The Modes

In order, the modes of the major-scale pattern are:

1. Ionian
2. Dorian
3. Phrygian
4. Lydian
5. Mixolydian
6. Aeolian
7. Locrian

C Ionian uses C-D-E-F-G-A-B. D Dorian uses D-E-F-G-A-B-C. Both draw from the white keys, but each has a different tonic and a different arrangement of intervals above it.

Relative modes share notes and use different tonics. C Ionian and D Dorian are relative: both use the white keys.

Parallel modes share a tonic and use different notes. C Ionian and C Dorian both center on C, but C Dorian has E flat and B flat.

Use relative modes to understand how the pattern rotates. Use parallel modes to hear which scale degrees create each sound.

Compare every mode with a major scale:

Ionian, Lydian and Mixolydian contain a major third. Dorian, Phrygian and Aeolian contain a minor third. Locrian contains a minor third and diminished fifth.

Start with the nearest familiar major or minor scale.

Lydian differs from major through sharp 4. Mixolydian differs through flat 7.

Dorian differs from natural minor through major 6. Phrygian differs through flat 2.

Locrian has flat 2 and flat 5; the diminished fifth changes its tonic chord. Ionian is the major reference and Aeolian is natural minor.

One degree is useful for comparison, although the full set of intervals and harmonic context establishes the mode.

Build a triad on degree 1:

The tonic chord tells you the broad family. A characteristic degree or chord then separates modes within that family.

C Dorian can emphasize F major, whose A natural contains Dorian's major sixth. C Mixolydian can emphasize B-flat major, which contains its flat seventh.

Use a drone, pedal tone or repeated tonic chord. Begin and end phrases on the tonic and place it at strong structural points.

Avoid cadences that establish a different key. D Dorian and C major share notes, but a repeated Dm-G motion over D can support D as tonic. A strong G7-C cadence will establish C instead.

Tonal center comes from musical emphasis, not from the pitch collection alone.

Starting and ending a scale exercise on D does not automatically create D Dorian.

The harmony, bass, phrase endings and duration must support D as home. If the music continues to resolve to C, listeners will hear C major with phrases that began elsewhere.

A mode describes interval relationships around a tonic. The starting note is only one possible signal.

Match the mode to the chord tones and the harmonic role.

C Dorian contains C-E flat-G-B flat, so it fits Cm7 and adds D, F and A as extensions. A natural distinguishes it from C Aeolian.

C Mixolydian contains C-E-G-B flat, matching C7. Its flat seventh supports a dominant-seventh sonority without requiring that C7 resolve as V of F.

When chords change functionally, follow the progression instead of forcing one mode across every bar.

Dorian appears in jazz, funk, folk and modal dance grooves. Mixolydian is common in rock, blues-related harmony and folk.

Lydian appears in film music and bright major passages with sharp 4. Phrygian appears in metal, flamenco-related contexts and music emphasizing flat 2.

The historical church modes and modern modal practice are related terms with different conventions. This page uses the common modern major-scale modes.

Hold a C drone and play C major. Change only F to F sharp for C Lydian, then return to C major.

Change B to B flat for C Mixolydian. Next compare C natural minor with C Dorian by changing A flat to A natural, and with C Phrygian by changing D to D flat.

Name the altered degree before you play it. Then create a two-chord vamp that includes that degree.