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<h1>The Seven Modes</h1>
<p>The seven modes of the major scale are the same seven notes with a different root each time, which changes which intervals are prominent and gives each mode a completely different sound. The key to using modes is knowing what they sound like, not just how to construct them. Theory without ear is just notation.</p>

<h2>All Seven Modes — Reference</h2>

<table>
  <thead><tr><th>Mode</th><th>Degree</th><th>From C major</th><th>Step pattern</th><th>Formula vs major</th></tr></thead>
  <tbody>
    <tr><td>Ionian</td><td>1st</td><td>C D E F G A B</td><td>W-W-H-W-W-W-H</td><td>= major scale</td></tr>
    <tr><td>Dorian</td><td>2nd</td><td>D E F G A B C</td><td>W-H-W-W-W-H-W</td><td>♭3, ♭7</td></tr>
    <tr><td>Phrygian</td><td>3rd</td><td>E F G A B C D</td><td>H-W-W-W-H-W-W</td><td>♭2, ♭3, ♭6, ♭7</td></tr>
    <tr><td>Lydian</td><td>4th</td><td>F G A B C D E</td><td>W-W-W-H-W-W-H</td><td>#4</td></tr>
    <tr><td>Mixolydian</td><td>5th</td><td>G A B C D E F</td><td>W-W-H-W-W-H-W</td><td>♭7</td></tr>
    <tr><td>Aeolian</td><td>6th</td><td>A B C D E F G</td><td>W-H-W-W-H-W-W</td><td>♭3, ♭6, ♭7</td></tr>
    <tr><td>Locrian</td><td>7th</td><td>B C D E F G A</td><td>H-W-W-H-W-W-W</td><td>♭2, ♭3, ♭5, ♭6, ♭7</td></tr>
  </tbody>
</table>

<h2>Finding Any Mode — Parallel Method</h2>
<p>The most practical way to figure out mode notes while playing: start from the major scale of the same root and apply the alterations:</p>
<pre>
E Phrygian: start with E major (E F# G# A B C# D#)
            Phrygian formula: ♭2 ♭3 ♭6 ♭7
            Lower F# → F, G# → G, C# → C, D# → D
            E Phrygian: E F G A B C D  ✓

B♭ Lydian: start with B♭ major (B♭ C D E♭ F G A)
           Lydian formula: #4
           Raise E♭ → E♮
           B♭ Lydian: B♭ C D E F G A  ✓

A Mixolydian: start with A major (A B C# D E F# G#)
              Mixolydian formula: ♭7
              Lower G# → G♮
              A Mixolydian: A B C# D E F# G  ✓
</pre>

<h2>What Each Mode Sounds Like and Where It's Used</h2>

<h3>Ionian (Major)</h3>
<p>Bright, happy, completely resolved. The default sound of Western music — everything from folk songs to pop choruses to classical themes. Use over Imaj7 chords when you want the most straightforward major sound.</p>
<pre>Examples: "Joy to the World," most folk songs, major key pop choruses</pre>

<h3>Dorian</h3>
<p>Minor with a lift. The raised 6th (compared to natural minor) gives it an optimistic, almost hopeful quality despite being a minor mode. The most widely used minor mode in jazz and funk.</p>
<pre>Examples: Miles Davis "So What," Santana "Oye Como Va," Carlos Santana's
improvisational style generally; most jazz minor improvisation defaults to Dorian</pre>

<h3>Phrygian</h3>
<p>Dark and intense. The flatted 2nd (half step above the root) is its defining characteristic — it gives a Spanish, flamenco, or Middle Eastern flavour. Phrygian Dominant (3rd mode of harmonic minor) amplifies this further.</p>
<pre>Examples: Chick Corea "Spain" intro, flamenco music generally,
Metallica "Wherever I May Roam," metal guitar riffs</pre>

<h3>Lydian</h3>
<p>Dreamy and floating. The raised 4th (tritone against the root) creates an ambiguous, lifted quality — it sounds like it wants to float away but doesn't resolve. Film composers love it for magical or otherworldly scenes.</p>
<pre>Examples: John Williams (Superman theme, E.T. flying theme, much of Star Wars),
Joe Satriani "Flying in a Blue Dream," Yanni</pre>

<h3>Mixolydian</h3>
<p>Major with a flatted 7th — the "dominant" sound. It's the natural scale over a dominant seventh chord. Rock, blues, country, and folk music use it constantly. The ♭7 gives a blues edge to an otherwise major scale.</p>
<pre>Examples: "Sweet Home Alabama," "Norwegian Wood," "Old Time Rock &amp; Roll,"
"What I Got" (Sublime), blues-rock guitar solos, most Rolling Stones</pre>

<h3>Aeolian (Natural Minor)</h3>
<p>Sad, serious, introspective — the default minor sound in rock and classical. Beethoven's minor-key symphonies, metal, minor-key pop ballads. Three notes differ from major (♭3, ♭6, ♭7).</p>
<pre>Examples: "Stairway to Heaven" (main sections), "Enter Sandman,"
"All Along the Watchtower," Beethoven's Fifth Symphony, most rock ballads</pre>

<h3>Locrian</h3>
<p>Unstable and tense — the diminished 5th makes the tonic feel unresolved and unsettled. Almost never used as the centre of gravity in a piece; it appears most often as the mode over a half-diminished chord (m7♭5) in jazz, where the instability is intentional and brief.</p>
<pre>Use case: soloing over the ii° chord in a minor ii°-V7-i progression
Example: Dm7♭5 in a minor key context (A natural minor: Dm7♭5-E7-Am)</pre>

<h2>Modes on the Same Root (A, for comparison)</h2>

<table>
  <thead><tr><th>Mode</th><th>A mode notes</th><th>Distinguishing note vs A major</th></tr></thead>
  <tbody>
    <tr><td>A Ionian</td><td>A B C# D E F# G#</td><td>= A major</td></tr>
    <tr><td>A Dorian</td><td>A B C D E F# G</td><td>C♮ (♭3), G♮ (♭7); F# retained (bright 6th)</td></tr>
    <tr><td>A Phrygian</td><td>A B♭ C D E F G</td><td>B♭ (♭2) — the defining Phrygian colour</td></tr>
    <tr><td>A Lydian</td><td>A B C# D# E F# G#</td><td>D# (raised 4th / #4) — floating quality</td></tr>
    <tr><td>A Mixolydian</td><td>A B C# D E F# G</td><td>G♮ (♭7) — dominant 7th sound</td></tr>
    <tr><td>A Aeolian</td><td>A B C D E F G</td><td>C♮ (♭3), F♮ (♭6), G♮ (♭7)</td></tr>
    <tr><td>A Locrian</td><td>A B♭ C D E♭ F G</td><td>B♭ (♭2), E♭ (♭5) — maximum darkness</td></tr>
  </tbody>
</table>

<h2>The Practical Takeaway</h2>
<p>Derivative thinking (modes come from the parent major scale) is useful for understanding construction. Parallel thinking (each mode is a modified major scale from the same root) is more useful while playing. Over any chord in a progression, ask: what colour does this moment need? Major? Use Ionian or Lydian. Dominant? Use Mixolydian. Minor with lift? Dorian. Dark minor? Aeolian. The theory follows the ear.</p>

<h2>References</h2>
<ul>
  <li>Levine — <em>The Jazz Theory Book</em></li>
  <li>Bergonzi — <em>Inside Improvisation Series, Vol. 2 (Pentatonics)</em></li>
  <li><a href="https://www.musictheory.net" target="_blank" rel="noopener">musictheory.net ↗</a></li>
</ul>
