Welcome to my Harmony and Theory Bible series. These articles will aim to teach you how to approach theory and harmony,in a fun and creative way. Here you will find everything from beginners' areas like intervals,chords, scale construction and modes, to more complex harmony analysis and soloing approaches. Whether you are total beginner or somebody looking to recap on some knowledge, this is the place for you.
In today’s article we are focusing on major scale modes.
Modes
Last time we discussed the major scale and its harmony. Today we are focusing on major scale modes. Many of you might wonder what modes are. In classical music, scales are divided into major (major scale) and 3 types of minor scales: natural minor, harmonic minor and melodic minor. Everything else is an alteration of those mentioned.
Even though modes date from classical periods, modern music uses modes as one of the main tools for composing, arranging and analyzing pieces of music. In this series we will talk about modern modal approach, and use this system for future reference in theory and harmony.
Simply put, modes are scales that already exist within the main scales (major scale, harmonic and melodic minor – all considered “main” scales). For example, the major scale is the main scale and within that scale we have total of seven modes (one for each note). How is this possible? Let’s take the C major scale as an example. We have the following notes: C, D, E, F, G, A, B and C as an octave of the root note C. This scale is known as the C major scale and we discussed it in the previous article.
An important thing to mention is that the C major scale, as we know it, is also a type of mode. The C major scale is known as the C Ionian mode. So next time you hear somebody telling you to play C Ionian, don’t let them confuse you! They are just referring to the first mode of the C major scale, which is ultimately the C major scale itself.
Another way to look at this is, the C major scale starting and ending on C - is the C Ionian mode. The C major scale, starting from D and ending on the D note (D, E, F, G, A, B, C, D), will be some sort of D mode. Following the same concept, the C major scale starting and ending on E, will be some sort of E mode etc. You can see where I am going with this.
Because of these hidden treasures in our main scales, we ultimately get more scales within the main scale. These are referred to as MODES. As C major scale has seven different notes (C, D, E, F, G, A and B), starting a new scale (pattern) from each of these notes will bring us total of seven modes. One of these seven notes will be the C major scale (that is first example when we play the scale from C to C) but all the other six examples (from D to D, E to E, F to F, G to G, A to A and B to B) will bring us six completely new modes and sounds we can use and experiment with.
Another important thing to remember when dealing with modes, is that everything relates to the original major scale where they come from. In other words, we keep the exact notes and chords from the C major scale; just in this case, they will appear in a different place within the scale.
C Ionian Mode
Read the previous paragraph, C Ionian is the same as the C major scale.
Listen to the sound of this mode.
D Dorian Mode
Let’s go through the C major scale starting from the D note.
If we do that, we get the following notes: D, E, F, G, A, B, C and D (a full octave). Always remember, in order for a group of notes to become a scale, we have to start and end on the same note. In this case we started a C major scale on a D note, and ended it on D.
Listen to the sound of this mode.
It has a totally different sound to it than the C major scale. The order of intervals (whole and half-steps) is now moved. Also, the chord that corresponds with this scale is not C major, but rather D minor or D minor 7, simply because this scale starts and ends on the D note and we know already (from the previous article) that in C major, the second scale degree is the D note, and we have D, a minor chord or D min7 that goes with that. With that said, it is important to note that the Dorian mode is associated with minor or minor 7 chords, just like the Major scale or Ionian mode is associated with major or major 7 chords.
Here are 3 types of formulas for Dorian mode:
Interval formula: root, major 2nd, minor 3rd, perfect 4th, perfect 5th, major 6th, minor 7th and octave.
Formula using whole and half steps: Root, W, H, W, W, W, H and W.
Formula using numbering system: 1, 2, b3, 4, 5, 6, b7 (and 8 same as 1).
Using any of these formulas we will end up with the same result. We will apply it to the D note and get the D Dorian mode. D Dorian uses the same chords as the C major scale. The same thing will apply to modes of C major scale. We will (in future articles) dedicate time to each mode individually with cadences and improvising examples, but for the time being, we will just cover the 7 modes of the major scale, briefly.
E Phrygian Mode
In this case we started the C major scale on the E note, and ended it on E (E, F, G, A, B, C, D and E).
Listen to the sound of this mode.
The chord that goes with this mode is E minor or E minor 7, simply because the C major’s third scale degree is the E note and we have minor or minor 7 chord on that scale degree.
Here are 3 types of formulas for Phrygian mode:
Interval formula: Root, Minor 2nd, Minor 3rd, Perfect 4th, Perfect 5th, Minor 6th, Minor 7th and Octave.
Formula using whole and half steps: Root, H, W, W, W, H, W and W.
Formula using numbering system: 1, b2, b3, 4, 5, b6, b7 and 8 (same as 1).
Using any of these formulas we will end up with the same result. We will apply it to the E note and get E Phrygian mode.
F Lydian Mode
In this case we started C major scale on F and ended it on F (F, G, A, B, C, D, E and F).
Listen to the sound of this mode.
The chord that goes with this mode is F major or F major 7 simply because in C major the 4th scale degree is F and we have major or major 7 chords on that scale degree.
Here are 3 types of formulas for Lydian mode:
Interval formula: Root, Major 2nd, Major 3rd, Augmented 4th, Perfect 5th, Major 6th, Major 7th and Octave.
Formula using whole and half steps: Root, W, W, W, H, W, W and H.
Formula using numbering system: 1, 2, 3, #4, 5, 6, 7 and 8 (same as 1).
Using any of these formulas will end up with the same result. We will apply it to F note and get F Lydian mode.
G Mixolydian Mode
In this case we started the C major scale on G and ended it on G (G, A, B, C, D, E, F and G).
Listen to the sound of this mode.
The chord that goes with this mode is G major or G dominant 7, simply because in C major the 5th scale degree is the G note and we have major or dominant 7 chords on that scale degree.
Here are three types of formulas for Mixolydian mode:
Interval formula: Root, Major 2nd, Major 3rd, Perfect 4th, Perfect 5th, Major 6th, Minor 7th and Octave.
Formula using whole and half steps: Root, W, W, H, W, W, H and W.
Formula using numbering system: 1, 2, 3, 4, 5, 6, b7 and 8 (same as 1).
Using any of these formulas we end up with the same result. We will apply it to G note and get G Mixolydian mode.
A Aeolian Mode (Natural Minor)
In this case we started the C major scale on A note and ended it on A (A, B, C, D, E, F, G and A).
Listen to the sound of this mode.
This mode is very important, as we treat this as the natural minor scale. From this scale we later make two more types of minor scales (harmonic and melodic minor). This is a very important mode to learn and we will do future articles on these. The chords that go with this mode are A minor or A minor 7, simply because in C major the sixth scale degree is the A note, and we have minor or minor 7 chords on that scale degree.
Here are 3 types of formulas for Aeolian mode:
Interval formula: Root, Major 2nd, Minor 3rd, Perfect 4th, Perfect 5th, Minor 6th, Minor 7th and Octave.
Formula using whole and half steps: Root, W, H, W, W, H, W and W.
Formula using numbering system: 1, 2, b3, 4, 5, b6, b7 and 8 (same as 1).
Using any of these formulas will end up with the same result. We apply it to the A note and get the A Aeolian mode.
B Locrian Mode
In this case we started the C major scale on B and ended it on B (B, C, D, E, F, G, A and B).
Listen to the sound of this mode.
This mode is very unstable on its own as we have a diminished or minor 7 b5 chord associated with it. The chord that goes with this mode is B diminished or B minor 7 b5 simply because in C major the seventh scale degree is B, and we have diminished or minor 7 chords on that scale degree.
Here are 3 types of formulas for Locrian mode:
Interval formula: Root, Minor 2nd, Minor 3rd, Perfect 4th, Diminished 5th, Minor 6th, Minor 7th and Octave.
Formula using whole and half steps: Root, H, W, W, H, W, W and W.
Formula using numbering system: 1, b2, b3, 4, b5, b6, b7 and 8 (same as 1).
Using any of these formulas will end up with the same result. We will apply it to B note and get B Locrian Mode!
Overview of all modes
Check out all the modes of C major scale below:
Notice how C major is same as C Ionian and pay attention to A Aeolian, as it is the same as the A natural minor scale.
In any major scale we have three major modes (Ionian, Lydian and Mixolydian) 3 minor modes (Dorian, Phrygian and Aeolian) and 1 diminished mode (Locrian). Each of these modes has characteristic notes and cadences that define them.
We will cover each of the modes individually in future parts of the Harmony and Theory Bible. With all this information I will leave you to enjoy audio examples of C major scale modes. Study each mode carefully and try to apply it in your playing.
Feel free to leave comments, ask any questions you might have, or simply share your opinion regarding this article. I will be happy to respond and help everybody.
Have fun studying this material, and I will see you in part 5 where we will be focusing on D Dorian mode and playing many audio examples and licks and teach you how to improvise using Dorian mode.
Pedja Simovic
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Related articles:
Harmony and theory bible (part 3) - Major Scale
Harmony and Theory Bible (part 2) - Chords (Triads and 4 Note Chords)
Harmony and theory bible (part 1) - Introduction to intervals and chromatic scale
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