Exotic Modes in Every Day Life

When exploring exotic modes, guitarists can discover vibrant new worlds of harmonic and melodic possibilities. Exotic modes aren’t just theoretical tools—they are practical ways to spice up your playing, elevate your compositions, and deepen your understanding of music.

In my “For Music Geeks Only” album, an educational package is included describing and demonstrating 82 common and exotic modes.  However each track is only 1 minute long.  No matter how exotic the mode is, with the exception perhaps of phrygian dominant, it tends to get old after too long.  Most songs don’t remain entirely within an exotic mode, they just feature moments where these modes shine.

In this article, we’ll dive into a selection of non-major modes, when and how to use them, and their applications in chord progressions. By understanding these concepts, you can unlock creative freedom and experiment with exciting harmonic textures.

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Why Learn Exotic Modes?

Exotic modes offer unique colors and emotions that standard major and minor scales may not provide. For example, they allow you to navigate complex chords and bring out their inherent tension and resolution. They also offer new melodic ideas, expand your improvisational vocabulary, and create an opportunity to weave a broader emotional narrative in your music.

To make these abstract ideas practical, let’s look at how exotic modes relate to specific chord progressions and their applications in major scale harmony.

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Melodic Minor Over Min(maj7) or IVm Chords

Melodic Minor Scale Structure:
The melodic minor scale is built as: 1 2 b3 4 5 6 7.
For example, C melodic minor is: c d eb f g a b c.

Application:

The melodic minor scale fits beautifully over a min(maj7) chord. This chord type often appears in progressions like:
| G | Cm(maj7) | G |

Here, you could use the C melodic minor scale over the Cm(maj7). The standout note in this case is the b (natural 7th), which creates a unique tension that distinguishes it from C dorian (c d eb f g a bb). Since G major includes g b d, the melodic minor’s b naturally aligns with G major as the 3rd of the chord.

Additionally, melodic minor shines over IVm chords in a major key. For example:
| C | Fm | C |

In this case, F melodic minor (f g ab bb c d e) highlights the unique “minor quality” of the IV chord while maintaining a connection to the parent major key.

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Harmonic Minor Over Min(maj7) or Im V7 Progressions

Harmonic Minor Scale Structure:
The harmonic minor scale is built as: 1 2 b3 4 5 b6 7.
For example, C harmonic minor is: c d eb f g ab b.

Application:

In the earlier example of | G | Cm(maj7) | G |, you could also use C harmonic minor over the Cm chord. This scale works because its b note (7th degree of C harmonic minor) is the 3rd of the G chord, aligning harmonically with G major. Additionally, the ab (b6) acts as the b9 of G, and the f (4th) serves as the b7 of G, forming a G7b9 chord. This is a natural extension of the implied harmony and often works even better than melodic minor, since the a note from C melodic minor would clash with the G7b9 chord.

However, if the progression were | G9 | Cm | G9 |, C melodic minor could be used effectively, as the a note complements the G9 chord. That said, such progressions are less common compared to those featuring G7b9.

The takeaway is that you can use the harmonic minor scale over any Im V7 progression—such as | Cm | G7 | Cm |—as long as the progression doesn’t feature a Im7 chord, like | Cm7 | G7 |. In cases with Im7, harmonic minor’s major 7th would clash with the b7 in the Im7 chord.

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Lydian Dominant Over bVII7 Chords

Lydian Dominant Scale Structure:
The lydian dominant scale is built as: 1 2 3 #4 5 6 b7.
For example, G lydian dominant is: g a b c# d e f.

Application:

The bVII7 chord often arises as a borrowed chord in major keys. Consider this progression:
| Amaj7 | G7 | Amaj7 |

The G7 functions as the bVII7 chord in the key of A. While mixolydian (1 2 3 4 5 6 b7) is the default choice for 7th chords, lydian dominant elevates the harmonic tension with its #4 (c# in this case). This note creates a sharp, unexpected twist, providing a compelling pull back to the tonic chord, Amaj7.

Use the lydian dominant scale to emphasize the tension and release inherent in such progressions, especially when moving between major and dominant 7th chords.

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Super-Locrian for Altered 7th Chords

Super-Locrian Scale Structure:
The super-locrian scale, also known as the altered scale, is the 7th mode of melodic minor. Its structure is: 1 b2 b3 b4 b5 b6 b7.
For example, G super-locrian is: g ab bb b c# eb f.

Application:

The super-locrian mode works perfectly over 7th chords with altered extensions, such as raised or lowered 5ths and 9ths. These chords include symbols like G7(#5b9) or D7(b5#9). Consider the progression:
| Cm | G7(#5b9) | Cm |

Over the G7(#5b9), use G super-locrian (g ab bb b c# eb f). This scale provides the necessary tension tones, including the b5 (db), #5 (eb), b9 (ab), and #9 (a). These altered notes enhance the chord’s dissonance, making the resolution back to Cm even more satisfying.

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Phrygian Dominant Over a Major Chord when paired with bIImaj or bVIImin

Phrygian Dominant Scale Structure:
The phrygian dominant scale is built as: 1 b2 3 4 5 b6 b7.
For example, E phrygian dominant is: e f g# a b c d.

Application:

The phrygian dominant mode is a hallmark of harmonic minor progressions, particularly over the V7 chord. In a key like A minor harmonic (a b c d e f g#), the V7 chord is E7.
Consider the progression:
| Am | E7 | Am |

Over E7, use E phrygian dominant. This scale highlights the g# (major 3rd of E7), f (b7), and b (5th), while the f (b2) adds an exotic flair. This mode is prevalent in classical and flamenco music and can evoke a dramatic, mysterious vibe.

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Whole-Tone Scale for Augmented 7th Chords

Whole-Tone Scale Structure:
The whole-tone scale consists entirely of whole steps: 1 2 3 #4 #5 b7.
For example, G whole-tone is: g a b c# d# f.

Application:

This scale is ideal for augmented 7th chords, such as G7(#5). These chords appear in jazz and fusion contexts to create ambiguity and tension. For example:
| Cm | G7(#5) | Cm |

Over G7(#5), use the G whole-tone scale. The #4 (c#) and #5 (d#) create a dreamy, unresolved sound, perfect for leading back to a tonic chord like Cm.

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Locrian Natural 2 for Natural VIm7b5 Chords

Locrian Natural 2 Scale Structure:
The locrian natural 2 mode is the 6th mode of melodic minor and is built as: 1 2 b3 4 b5 b6 b7.
For example, F# locrian natural 2 is: f# g# a b c d e.

Application:

The locrian natural 2 mode can be a powerful choice for VIm7b5 chords, especially in more nuanced progressions. For example, in | Am | Am/G | F#m7b5 |, as heard in Led Zeppelin’s “Babe, I’m Gonna Leave You”, the regular F# locrian mode (f# g a b c d e) fits beautifully. This mode emphasizes the darker, tense qualities of the F#m7b5 chord.

However, if the progression were | Am(maj7) | F#m7b5 |, you might opt for F# locrian natural 2 (f# g# a b c d e). The natural 2 (g#) aligns better with the Am(maj7) chord, which is spelled a c e g#, creating a smoother and more cohesive melodic line.

In cases like | Am | F#m7b5 | where the progression does not specify whether the Am chord uses a natural 7 (g) or a major 7 (g#), you have the flexibility to choose either mode. The regular locrian mode aligns with the natural minor (aeolian) scale, while locrian natural 2 adds brightness and versatility, creating a smoother and more melodic resolution. Both options can work, depending on the mood you wish to evoke.

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Conclusion

Exotic modes open up a universe of creative possibilities for guitarists. From the tension-filled super-locrian to the haunting phrygian, these modes offer fresh ways to approach improvisation, composition, and harmonic understanding. Start by incorporating these modes into your practice routine and experiment with applying them to real-world progressions.

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