Modal Harmony 3

by Dan Palladino

Remember back in "Why Learn Modes?" we discussed the differences between the modes? We're going to use that information to come up with some modal vamps.

We said the F Lydian mode was the F major scale with a raised fourth. Let's find chords that contain the raised fourth, and alternate them with the "one" chord to form our vamp. Here's what I came up with:

These chords all contain the note B (#4)

B-7(b5), G or G7, E-7, Cmaj7, A-9

Let's make some vamps:

|: Fmaj7 | Cmaj7 :|
|: F | G :|
|: F | G/F :|
|: Fmaj7 | E-7 :|

Notice how these vamps all have a similar sound? Play the F Lydian mode over them.

Here's the procedure for coming up with modal vamps:

1) Find the differences between the major modes and the major scale. For the minor modes, compare to the natural minor scale. Identify the notes that make the mode different from the major or minor scale.
2) Take those notes and find the chords that contain them.
3) Alternate between the one chord and the chords that contain the "difference" notes.
4) Have a frosty beer and reflect on a job well done.

Here's some vamps for the E Phrygian mode:

The E Phrygian scale is the E natural minor scale with a lowered second, so let's find chords with the note F (b2) in them.

Fmaj7, D-7, B-7(b5), G7

Here's some vamps:

|: E-7 | Fmaj7 :|
|: E-7 | D-7 :|
|: E-7 | B-7(b5) :|
|: E-7 | G7 :|

Do you notice how these vamps have a specific flavor to them? This is the Phrygian sound.

I'm going to list the most COMMON modal vamps here. It doesn't mean that these are the best and others wouldn't be as good. However, these are the ones you are most likely to run into in the real world. You should try to come up with as many as possible on your own.

Dorian: |: D-7 | G7 :|

Phrygian:|: E-7 | Fmaj7 :|

Lydian:|: Fmaj7 | G/F :|

Mixo-Lydian:|: G | F :|

Aeolian:|: A- | F :|

Locrian is a special case. Since one of the notes that characterizes the Locrian mode is the lowered second, a possible vamp would be |: B-7(b5) | Cmaj7 :|

The problem is, the B-7(b5) sounds like it wants to resolve to the Cmaj7, making this vamp sound like it's in the key of C major, not B Locrian. You will find that this is true for any vamp you could come up with. Try it. Your ear will tell you that I'm right.

If you really want to write some music in the Locrian mode, I would suggest using an ostinato bass pattern made up of the notes of the Locrian mode. The repeated figure will be enough to imply the sound you're looking for. (An ostinato pattern is simply a pattern of notes that repeats over and over again.)

If you come up with any interesting Locrian vamps or patterns, email me and I'll post them on this page.

If you are a songwriter, how about using a modal vamp as your verse? Then go to a relative major key for the chorus. Or how about a modal bridge? How about an entire song based on a modal vamp?

If you are a player, you should see many new possibilities for improvisation. Remember, any chord progression can be navigated using scales. Learning the modes and their harmonizations give you more tools to work with.

I hope exploring this material makes your musical life richer in some way. Keep playing and writing!


Back to "Why Learn Modes?"
Back to "Modes of the Major Scale"


© 2003 Dan Palladino
Reproduction is prohibited without prior written permission.