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| Six additional modes can be derived from the fundamental major mode (Ionian) by starting on each successive step of the fundamental mode. The fundamental modes are given below. You can derive additional modes from all the synthetic fundamental modes by using the same process of starting on each successive step. All the fundamental modes are in 'C' for the sake of simplicity, but any mode can start on any pitch. For example, if G sharp Phrygian is recommended for improvisation, you would play |
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| which is the third mode of E major. Likewise, if the sixth mode of B flat Double Harmonic is recommended, you would play |
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| Much is hidden within these synthetic modes and their derivatives, particularly in the extraction of their scale-tone chords. |
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| Try some of these excellent chord and synthetic mode combinations |
| F sharp Phrygian with 5th mode of B Harmonic Minor then with F sharp Pentatonic Minor |
| A minor 11 and A Dorian | C/D - A Dorian | F major 7+11 - F Lydian | E flat/F - F Mixolydian | A/G - GLydian | D - D Ionian |
| B Mixolydian with A Dorian then with B Mixolydian |
| F sharp Symmetrical then F sharp Dorian |
| Base a Composition in E Symmetrical and E Super Locrian, Ad lib switching between E Symmetrical, E Super Locrian and E Dorian |
| E Dorian and E Pentatonic Minor |
| Switch frequently between A flat Super Locrian with E Pentatonic Minor interspersed, then B flat Super Locrian with E Pentatonic Minor interspersed |
| F Mixolydian with solos in D Super Locrian together with a B flat pedal then F Phrygian |
| E bass pedal with B Ionian | C bass pedal with E Super Locrian | A bass pedal with A Symetrical | F sharp bass pedal with F sharp Lydian |
| C sharp Dorian then C Mixolydian |
| Excerpted from Warner - Tamerlane Publishing Corp. and Chinmoy Music, Inc., Comments by John McLaughlin |
