Ionian Mode on Guitar

[Mode Series Contents]

Before we go on to learn how to apply the Ionian mode on guitar, we need a little foundation theory. A lot of this won't make complete sense until the full picture has been painted across the guitar's fretboard and in your mind. So stick with it, read every word and listen to the audio... just don't rush yourself.

The Ionian mode is the first mode, also known simply as the major scale. It is ultimately the major scale in its natural sequence - 1 2 3 4 5 6 7 with 8 being the octave (same note as 1) from which the sequence begins again. When using the Ionian mode on guitar, you'll soon realise that its natural tones/flavours are suited to major chords and certain major key progressions. More on what types of major chord Ionian compliments later. First, intervals!

Intervals of Ionian

1 W 2 W 3 H 4 W 5 W 6 W 7 H 8(1)
Hear it (A Ionian) >

If you've been through the intervals lesson, you'll know what the W and H stand for!

If we identify, for example, the 3rd note of Ionian, we should know its position in relation to the previous note (2nd) and the next (4th), and also its relationship with the root note of the scale (1st). We should also know that the final note of Ionian, the 7th, is a half step lower than the 1st.

The most effective way to learn the interval relationships is to hear them, first as audio, then in your head. No matter what key you're playing in, scales and modes will always have the same intervals, they'll just sound higher in a higher key, and lower in a... lower key.

In each of the examples below, I'm using the key of G followed by A and finally B. Don't pick up your guitar yet, just listen to the intervals. Hum along if you like (or...not). Get to know the interval sounds...

The Root-3rd interval: Click to hear >

Root-3rd is what gives Ionian its major flavour, as the 3rd in relation to the root is a major 3rd interval (2 whole steps - see diagram above). So hear how, although I change the key of the interval, the interval sound/flavour/characteristic is identical.

Root-5th interval: Click to hear >

Root-5th-4th-3rd intervals: Click to hear >

Root-3rd-5th-7th-octave intervals: Click to hear >

Hear how the 7th resolves naturally into the 1st/root octave.

Remember the octave can be labeled as the 8th, but as it's the same note as the root (1st) we'll just refer to it as the 1st. Using the octave will have a different overall effect. Just get to know the intervals in relation to the root note, as this is the foundation of identifying phrases within the Ionian scale that we will later build on to create solos.

The root defines the key you're playing the scale in, so learning the interval sounds between root and other notes in the scale across several key centers is a good exercise for the ear and brain. As we haven't started looking at different scale patterns on the fretboard for Ionian, get to know the intervals by playing just across one string. The open string would be the root note. This is exactly what we did in the guitar scales beginner lesson if you remember.

Ionian mode on guitar

OK, so we now have a good idea of the kind of sound Ionian produces, let's look at some practical ways of applying the scale across the fretboard. Starting with the "boxed" pattern:

Again, we have notes 1 to 7 mapped out in sequence, only this time across all 6 strings of the guitar, spanning 2 octaves. Moving that entire boxed pattern up and down the fretboard changes its key, and the root notes represent the key of the scale, so if the root notes lied on note A, the scale would be A Ionian or just A major.

Know where all the root notes lie on the fretboard? If not, this lesson will help.

Look at the position of the 7th note. It appears one half step (semi-tone) lower than the root/1st. Therefore, we could also add in a lower 7th note on the low E string, one fret before the lowest root note. This would be used as more of a leading tone. More on that later!

The boxed pattern is useful when you want to skip around the notes of the scale with minimal horizontal movement and is good to start with, before we break out of that box in a later lesson.

Now try the interval exercises from earlier using that boxed shape and using both octaves. Here's the finger position for the pattern (It's only a guide...)

Playing Ionian over chords

Ionian is based on the major triad - root (1st), 3rd and 5th...

Playing around with just those tones will build up the picture of a major chord, plain and simple. For now, use this B major chord backing track. That means we need to play B Ionian/major which, for the above pattern, is rooted at fret 7 on the low E string.

Naturally then, Ionian can be played over major chords.

What about the other notes?...

The 2nd and the 6th notes provide extensions to that basic major triad which incidentally creates a major pentatonic scale...

Try applying those tones over the same B major track (remember, the boxed scale above needs to be positioned at fret 7 for B) and hear how they add to the depth of the major chord.

Tip: you can also play more than one note at a time :)

And the remaining notes?...

The 4th

The 4th note is considered a passing tone, as holding on to it for lengthy periods can sound unharmonious over a major chord (I say can because jazz has made exceptionally good use of the 4th in this context). A passing tone is one that is used merely as a bridge between two other more stable tones (such as any of the basic triad and its extensions above). So it's most often shorter or used in a hammer-on or pull-off sequence. Anything that doesn't involve it being held or resonated, basically.

The 4th does come into play more naturally on suspended chords (e.g. Bsus4), with the 3rd then becoming the passing tone if used at all.

Hear the 4th being played over a major chord >

So it doesn't sound terrible, and the 4th actually hides the 3rd tone pretty well but, due to its unresolved feeling, in most cases the 4th will be used as a passing tone, commonly resolving to the 3rd.

The Major 7th

Using the 7th creates a major 7th flavour, which means it will be compatible over major 7th chords, for example, A Ionian would be compatible with Amaj7.

But... it will not be compatible over dominant 7th chords, for example A7, as the 7th in dominant chords is a half step (semi-tone) lower than the 7th in major 7th chords (confused yet?). Therefore it would clash musically.

See, dominant 7th chords have their own related mode, which we'll be looking at later in the series, so just forget about it for now!

Remember that if the backing chord is simply a major triad, with no 7th, you will effectively have the choice to add the major 7th flavour to the music. So it's important to analyze music a little more than usual and identify the difference between the sound of a major triad, major 7th and dominant 7th chord.

Unlike the 4th, the 7th note of Ionian can be held at length over major and major 7th chords. In fact, it sounds very nice as a landing note, after changing to a major chord and "returning home".

Hear the 7th being played over a major chord >

Ionian backing tracks

Experiment with Ionian over the C major backing tracks below. Based on what we've learned in this lesson, try different interval movements and using the 4th as a passing tone. Try using different landing notes for when the chord changes back to C major.

As C major is the tonic/root chord of this progression, Ionian works over the other chords because they are part of the same modal scale. This will become clearer and clearer as we move on, trust me!

Just remember that C major is the main chord we're looking to highlight with Ionian below. The other chords are there to provide some movement and journey to the tracks, but C Ionian will still work over those other chords, just in a different context. You'll hear it as you play!

Download backing track 1 (slow tempo) >

Download backing track 2 (mid tempo) >