C messiaen's mode #4 Scale — Guitar Fretboard Visualization

Low E string: F, F#, G, Ab, B, C, Db, D at frets 1, 2, 3, 4, 7, 8, 9, 10

A string: B, C, Db, D, F, F#, G, Ab at frets 2, 3, 4, 5, 8, 9, 10, 11

D string: D, F, F#, G, Ab, B, C, Db, D at frets 0, 3, 4, 5, 6, 9, 10, 11, 12

G string: G, Ab, B, C, Db, D, F, F#, G at frets 0, 1, 4, 5, 6, 7, 10, 11, 12

B string: B, C, Db, D, F, F#, G, Ab, B at frets 0, 1, 2, 3, 6, 7, 8, 9, 12

High E string: F, F#, G, Ab, B, C, Db, D at frets 1, 2, 3, 4, 7, 8, 9, 10

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C messiaen's mode #4

Messiaen's mode 4 is an eight note mode of limited transposition: half, half, minor 3rd, half repeated twice, giving clustered pairs of half steps separated by leaps. It repeats at the tritone, so only six transpositions exist. The clusters make it naturally chromatic and ominous, suited to modern classical writing and angular jazz lines that pivot around the tritone.

it consists of these notes and degrees:

C

I

D♭

bII

D

II

F

IV

F♯

#IV

G

V

A♭

bVI

B

VII

tip
  • Practice its cell half-half-minor 3rd-half from C; two cells complete the octave, and the scale repeats at the tritone.
  • Only six transpositions exist: a phrase moved six frets returns to the same notes, which makes tritone call-and-response free.
  • The chromatic clusters invite legato: slide through the paired half steps and leap the minor 3rd cleanly.
  • Anchor writing on the root and b5 (Gb) axis... both are in the scale, and the symmetry pivots on them.

How to play C messiaen's mode #4 on guitar

Three open strings sit inside C messiaen's mode #4, and one of them is the fifth, so a pedal tone under box one holds instead of clashing. Lowest root waits at fret 8 on the low E string, doubled by the high E at the same number. Box one ends at fret 12, which puts its upper edge on the octave marker of the open strings. Two flats in the signature. Symmetry at the tritone gives the identical grip to Gb, which means one shape covers two keys.

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