Ionian

This mode has the same interval structure as a major scale, i.e. C Ionian is the same as C major.

C Ionian is the same as C Major

Dorian

Relative comparison

The Dorian mode (or scale) can be formed by starting on the 2nd note of any major scale and continuing up one octave using notes from the original major scale. For example, the key of C major can be used to find the notes of a dorian scale. It is not "C" dorian but some other letter name (the 2nd note of C major). By counting up the C major scale to the second note, you arrive at "D". Start on D and continue up one octave (using notes from C major) to create a D dorian scale. The scale is known as the "D" dorian mode (or scale, the terms "mode" and "scale" are used interchangeably in this chapter)

D dorian is the "relative dorian" of C major.

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To find the dorian scale that starts on "C", you simply reverse the process and use the notes of a major scale whose second note is "C". Since the distance from the first note to the second note of a Major scale is a whole step (a major 2nd), you go down a whole step from "C" to the note "Bb" and use the notes of Bb major (yet starting on C) to create a C dorian scale.

C dorian is the "relative dorian" of Bb major.

		W	W	H	W	W	W	H			W	H	W	W	W	H	W
	1	2	3	4	5	6	7	8		1	2	3	4	5	6	7	8

Musicians who frequently use the dorian scale do not rely on this process to find the notes of a dorian scale (although they are certainly aware of this relationship), but instead will study the scale with exercises that relate directly to the tonic of the scale. In other words they do not play exercises in Bb major to study the C dorian scale, but instead play exercises "custom" written in the C dorian scale. The dorian scale is one of the basic scales used by jazz performers in "modal playing", a style popularized by Miles Davis' group and others in the 1960's.

The dorian scale is commonly used in Jazz (i.e. "So What" by Miles Davis), Latin/Rock (i.e. "Oye Como Va" by Santana), Folk (i.e. "Scarboro Faire" by Simon and Garfunkel) and other styles.

So What

Oye Como Va

Scarboro Faire

Dorian is one of the scales that can be used against a dominant seventh chord (of the same root) to create a typical rock/blues guitar solo style. This style emphasizes a minor third in the solo guitar against the major third in the rhythm guitar. (Additional scales that create this effect include minor pentatonic and the blues scales discussed later)

Parallel comparison

A different perspective on the dorian scale can be gained by comparing the interval structure of the dorian scale to the interval structure of the parallel major scale. The parallel major scale has the same letter name tonic. The dorian scale could be viewed as a major scale with both a lowered third and a lowered seventh scale degree.

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Since the dorian scale has a minor third interval from the tonic to the third scale degree, it is one of the "minorish" type of modes and is often compared to natural minor. The interval formula for Dorian is similar to natural minor (of the same starting note) except that a half step occurs between 6-7 (instead of 5-6 as in natural minor). In other words, dorian is like natural minor with a raised sixth scale degree.

	W	H	W	W	H	W	W			W	H	W	W	W	H	W
	1	2	3	4	5	6	7	8		1	2	3	4	5	#6	7	8

Phrygian

Relative comparison

The Phrygian mode can be formed by starting on the 3rd note of any major scale and continuing up one octave using notes from the original major scale. For example, the key of C major can be used to find the notes of a phrygian scale. It is not "C" phrygian but some other letter name (the 3rd note of C major). By counting up the C major scale to the third note, you arrive at "E". Start on E and continue up one octave (using notes from C major) to create an E phrygian scale.

E phrygian is the "relative phrygian" of C major.

H W W W H W W

To find the phrygian scale that starts on "C", you simply reverse the process and use the notes of a major scale whose third note is "C". Since the distance from the first note to the third note of a Major scale is two whole steps (a major 3rd), you go down two whole steps from "C" to the note "Ab" and use the notes of Ab major (yet starting on C) to create a C phrygian scale.

C phrygian is the "relative phrygian" of Ab major.

Parallel comparison

The interval structure of the phrygian scale can be compared to the interval structure of the parallel major scale. The parallel major scale has the same letter name tonic. The phrygian scale could be viewed as a major scale with a lowered second, third, sixth and seventh.

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The interval formula for phrygian is similar to natural minor (of the same starting note) except that a half step occurs between 1-2 ( instead of 2-3 as in natural minor). In other words, phrygian is like natural minor with a lowered second scale degree.

	W	H	W	W	H	W	W			H	W	W	W	H	W	W
	1	2	3	4	5	6	7	8		1	b2	3	4	5	6	7	8

Probably the most common use of the phrygian mode is in Spanish Flamenco music. The phrygian scale, with its half step interval at the beginning of the scale, is used (along with some other scales) to create the Spanish Flamenco sounds. Performers who are experienced in this style are as familiar with the phrygian scale as they are with the major scale and other basic scales.

Lydian

Relative comparison

The Lydian mode can be formed by starting on the 4th note of any major scale and continuing up one octave using notes from the original major scale. For example, the key of C major can be used to find the notes of a lydian scale. It is not "C" lydian but some other letter name (the 4th note of C major). By counting up the C major scale to the fourth note, you arrive at "F". Start on F and continue up one octave (using notes from C major) to create a F lydian scale.

F lydian is the "relative lydian" of C major.

W W W H W W H

To find the lydian scale that starts on "C", you simply reverse the process and use the notes of a major scale whose fourth note is "C". Since the distance from the first note to the fourth note of a Major scale is two and a half steps (a perfect 4th) you go down two whole steps from "C" to the note "G" and use the notes of G major (yet starting on C) to create a C lydian scale.

C lydian is the "relative lydian" of G major.

Parallel comparison

The interval formula for lydian is similar to the interval structure of the parallel major scale (same tonic) except that, in lydian, a half step occurs between 4-5 (instead of 3-4 as in Major). The lydian scale is like a major scale with a raised fourth scale degree.

	W	W	H	W	W	W	H			W	W	W	H	W	W	H
	1	2	3	4	5	6	7	8		1	2	3	#4	5	6	7	8

Often Jazz players will use the lydian scale against the tonic chord in a tune that is in a Major key. As an example, if they are playing "Take the A Train" in C, either the soloist, pianist, or both, might use the C lydian scale (or chords that reflect that scale) during the times that the C Major chord is used. As stated above this is a change of one note (the F becomes F#) and that note is a characteristic sound of Jazz harmony. That sound (the note "F#" in the context of C major) is often referred to as a "#4" or a "#11" and sometimes enharmonically as a "b5.

Mixolydian

Relative comparison

The Mixolydian mode can be formed by starting on the 5th note of any major scale and continuing up one octave using notes from the original major scale. For example, the key of C major can be used to find the notes in a mixolydian scale. It is not "C" mixolydian but some other letter name (the 5th note of C). By counting up the C major scale to the fifth note, you arrive at "G". Start on G and continue up one octave (using notes from C major) to create a G Mixolydian scale.

G mixolydian is the "relative mixolydian" of C major.

W W H W W H W

To find the mixolydian scale that starts on "C", you simply reverse the process and use the notes of a major scale whose fifth note is "C". Since the distance from the first note to the fifth note of a Major scale is three and a half steps (a perfect 5th) you go down three and a half steps from "C" to the note "F" and use the notes of F major (yet starting on C) to create a C mixolydian scale.

C mixolydian is the "relative mixolydian" of F major.

Parallel comparison

The interval formula for Mixolydian is the same as for Major (of the same starting note) except that a half step occurs between 6-7 (instead of 7-8 as in Major)

	W	W	H	W	W	W	H			W	W	H	W	W	H	W
	1	2	3	4	5	6	7	8		1	2	3	4	5	6	b7	8

Much of Rock and Roll music uses Mixolydian scales or variations on mixolydian scales. "Norwegian Wood" by the Beatles is a folk style use of the mixolydian scale, while the signature guitar riff from "Daytripper" also by the Beatles is based on a variation of the mixolydian scale. Many Rock & Roll and Boogie Woogie bass lines are created using the mixolydian scale.

Norwegian Wood - Lennon/McCartney

Because the key signature is E major, the "D natural" is required to create the mixolydian mode.

Daytripper - Lennon/McCartney

E7

This example uses an extra "chromatic" note (G natural) within the context of E mixolydian.

Aeolian

The interval formula for Aeolian is the same as natural minor.

	W	H	W	W	H	W	W
	1	2	3	4	5	6	7	8

Aeolian, same as Natural Minor

See the chapter on Minor for more information concerning the Aeolian (natural minor) scale.

Christmas carols such as "God Rest ye Merry Gentlemen" and "We Three Kings" follow the aeolian (or natural minor) form. The aeolian scale is also commonly used in rock, pop, and jazz styles.

Locrian

Relative comparison

The locrian mode can be formed by starting on the 7th note of any major scale and continuing up one octave using notes from the original major scale. For example, the key of C major can be used to find the notes in a locrian scale. It is not "C" locrian but some other letter name (the 7th note of C major). By counting up the C major scale to the seventh note, you arrive at "B". Start on B and continue up one octave (using notes from C major) to create a B locrian scale.

H W W H W W W

To find the locrian scale that starts on "C", you simply reverse the process and use the notes of a major scale whose seventh note is "C". Since the distance from the seventh note back up to the tonic note of a Major scale is a half step (a minor 2nd) you go up one half step from "C" to the note "Db" and use the notes of Db major (yet starting on C) to create a C locrian scale.

Parallel comparison

The interval structure for locrian has the unique characteristic of having two half steps within the first four intervals. This creates a scale that has a diminished 5th interval from the first note to the fifth note. All of the other modes have a perfect fifth interval from the first note to the fifth note of the scale. The diminished 5th of locrian causes the tonic triad to be diminished and this is one reason this mode hasn't been used as frequently as the other modes.

In a comparison with its parallel major, the locrian scale has a lowered second, third, fifth, sixth, and seventh (everything but the fourth is lowered). The locrian scale is so far removed from the major scale sound that many people find the parallel comparison to the major scale of very little use. The comparison with its parallel natural minor is more useful.

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The locrian mode is similar to natural minor (of the same letter name) with two exceptions;

1) a half step occurs between 1-2 ( instead of 2-3 as in natural minor), and

2) a half step occurs between 4-5 (instead of 5-6 as in natural minor).

The locrian scale is like natural minor with a lowered second and a lowered fifth scale degree.

	W	H	W	W	H	W	W			H	W	W	H	W	W	W
	1	2	3	4	5	6	7	8		1	b2	3	4	b5	6	7	8

As mentioned, the locrian scale, because of its diminished fifth interval from the tonic, is not used as commonly as the other modes. It does, however, have common uses in the jazz style. It is an appropriate scale for a half-diminished seventh chord which occurs as a VII chord in a major key or as a II chord in a minor key.

F major: IV ma7 vii m7b5 I ma7

C minor: ii m7b5 V 7 i m6

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