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Modes II
author: Logz date: 10/03/2007 category: the basics
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:
C D E F G A B C
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:
C D E F G A B C
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:
D E F G A B C D
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: C D E F G A B C
D dorian: D E F G A B C D
E phrygian: E F G A B C D E
F lydian: F G A B C D E F
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.
D E F G A B C D
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:
1 2 3 4 5 6 7 1
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 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 7 1
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.
Ionian Mode 1 2 3 4 5 6 7 1
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
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.
4.4 What's Left? Locrian.
Okay. Now that we have found out the tonality of 6 of the 7 modes, we only have
one left to look at - Locrian. Locrian is a weird one. If we look at the 3rd and
5th intervals, they are both flattened (Minor 3rd and Diminished 5th). So which
triad does this mode fit under? We already know it can't be a Major triad, and we
know it can't be a Minor Triad. Therefore, it can only either be Diminished or
Augmented. If we look at our augmented triad, it has a Major 3rd and an Augmented
5th. So this can't be it. We need a triad which has a minor 3rd and diminished
5th. The only one which has these two, is the diminished triad. Therefore, Locrian
is a Diminished Mode.
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.
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 7 1
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