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Welcome all to my complete lesson on modes. In this lessons, I hope to explain in detail what modes are,
how they work and how they can be applied to music.
Table Of Contents
1. Enharmonically Speaking
Ok, before we go on, there's one thing you need to know. Enharmonics, and diatonics. A Definition for
enharmonics means Two names for one meaning. Ok, lets use an audible example. Play the 2nd fret of the
Low E String. Hear that? It is a half step above F, and can be called F#. However, it is a half step below G
and so it can also be called Gb. These are exactly the same thing. Another example, the 1st fret of the B
string. This is a C note. However, it's also called B#. Below, I have included a list of enharmonics, just for
your knowledge:
A > A#/Bb > B/Cb > B#/C > C#/Db > D > D#/Eb > E/Fb > E#/F > F#/Gb > G > G#/Ab
The next thing, is Diatonics. This means you need, in a 7 tone scale, each note used at least once. For
example, in the C Major scale, we use all the notes:
CDEFGABC
This scale, is therefore, diatonically correct. Lets use another example. The F# Major scale, but make it
diatonically incorrect:
E Gb Ab A B Db Eb E
Why isn't this scale diatonically correct? Well look at it. Where is the F note and C note? Why has the A
and E notes been used twice? This can easily be solved using enharmonics:
E F# G# A B C# D# E
Fb Gb Ab Bbb Cbb Db Eb Fb
These are both enharmonically and diatonically correct versions of the E (or Fb) Major scale.
2. Modes Defined
Modes are much like scales. They are a series of intervals, which with a scale key provide a series of
pitches. You can build modes of any scale. But for the time being, and to avoid confusion, I'll only be
talking about modes of the major scale. The difference between modes and scales, is that a mode comes
from a scale. For example, the C Major scale has these notes:
CDEFGABC
A Mode is basically, the exact same scale, but starting on a different note. Therefore, the first mode of
the C Major scale would be this:
DEFGABCD
A good way to see how this works, is to look at the diagram of modes below. Each mode is derieved from
the C Major scale.
C ionian: CDEFGABC
D dorian: DEFGABCD
E phrygian: E F G A B C D E
F lydian: FGABCDEF
G mixolydian: G A B C D E F G
A aeolian: A B C D E F G A
B locrian: B C D E F G A B
There are 7 different notes in the major scale. This means, we can create a total of 7 different modes
from the major scale alone. These modes are:
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian
3. Constructing Modes
This part of the lesson will either be very confusing, or very simple, although, when you understand how
it works, and it suddenly clicks, it'll all make sense! Ok, this is why, you need to know about the major
scale and intervals. Lets start with the basics.
We know each degree, or note, of the major scale is the root note of a mode. Therefore, the first note of
the Major scale, creates the first mode, which is Ionian. The second note of the major scale creates the
second mode, which is Dorian. The third note of the major scale creates the third mode, which is
Phrygian, and so on. Lets start with the 1st degree of the major scale.
This creates the Ionian mode. But you might be thinking; "Well, if the root note of the major scale creates
the Ionian mode, does that mean there's two names for one scale?" The answer is yes. The major scale,
can also be called the Ionian mode. This is our starting scale, so give each note of the Major scale an
interval. In these examples, I will be using the C Major scale.
You should be familiar with this. So, we've already constructed our first mode! Congratulations.
DEFGABCD
The next step, is to compare the notes of the D Major scale with the D Dorian Mode:
There are two differences between the notes. In the Major scale, there is an F#, however, in the Dorian
scale, it's only a F. Also, In the major scale, there is a C#, however, in the Dorian mode, there is a normal
C. So, how do we get the major scale to flatten it's 3rd and 7th notes? by putting a flat (b) sign before it's
intervals:
12345671
Bb C D Eb F G A Bb
We want to find out the intervals used in the Phrygian Scale. So, the phrygian scale is the 3rd Major mode,
so we find the 3rd note of our Bb Major scale. It's D, therefore, we will be using the D Phrygian mode.
D Phrygian:
D Eb F G A Bb C D
So, we have the notes for the D Phrygian scale, now we need to compare them to the D Major scale:
D Eb F G A Bb C D - D Phrygian Mode
D E F# G A B C# D - D Major scale
As you can see, there are a lot of differences. Lets start from the left and work to the right.
1. Both the D's match up, so there ok.
2. The second notes don't match up. Ones a Eb, and ones a E. Therefore, we need to flatten the second
interval of the Major scale in order to fit it in with the Phrygian Mode.
3. The 3rd degrees don't match up either. In the Phrygian mode, there is a F and in the Major scale there
is a F#. Therefore, we need to flatten the 3rd degree of the major scale as well, to make that F# into a F.
4. The 4th, and 5th degrees are both the same, so we don't need to worry about them.
5. The 6th and 7th degrees of each scale don't match either. We need to flatten the 6th and 7th degree
major scale to fit into the phrygian mode.
1 b2 b3 4 5 b6 b7 1
If you apply these intervals to the D Major scale, you now have the D Phrygian mode. If you use this
process for each mode, you will eventually be able to work out every interval for every mode of the Major
scale!
Ionian Mode 1 2 3 4 5 6 71
Dorian Mode 1 2 b3 4 5 6 b7 1
Phrygian Mode 1 b2 b3 4 5 b6 b7 1
Lydian Mode 1 2 3 #4 5 6 7 1
Mixolydian Mode 1 2 3 4 5 6 b7 1
Aeolian Mode 1 2 b3 4 5 b6 b7 1
Locrian Mode 1 b2 b3 4 b5 b6 b7 1
Major
Minor
Augmented
Diminished
Each one of these triads has a set of 3 intervals which you can apply to a scale in order to get the desired
chord. Lets look at these intervals:
Major 1 3 5
Minor 1 b3 5
Augmented 1 3 #5
Diminished 1 b3 b5
You should be familiar with intervals. These are the four triads we will be using extensively throughout
the course of this lesson.
To find the modes which are major, we need to find which ones have a Major 3rd (3) and Perfect 5th (5)
interval in them. This is easy! There's only 3 modes with 3 and 5 in them.
Ionian
Lydian
Mixolydian
These 3 modes are dominantly Major. However, they must not be confused with dominant chords.
Minor 1 b3 5
What's so minor about this chord? Again, look at the 3rd and 5th intervals. The 3rd interval has a 'b' in
front of it. We call this a Minor 3rd. So, lets look again through our modes and find out which ones are
minor!
Dorian 1 2 b3 4 5 6 b7 1
Phrygian 1 b2 b3 4 5 b6 b7 1
Aeolian 1 2 b3 4 5 b6 b7 1
These 3 modes are dominantly Minor. Again, these modes should not be confused with Dominant Minor
chords.
Ionian Major
Dorian Minor
Phrygian Minor
Lydian Major
Mixolydian Major
Aeolian Minor
Locrian Diminished
Now, before you read on into this section, you should be confident about chord construction, as this part
will go into depth about each mode. The thing we have to do here is to find out what's different about the
mode we're looking at. Each triad can be extended to make it fit in better with it's mode. In this section,
we'll look through each mode separately and look at possible chord combinations.
4.5.1 Ionian Mode Extensions.
Ok, lets start off with a nice easy one. The Ionian Mode. We already know we can fit a nice easy Major
Triad into this mode. So what can we do to extend this triad? Well, look at the intervals which make up
the Ionian Mode: 1 2 3 4 5 6 7 1. The one that's most "in your face" is that Major 7th. The intervals for a
Major 7th chord are: 1 3 5 7. As you can see, these intervals fit into it easily enough as well. You can play
this mode over any major chord. Possible variations are:
Maj7 1 3 (5) 7
Maj9 1 3 (5) 7 9
Maj11 1 (3) 5 7 (9) 11
Maj13 1 3 (5) 7 (9) (11) 13
m7 1 b3 (5) b7
m6 1 b3 (5) 6
m6/9 1 b3 (5) 6 9
m9 1 b3 (5) b7 9
m11 1 b3 (5) b7 (9) 11
m13 1 b3 (5) b7 (9) (11) 13
m7 1 b3 5 b7
susb9 1 (5) b7 b9
Maj7 1 3 (5) 7
maj9 1 3 (5) 7 9
Maj7#11 1 3 (5) 7 9 #11
dom7 1 3 5 b7
- 7/6 1 3 (5) 6 b7
- 9 1 3 5 b7 9
- add9 1 3 (5) 9
- sus 1 4 (5) b7 OR 1 2 (5) b7
m7 1 b3 (5) b7
m9 1 b3 (5) b7 9
m11 1 b3 (5) b7 (9) 11
(b6) 1 b3 (5) b6
In some cases, this mode can be used as a substitute from the Dorian Mode.
1 b3 b5
1 b3 b5 b7
Lydian: 1 2 3 #4 5 6 7
Ionian: 1 2 3 4 5 6 7
Mixolydian: 1 2 3 4 5 6 b7
Dorian: 1 2 b3 4 5 6 b7
Aeolian: 1 2 b3 4 5 b6 b7
Phrygian: 1 b2 b3 4 5 b6 b7
Locrian: 1 b2 b3 4 b5 b6 b7
Ionian Major
Dorian Minor
Phrygian Minor
Lydian Major
Mixolydian Major
Aeolian Minor
Locrian Diminished
If you do not understand this, read back over installment 2! Without realising it, you have just worked out
the Major scales, or Ionian Modes chord progression. How? You ask? Easy. Remember I said degree of a
mode can create it's own chord? Well, in the diagram above, you have the modes for each degree of the
major scale!
1 2 3 4 5 6 7 1
Major Minor Minor Major Major Minor Diminished Major
Ok, so, we have created the Ionian modes chord progression. What next? The rest of the modes!
1 2 3 4 5 6 7 1
Major Minor Minor Major Major Minor Diminished Major
The major scale chord progression starts on "1" and ends on "1." This is because it's the 1st degree of the
major scale. So, if Dorian is the second degree of the major scale, that means we start on "2" and end on
"2"! Lets apply this to the chords:
2 3 4 5 6 7 1 2
Minor Minor Major Major Minor Diminished Major Minor
See! That wasn't so hard was it! All we've done, is shift the chord progression one chord to the left. So,
we've taken the first chord, Major, at put it at the end. Lets try another one to get you in the hang of it.
Lets do Aeolian. Aeolian is the 6th mode of the major scale, therefore, we need to start on "6" and end on
"6".
6 7 1 2 3 4 5 6
Minor Diminished Major Minor Minor Major Major Minor
Understand it now? This is the first of the two steps to creating chord progressions.
You've successfully "moved the mode". Just for a visual guide, I've wrote out the basic chord progressions
of each of the modes below:
Ionian Mode 1 2 3 4 5 6 71
Dorian Mode 1 2 b3 4 5 6 b7 1
Phrygian Mode 1 b2 b3 4 5 b6 b7 1
Lydian Mode 1 2 3 #4 5 6 7 1
Mixolydian Mode 1 2 3 4 5 6 b7 1
Aeolian Mode 1 2 b3 4 5 b6 b7 1
Locrian Mode 1 b2 b3 4 b5 b6 b7 1
So how do we apply the rule? Well, you need to transfer these flats (b) and sharps (#) to the chord
progression. So, lets take an easy example, Lydian, because it only has 1 sharp and no flats. Lydian is the
4th mode of the Major scale. It only has one sharp, which is on the 4th degree. Lets take the Lydian Chord
Progression now:
1 2 3 4 5 6 7 - Intervals
Lydian Major Major Minor Diminished Major Minor Minor
Now, If we look at the intervals used on the Lydian chord progression, and compare them to the Lydian
modes actual intervals, you can see, the chord progression is missing a sharp on the 4th degree. To
correct this, we need to make the 4th chord in that progression, a sharp. Therefore:
1 2 3 #4 5 6 7 - Intervals
Lydian Major Major Minor Sharp-Diminished Major Minor Minor
See what I've done? Lets take another example, but a little more harder. The Aeolian mode. The Aeolian
mode has the intervals: 1 2 b3 4 5 b6 b7 1. So, look at the intervals. The 3rd, 6th and 7th degrees are all
flats. So lets apply these to our Aeolian Chord Progression:
1 2 3 4 5 6 7
Aeolian Minor Diminished Major Minor Minor Major Major
Changes to:
1 2 b3 4 5 b6 b7
Aeolian Minor Diminished Flat-Major Minor Minor Flat-Major Flat-Major
I - ii - iii - iv - v - vi - vii
Now, these, on their own, don't say much. They say we have 7 of something. We need to define them to
make them relevant to our chords. Lets start with Major chords. We can define major chords by writing
our numerals in capital letters! Therefore, if our first chord was major, it would change from "I" to "I" If
our 6th chord was major, it would change from "vi" to "VI." So, how do we define minor? Easy! We leave
them in lowercase letters!
The next one. Diminished chords. Now, Diminished chords can function as Minor chords, because it has a
b3, so we write them in lowercase letters. However, we also need readers to understand that it's not a
minor chord, but it is, in fact a diminished chord. So how do we do it? To do this, we add a little symbol.
The symbol is a little circle, which floats to the right of the numeral. This is the symbol: ° You can write
this symbol by holding down "alt" on your keyboard, and pressing 0 1 7 6 in that order. So, if our 1st chord
is diminished, instead of writing just "I" we will add ° to the end of it, to create this: "I°". If our 7th chord
is diminished, we write: "vii°". The last two symbols are easy. Flat and Sharp, "b" and "#" respectively. So,
now you know how to describe roman numerals. How do you apply them?
Well, lets take the Ionian Mode chord progression to start with:
So, using our new knowledge of Numerals, lets change this into them. The 1st chord is a Major chord.
Therefore our 1st roman numeral will be in capitals. The 2nd chord is a Minor chord. Therefore our 2nd
roman numeral will be in lowercase. The 3rd chord is a Minor chord. Therefore our 3rd roman numeral
will be in lowercase. The 4th chord is a Major chord. Therefore our 4th roman numeral will be in capitals.
The 5th chord is a Major chord. Therefore our 5th roman numeral will be in capitals. The 6th chord is a
Minor chord. Therefore our 6th roman numeral will be in lowercase. The 7th chord is a diminished chord.
Therefore our 7th roman numeral will be in lowercase, and have a °. So, using this, lets change it into our
numerals:
This is our Ionian Modes chord progression in Roman numerals! Now, lets take another example, of a
harder one. The Locrian Mode. We know that in long term, this is what the Locrian mode looks like:
Locrian:
Diminished Flat-Major Flat-Minor Minor Flat-Major Flat-Major Flat-Minor
See how that works? Eventually, if you work out all the numerals for each mode, you'll end up with this: