18: Modern Modes

 

So far, we have seen five different scales: major, natural minor, melodic minor, harmonic minor, and Dorian. Dorian is unique among the five in that it is always called a “mode.” But the truth is that major and natural minor are also modes.

The modern modes are all built from the major scale, which is itself one of the seven modern modes. For the sake of simplicity, let’s go with the notes of C major for all of the following examples.

The Ionian mode is the major scale itself, so C D E F G A B C.

The Dorian mode uses the same notes, but starts on the second degree, so D E F G A B C D. This, again, is natural minor with a raised sixth.

The Phrygian mode uses the same notes, but starts on the third degree, so E F G A B C D E. This is new and is equivalent to natural minor with a flat second.  

The Lydian mode uses the same notes but starts on the fourth degree, so F G A B C D E F. This is new and is equivalent to major with a raised fourth.

The Mixolydian mode uses the same notes but starts on the fifth degree, so G A B C D E F G.
This is new and is equivalent to major with a flat seventh degree. The mixolydian will become very important when we expand beyond just triads.

The Aeolian mode is natural minor, so A B C D E F G A.

The Locrian mode uses the same notes but starts on the seventh degree, so B C D E F G A B. Note that Locrian is the only mode whose tonic triad is not I or i, but i°, making it exceedingly rare. This is new and equivalent to minor with a lowered second and fifth.

Ionian, Lydian, and Mixolydian are all major-type, since their tonic triads are major. Dorian, Phrygian, and Aeolian are all minor-type, since their tonic triads are minor. Locrian, as I said, is the black sheep of the bunch since its tonic triad is neither major nor minor, so it’s neither major-type nor minor-type.

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