A BEGINNER GUIDE TO MODES Here are a few charts to help break down modes, including scale patterns, chord patterns, and the characteristic “colour note / chord” within each scale. Just like with the idea of parallel major and minor scales, you can choose to write solely within one scale (say, D dorian), OR you can borrow a chord from a parallel mode while still using chords from your original scale (i.e., writing in F minor [aeolian] and using a Db major chord, but also using a Bb major chord, borrowed from Dorian mode).
The Modes by Numeric Pattern (Rose boxes indicate the scale’s ‘colour note’ or what gives it its character; blue boxes show a potential secondary colour note.) MODE 1 2 3 4 5 6 7
IONIAN 1 2 3 4 5 6 7
DORIAN 1 2 b3 4 5 6 b7
PHRYGIAN 1 b2 b3 4 5 b6 b7
LYDIAN 1 2 3 #4 5 6 7
MIXOLYDIAN 1 2 3 4 5 6 b7
AEOLIAN 1 2 b3 4 5 b6 b7
LOCRIAN 1 b2 b3 4 b5 b6 b7
IONIAN mode is the major scale, so this mode begins on the 1st degree of the major scale. DORIAN mode begins on the 2nd scale degree of the relative ionian mode (major scale) PHRYGIAN mode begins on the 3rd scale degree of the relative ionian mode (major scale) LYDIAN mode begins on the 4th scale degree of the relative ionian mode (major scale) MIXOLYDIAN mode begins on the 5th scale degree of the relative ionian mode (major scale) AEOLIAN mode (minor scale) begins on the 6th degree of the relative ionian mode (major scale). LOCRIAN mode begins on the 7th degree of the relative ionian mode (major scale).
Kerry Leva - A Beginner Guide to Modes !November 2015 So, using the B major scale (ionian mode) as a point of reference, here’s how that breaks down (with colour notes indicated as they have been above):
MODE 1st note 2nd note 3rd note 4th note 5th note 6th note 7th note
DORIAN C# D# E F# G# A# B
PHRYGIAN D# E F# G# A# B C#
LYDIAN E F# G# A# B C# D#
MIXOLYDIAN F# G# A# B C# D# E
AEOLIAN G# A# B C# D# E F#
LOCRIAN A# B C# D# E F# G#
SCALE PATTERNS
MODE 1 2 3 4 5 6 7 1
IONIAN R W W H W W W H
DORIAN R W H W W W H W
PHRYGIAN R H W W W H W W
LYDIAN R W W W H W W H
MIXOLYDIAN R W W H W W H W
AEOLIAN R W H W W H W W
LOCRIAN R H W W H W W W
Kerry Leva - A Beginner Guide to Modes !November 2015 The Chords Within Each Scale (A rose box highlights the “colour chord” of each scale, with a blue box showing a potential secondary colour chord.)
MODE 1 Chord 2 Chord 3 Chord 4 Chord 5 Chord 6 Chord 7 Chord
IONIAN Major Minor Minor Major Major Minor Diminished
DORIAN Minor Minor Major Major Minor Diminished Major
PHRYGIAN Minor Major Major Minor Diminished Major Minor
LYDIAN Major Major Minor Diminished Major Minor Minor
MIXOLYDIAN Major Minor Diminished Major Minor Minor Major
AEOLIAN Minor Diminished Major Minor Minor Major Major
LOCRIAN Diminished Major Minor Minor Major Major Minor
The Chords Expressed as Roman Numerals (Note: a ‘b’ before a Roman numeral indicates ‘flat,’ or a minor interval from the root of the scale.) MODE 1 Chord 2 Chord 3 Chord 4 Chord 5 Chord 6 Chord 7 Chord
IONIAN I ii iii IV V vi vii°
DORIAN i ii bIII IV v vi° bVII
PHRYGIAN i bII bIII iv v° bVI bVII
LYDIAN I II iii iv° V vi vii
MIXOLYDIAN I ii iii° IV v vi VII
AEOLIAN i ii° bIII iv v bVI bVII
LOCRIAN i° bII biii iv bV bVI bvii
Kerry Leva - A Beginner Guide to Modes !November 2015 Remember, all of these “modes” are simply contrived by taking the exact order of notes that are found in a major (or minor) scale and starting the pattern from a different note other than the ‘root.’ By making, for example, E the root of your scale and playing through the C major scale starting on E, you get a different-sounding scale and different possible chord progression ideas, since E becomes your root, and your ‘1’ chord now is Em, not C major.
Some examples of modal songs: Radiohead, ‘Everything In Its Right Place’ (C Phrygian, but with a I chord instead of a i chord) Kendrick Lamar, ‘How Much A Dollar Cost’ (F Phrygian, but also with a I chord instead of a i chord) Coldplay, ‘Clocks’ (Eb Mixolydian - many of Coldplay’s songs are written in Mixolydian mode) Imagine Dragons, ‘Radioactive’ (B Dorian) Hybrid, ‘Formula Of Fear;’ ‘Just For Today;’ ‘Choke;’ ‘Break My Soul’ - all of their songs are great examples of advanced harmonic composition, as they constantly borrow chords from parallel scales (for example, a I chord with a IV chord and a bII and a bVII chord).
Kerry Leva - A Beginner Guide to Modes !November 2015