For example, if we're in the key of C, the Dm7 would be the minor II chord. The Dorian mode can be played over any minor chord that is the II chord. Players like Santana use this mode on tunes like "Oye Como Va" or "Black Magic Woman". This is a very common mode used in minor blues tunes. We are still keeping the key signature of C, but our scale is starting on a different degree. A very simple way to think about it, is taking the C major scale and making the D the first note. Landing on this note or sustaining it against a major chord will cause tension and will feel unresolved. This note should be used as a passing tone. NOTE: The 4th degree of the ionian mode is commonly referred to as an "avoid note". (major) (dominant scale) (natural minor) (half diminished) Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian Each one of the seven modes has an individual Greek name. I'll say that again: each mode is the major scale starting from a different note. To simplify the explanation, each mode is the major scale starting from a different note. It is VERY important to remember that even though all these modes sound different, they are all related to the major scale. There are seven notes in the scale, therefore there are equally seven modes and each one has a unique and individual sound and is played over specific chords or chord progressions. Our major scale modes are scales derived from each one of the seven degrees of the major scale. The capital number indicates a major 7 chord (and dominant 7 chord on the V chord), and the lower-case number indicates minor seven chord (and minor 7b5 for the seventh degree). We can break that down even further into making a chord out of each degree of the scale and each one is defined in roman numerals. As an example, we are going to use the key of C, because of the simplicity of its natural state. In our Western music system, we have seven degrees to our major scale.
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