of the following positions.<\/p>\n

c) Understand that only a few choice chords can outline a mode<\/strong>. Sometimes less is more, especially if you\u2019re only creating a \u2018vamp\u2019 (a short repeating progression) that you will solo over to practice the mode you\u2019re in.\u00a0 Keep in mind that since any mode\u2019s tonic chord has the intervals 1, 3, & 5, then the next chord, the II chord, will have 4, 6, and 2, so with just a progression of | I | II | you can get 6 out of 7 notes of the mode.\u00a0 If you use 7th<\/sup> chords for each rather than just triads, you will get all 7.<\/p>\n

For example, suppose you\u2019re in Gm Aeolian.\u00a0 The Gm chord gives g, bb, d <\/em>and the next chord in the series, Am7b5, gives you a, c, eb, g<\/em>.\u00a0 This is the first 6 notes out of Aeolian; the only one missing is the 7th<\/sup>.\u00a0 If we used Gm7 as my I chord, then that would add the f<\/em> note to give us all 7, but even if we didn\u2019t, there is no other mode than Aeolian that would fit the resulting 1, 2, b3, 4, 5, b6 that Gm and Am7b5 gives us, so it\u2019s enough to set up an Aeolian vamp.<\/p>\n

If we used a | I | VII | progression in Gm instead, the Gm gives us g, bb, d and the F chord gives us f, a, c which results in the 1, 2, b3, 4, 5, b7.\u00a0 Notice that the 6 is not present.\u00a0 Because the only thing that distinguishes Aeolian from Dorian is whether the 6th<\/sup> is flatted or not, an improviser could choose either one on the | Gm | F | vamp.\u00a0 However, if we put in 1 more chord that has the b6 in it, then the progression would be undeniably Aeolian.\u00a0 Examples of this could be:<\/p>\n

||: Gm | F | Eb | Gm F :||<\/p>\n

||: Gm | Cm | F | Gm F :||<\/p>\n

||: Gm | Am7b5 | Gm | F :||<\/p>\n

 <\/p>\n

As you work with these concepts you will be able to recognize which parts of real-life progressions are modal and which aren\u2019t.\u00a0\u00a0 You will be able to write modal vamps, sections, or even whole compositions that are modal.\u00a0\u00a0 You will become a master of major scale harmony and apply it to your own music in many creative ways.<\/p>\n

—<\/p>\n

About the author:\u00a0 Dennis Winge is a pro guitarist, composer and teacher who has released 6 instrumental albums to date.\u00a0 His guitar school serves Guitar Instruction Ithaca<\/a> and the surrounding<\/p>\n","protected":false},"excerpt":{"rendered":"

by Dennis Winge   When you\u2019re studying the modes, you can always go to YouTube and search for things like \u201cA Phrygian backing track\u201d or \u201cE Lydian jam track.\u201d\u00a0 There…<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":{"0":"post-7196","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-articles"},"yoast_head":"\nCreating Modal Chord Progressions - Music&Co<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/zuerichgitarrenunterricht.ch\/en\/creating-modal-chord-progressions\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Creating Modal Chord Progressions - 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