Приблизительно что-то вроде этого:
1. ля минор - аккорды Am Em - a b c d e f g (в мелодии есть опевающие хроматические тона)
2. ля мажор - аккорды A E - a b c# d e f# g#
3. ля фригийский мажор - аккорды A Gm - a bb c# d e f g
4. ля гармонический минор
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про лады лень расписывать - вот цитата хорошая
If all the chords in your song are in Key, don't worry about Modes, just play in Key. When you have a song that's has chords NOT related to a common Key, that's a situation where you might want to explore Modes...or Modal Playing.
Many times times when you "learn modes" you are learning nothing but Diatonic Theory, or how there are scales within scales/Keys...but you end up with learning how to "play over chords" as in "this scale goes with this chord, now I need to change to this scale because the chord changed".
If you are learning Modes by way of Diatonic Theory, your time would be WISELY spent learning about Cadences and "tension and release". If you don't you could always be wondering about Modes for decades. Even in Modal Music you will still want/need tension and release, cadences are a great way to explore it.
For music that is actually Modal based try listening and learning these tune, I can't think of a better way to learn about Modes...these applications/songs will get you much further in Modes as supplement to your Diatonic Theory info...
So What by Miles Davis - Dorian
Maiden Voyage by Herbie Handcock - Dorian
Song for John by Stanley Clarke and Chick Corea - Lydian with tensions
Km-Pee-Du-Wee by Steve Vai - Lydian
Norwegian Wood the Beatles - Mixolydian
In Memory of Elizabeth Reed by The Allman Brothers - Dorian
Windows by Chick Corea - Lydian
More Ravi Shankar and Shakti than you can shake a stick at!If all the chords in your song are in Key, don't worry about Modes, just play in Key. When you have a song that's has chords NOT related to a common Key, that's a situation where you might want to explore Modes...or Modal Playing.
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и еще
The real problem with modes (why so many guitarists misunderstand or misuse the terms) is that once, not so long ago, someone had the bright idea (not!) of naming fret patterns after modes.
That incredibly dumb idea then got conflated with the slightly less dumb idea that certain chords belong with certain modes (and vice versa), and then the hardly-dumb-at-all-but-easily-misunderstood idea that modes have different "moods".
This ends up in the crazy situation of seeing every chord in a chord progression as a separate mode, with the even crazier notion that you have to (accordingly) "apply" a different pattern to each chord. Or (just as mistaken) that you could "apply" a different mode to "change the mood".
As others say, however, modes DO have a place in modern music, but they must be understood as sounds in their own right (for composing or jamming), not as ways of approaching existing key-based music.
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