Can you believe this is lesson 17? I feel as though I've written a
book already. Let's get started by answering the homework question. Using the notes along the E string, we can move Chromatically to identify the names of all 12 major scales you learned in the last lesson. Since the first note of each shape, where it is being played, is the name of the major scale being played, we have,


E0 = E Major
E1 = F Major
E2 = F sharp / G flat Major
E3 = G Major
E4 = G sharp / A flat Major
E5 = A Major
E6 = A sharp / B flat Major
E7 = B Major
E8 = C Major
E9 = C sharp / D flat Major
E10= D Major
E11= D sharp / E flat Major
E12 = E Major (or the point where everything starts repeating)


Today, I would like to clear something up that has gone unanswered for a while. We have noticed that there is no sharp or flat notes between B and C in the Chromatic scale. The same holds true for the notes E and F. This is because we view C as being B sharp and B as being C flat. In like manner, we view F as being E sharp and E as being F flat. So, this is how we resolve this little enigma in music theory. Now, if you are asked to find E sharp or C flat, for example, you know we are talking about F and B respectively. Once this detail is cleared up, it gives us a more complete picture of how sharps and flats work in music theory.


Since you have already seen how a mode, such as the Ionian mode, can be turned into an extended shape and moved up and down the neck giving you twelve major scales as a consequence, There really is no reason why we can't do this with all seven modes. In fact, if we look at all the natural notes that reside on the E string, and ignore all the sharps and flats for the time being, we can assign each mode its own extended shape and a standard position for that shape.


Let's recall our modes.

C to C = Ionian
D to D = Dorian
E to E = Phrygian
F to F = Lydian
G to G = Mixolydian
A to A = Aolian
B to B = Locrian

Now, it is important to note which letter of the C major scale is associated with what mode. On E1, we have an F note, and above we see that Lydian is the mode that runs from F to the next higher F. So, E1 will serve as a marker to help us find the standard position for the extended Lydian shape.


Extended Lydian shape
E1i, E3m, E5p
A2i, A3m, A5p
D2i, D3m, D5p
G2i, G4r, G5p
B3i, B5r, B6p
H3i, H5r


Now, the picking pattern for this shape will be the same as the picking pattern for the last shape we looked at in our last lesson. In fact, the picking pattern will be the same for every extended shape that we develop here. But, note, the overall shape of this mode is different from that of the extended Ionian mode shape we studied in the last lesson.

Our next natural note on the E string is E3 = G. And of course, it is the Mixolydian mode that runs from G to G. So, we will identify E3 as the starting point for the standard position for the extended Mixolydian shape, just as we identified E1 as the starting point for the standard position for the extended Lydian shape.

extended Mixolydian shape.
E3i, E5m, E7p
A3i, A5m, A7p
D3i, D5m, D7p
G4i, G5m, G7p
B5i, B6m, B8p
H5i, H7r


Since E5 = A, we then have the extended Aolian shape as follows:

Extended Aolian shape
E5i, E7r, E8p
A5i, A7r, A8p
A5i, A7m, A9p
G5i, G7m, G9p
B6i, B8m, B10p
H7i, H8m


Since E7 = B, we have the extended Locrian shape as follows:

Extended Locrian shape
E7i, E8m, E10p
A7i, A8m, A10p
D7i, D9r, D10p
G7i, G9r, G10p
B8i, B10m, B12p
H8i, H10m


Since E8 = C, we have the extended Ionian shape from the last lesson as follows:


Extended Iolian shape
E8i, E10m, E12p
A8i, A10m, A12p
D9i, D10m, D12p
G9i, G10m, G12p
B10i, B12r, B13p
H10i, H12r


Since E10 = D, we have the extended Dorian shape as follows:


Extended Dorian shape
E10i, E12r, E13p
A10i, A12m, A14p
D10i, D12m, D14p
G10i, G12m, G14p
B12i, B13m, B15p
H12i, H13m


Since E12 = E, we have the Extended Phrygian shape in its standard position as follows:

E12i, E13m, E15p
A12i, A14r, A15p
D12i, D14r, D15p
G12i, G14m, G16p
B13i, B15m, B17p
H13i, H15m


Since E13 = F, we note that this would be where everything starts repeating back with the Extended Lydian shape. For homework, I just want you to spend time becoming familiar with these shapes and their standard positions. Also, note that as in the last lesson, each of these extended shapes can be moved up and down the neck. Thus giving us 7 times 12 = 84 mode like patterns to work with.


Corey J. Bray