006 the Ionian Mode Part 1

7/28/2019 006 the Ionian Mode Part 1

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MAURICIO ZAVALA

THE IONIAN MODE Part 1 JAZZ LESSON

6

Before we begin, it is important to remark that it is absolutely necessary to study this mode due to

its importance as the basis of Western music.

Later on, we’ll discuss how this scale and its ngerings divide to become the Dorian, Phrygian,

Lydian, Mixolydian, Aeolean and Locrian modes.

The Ionian mode, also known as Major scale, has a structure of 1-2-3-4-5-6-7, where each of these

numbers represent a degree of the scale. For example, if we refer to the C major scale, we can say:

Example 1

See the structure of tones and semitones between their degrees.

T = Tone

ST= Semitone

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As we can see, even when changing the root note, we still keep the structure of tones and semitones

between their degrees.

This is why the C scale has no altered notes unlike D or any other major scale, then it is necessary

to apply the Tones and Semitones structure to any scale we want to play. As an example, if we play

from D to D without altering the notes in between, we’ll see that our third note, F, is three semitones

from D (Ex. 1) and not four semitones as we saw in example 2, which is the correct interval to get

the Major scale or Ionian mode.

Then we can conclude that the structure of the Ionian mode is:

If we referred to the D major scale, we would say:

Example 2

Interval T T ST T T T ST

Degree 1 2 3 4 5 6 7 8

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Seven patterns can be used to play the different Modes. For the ones presented here we will be

playing 3 notes per string. It is important to know that there are some variations of these patterns

you can nd in different books and / or web sites. We will use the pattern of 3 notes per string for all

modes.

In the following example, we will study in detail the seven patterns in the key of A. The rules indicated

below can be useful when playing them.

1- The ngering of patterns 1 to 3 starts on the 6th string.

2- The ngering of patterns 5 to 7 starts on the 5th string.

3- The ngering of pattern 4 starts on the 4th string.

4- Fingers 1, 2, and 4 of our left hand are used to begin playing the patterns.

These rules apply to any key we play or study.

Examples in the key of A

Numbers below circles indicate the grades of the scale.. The circled numbers, the suggested ngerings.

Pattern 1Root Note on 6th string Fingering for the rst note of the

pattern starts with nger 4

Track 1 Play /Stop

E

B

G

D

A

E

4

41

1

1

1

2

2

3

3

1

1 2

2

4

4

4

4

2 nd fret









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Track 2 Play /Stop

Track 3 Play /Stop

E

B

G

D

A

E

2

2

3

4

4

4

1

1

1

1

4

4

1

1

2

2

3

4

4th

fret

E

B

G

D

A

E

1

1

1

2

2

2

4

4

4

4

2

3

43

1

1

1

Root

4

5 th fret

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Track 4 Play /Stop

Track 5 Play /Stop

E

B

G

D

A

E

1

1

1

1

2

3

4

4

4

4

2

2

42

1

1

2

4

7 th

fret

E

B

G

D

A

E

2

2

2

4

4

4

1

1

1

1

4

41

1

2

3

3

4

9th fret







In our next lesson, we’ll learn how to transport this scale to different tones and how to practice their

ngerings. We will also show some examples in a musical context.

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Track 6 Play /Stop

Track 7 Play /Stop

E

B

G

D

A

E

1

1

1

2

2

2 4

4

4

43

2 4

4

1

1

1

3

10 th

fret

E

B

G

D

A

E

1

1

1

1

2

2

4

4

4

4

2

3

42

1

1

2

4

12 th fret



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006 the Ionian Mode Part 1