Modal Chord Progressions

A Guide About Modes and Chords From a Guitarist's Perspective

In this tutorial, we're going to apply modes theory to chord progressions, in order to generate new cool ideas for your songs.

Modes are a tricky topic, there's a lot of confusion on the Internet; to get a basic introduction, be sure to check out my "Learn modes with relative and parallel approach" guide before diving in this tutorial.

So let's get started!

As in many situations when it comes to music theory, it's helpful to start from the Major Scale:

1
2
3
4
5
6
7
8
C
D
E
F
G
A
B
C

Now we're going to build chords starting from this scale, by stacking notes with third intervals; basically you skip one note at a time: C, E and G, D, F and A, E, G, and B, and so forth.

Here below is the triad chords table from the major scale:

C majD minE minF majG majA minB dim
G (5)
E (3)
C (1)		A (6)
F (4)
D (2)		B (7)
G (5)
E (3)		C (1)
A (6)
F (4)		D (2)
B (7)
G (5)		E (3)
C (1)
A (6)		F (4)
D (2)
B (7)

So far so good.

Now with these chords we can create some cool progressions, such as the popular rock and blues 1-4-5 (C, F and G in the key of C), or the over-abused 1-5-6-4 (C, G, Am and F) present in most of the pop songs.

Chords From Modes

What if we apply the same method used above, to a modal scale?

Let's use an example.

Creating Chords From The Lydian Mode

We know that the Lydian Mode has the 4th degree raised by one sharp:

1
2
3
#4
5
6
7
8
C
D
E
F#
G
A
B
C

Respect to the Major Scale, we have a F# instead of a natural F. And this changes some of the chords generated from the scale:

C majD majE minF# dimG majA minB min
G (5)
E (3)
C (1)		A (6)
F# (#4)
D (2)		B (7)
G (5)
E (3)		C (1)
A (6)
F# (#4)		D (2)
B (7)
G (5)		E (3)
C (1)
A (6)		F# (#4)
D (2)
B (7)

The D minor in the major scale turned into a D major one, and the B diminished became a B minor chord.

The 4th degree, F, is now a F# diminished chord.

Mixolydian Mode Chords

Another example: in the Mixolydian mode, we have the 7th degree flattened by one half-step (The b7 in a major context is typical of dominant chords):

1
2
3
4
5
6
b7
8
C
D
E
F
G
A
Bb
C

So the chords derived from the Mixolydian mode are:

C majD minE dimF majG minA minBb maj
G (5)
E (3)
C (1)		A (6)
F (4)
D (2)		Bb (b7)
G (5)
E (3)		C (1)
A (6)
F (4)		D (2)
Bb (b7)
G (5)		E (3)
C (1)
A (6)		F (4)
D (2)
Bb (b7)

Here we have some important changes: the E diminished on the 3rd degree, the G minor on the fifth, and the Bb major on the 7th degree, which is one of the most used chord substitutions in rock.

Chords In The Dorian Mode

The Dorian mode has the 3rd and the 7th flattened by one half-step:

1
2
b3
4
5
6
b7
8
C
D
Eb
F
G
A
Bb
C

And the chords from this scale are:

C minD minEb majF majG minA dimBb maj
G (5)
Eb (b3)
C (1)		A (6)
F (4)
D (2)		Bb (b7)
G (5)
Eb (b3)		C (1)
A (6)
F (4)		D (2)
Bb (b7)
G (5)		Eb (b3)
C (1)
A (6)		F (4)
D (2)
Bb (b7)

This is a minor mode (because of the minor 3d), so its tonal center is minor (C minor in the key of C).

We also have the 3rd that is major, the 5th that is minor, the 6th is diminished, and the 7th is major, like in the Mixolydian mode.

Chords From The Other Modes and 4 Tones Chords

Of course there would be other modes to analyze: Locrian, Phrygian, Aeolian, modes generated from the Melodic Minor scale and Harmonic Minor scale, and so forth.

Here you find a table with all the chords from modes in all keys.

Also, for the sake of simplicity, in this tutorial I'm considering only triads chords (major, minor, augmented and diminished), but keep in mind that using 4 tones chords, like dominant, major and minor seventh and other types, will highlight better the unique feeling of each mode.

Now we're going to see some practical examples involving modal chord progression. All the examples provided are in the key of C.

Modal Chord Progressions - Some Examples

Mixolydian Progression: 1 b7 4

The example below is built on the C Mixolydian scale, and the chords are: C Bb F.

Does it sound familiar?

It's likely you already encountered this progression in Sweet Home Alabama by Lynyrd Skynyrd! (which is in D Mixolydian, D, C and G).

Am F C G sad chord progression

Lydian Progression: 1 2 5 2

The Lydian mode has a dreamy feeling, given by the light tension introduced by the #4.

In the example below, on the 5th degree, I use the G maj7 chord, where F# is the exactly major seventh of the chord.

This highlight better the characteristics of the Lydian mode.

Am F C G sad chord progression

Dorian Progression: 1m b7 4

This progression is similar to the Mixolydian progression above, apart from the tonic (1) which in this case is minor (C minor).

I'm sure you'll recognize the progression used in Wicked Game by Chris Isaak.

Am F C G sad chord progression

Modal Chord Progression: Conclusion

Basic knowledge of modes can enhance your songwriting capabilities. As we have just seen, we can create progressions starting from each mode; you could even borrow chords from other modes, this process is called modal interchanges.

Take your time to experiment and digest all this stuff, I'm sure you'll have a lot of fun!

That's all for today.

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