The Crossroads DIATONIC MODES

The Crossroads teaching method is a different approach to learning guitar scales than the popular five pentatonic box shapes. Getting comfortable playing anywhere on the fretboard and breaking out of the box shapes can be difficult. The goal of the Crossroads method is to make navigating the fretboard in all directions easier.

IONIAN (MAJOR) MODE

The Ionian Mode is exactly the same as the Major Scale.

Modal Equation: R - 1st - 2nd - 3rd - 4th - 5th - 6th - 7th [ W - W - H - W - W - W - H ]

Common Chords: Major, Major 7, 6, Major 9, Major 6/9, sus4, sus2, add9

Note Choices: The perfect fourth interval can sound somewhat unstable as it often pulls to the third of the chord. You can pass through the note but you should avoid stopping it.

DORIAN MODE

A Minor Scale type that is used for jazz and blues improvisation. Played over unrelated, not in a particular key, minor chords.

Modal Equation: R - 2nd - b3 - 4th - 5th - 6th - b7 [ W - H - W - W - W - H - W ]

Common Chords: Minor Type - min, min7, min6, min9, min11

Note Choices: Key Tone - Major 6th - It’s the only minor type with the Major 6th. All of the notes are pretty good. Works well with the notes of the Minor Pentatonic Scale and minor blues licks.

PHRYGIAN MODE

A Minor Scale type that has a strong Spanish flavor because of the b2 scale tone. It is a less commonly used mode.

Modal Equation: R - b2 - b3 - 4th - 5th - b6 - b7 [ H - W - W - W - H - W - W ]

Common Chords: Minor Type - min, min7, min7b9

Note Choices: Key Tone - b2 - only found in Phrygian and Locrian. Only use chord tones as resting points. Use the b2 and b6 notes carefully and sparingly to add spice.

LYDIAN MODE

A Major Scale type often used with an unrelated Major Chord, or with a I chord in a key, which is wrong in theory but can sound good.

Modal Equation: R - 2nd - 3rd - #4 - 5th - 6th - 7th [ W - W - W - H - W - W - H ]

Common Chords: Major Type - Maj, Maj7, Maj6, Maj7#11, Maj9#11

Note Choices: Key Tone - #4 - Doesn’t really have an avoid tone. Unlike the natural 4th which clashes with the 3rd, the #4 is dissonant but sounds cool.

MIXOLYDIAN MODE

A Major Scale type that fits dominant chords perfectly. Used a lot in jazz, funk and blues and mixes well with the Minor Pentatonic scale.

Modal Equation: R - 2nd - 3rd - 4th - 5th - 6th - b7 [ W - W - H - W - W - H - W ]

Common Chords: Major Type - Dominant chords: 7, 9, 11, 13 (not including altered dominants)

Note Choices: Key Tone - b7 - The Note that makes a chord dominant. The 4th can sound bad and clash with the 3rd, but can sound great over 11th chords.

AEOLIAN (MINOR) MODE

The purest Minor Scale that is known as a “relative” minor to the parent Major Scale.

Modal Equation: R - 2nd - b3 - 4th - 5th - b6 - b7 [ W - H - W - W - H - W - W ]

Common Chords: Dominant minor, min7, min9, min11, min7#5 (not min13, the 6th is the 13th which would clash with Aeolian’s b6)

Note Choices: Key Tone - b6 - It is fine to pass through b6 but resting on it can sound strange.

LOCRIAN MODE

A Diminished Scale type. It is the least used mode. Usually played over a minor ii V I chord progression. It’s essential for jazz, fusion, and other modern styles.

Modal Equation: R - b2 - b3 - 4th - b6 - b7 [ H - W - W - H - W - W - W ]

Common Chords: m7b5, m11b5

Note Choices: The only Major Diatonic Scale in which the tonic triad is a Diminished chord, which is considered dissonant. This is because the interval between the root and the 5th is a Diminished 5th.

The Crossroads method should allow you to focus on playing melodies and creating music if it can make playing scales easier all around the fretboard.