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<h1>Introduction to Modes</h1>
<p>Modes are scales built by starting the major scale on different degrees. The C major scale has seven notes; start it on each one and you get a different mode. Each mode has a distinct sound because different intervals become prominent when the root shifts. Understanding modes is understanding that scale choice is colour choice — the same seven notes, seven different musical personalities.</p>

<h2>The Concept: Rotating the Scale</h2>
<p>C major: C D E F G A B. Start this scale on D and play D E F G A B C D — that's D Dorian. The notes are identical to C major. What's different is the tonal centre: D is now home base. That means the interval from D to F (a minor 3rd) is more prominent than in C major, where D to F was just the ii chord. D Dorian sounds minor because D to F is a minor 3rd, regardless of what key the notes "belong to."</p>
<pre>
C major / C Ionian:    C D E F G A B C   → 1 2 3 4 5 6 7
D Dorian:              D E F G A B C D   → 1 2 ♭3 4 5 6 ♭7
E Phrygian:            E F G A B C D E   → 1 ♭2 ♭3 4 5 ♭6 ♭7
F Lydian:              F G A B C D E F   → 1 2 3 #4 5 6 7
G Mixolydian:          G A B C D E F G   → 1 2 3 4 5 6 ♭7
A Aeolian:             A B C D E F G A   → 1 2 ♭3 4 5 ♭6 ♭7
B Locrian:             B C D E F G A B   → 1 ♭2 ♭3 4 ♭5 ♭6 ♭7
</pre>

<h2>Two Ways to Think About Modes</h2>

<h3>The Derivative Approach</h3>
<p>Any mode derives from a parent major scale. D Dorian derives from C major (C is a whole step below D). G Mixolydian derives from C major (G is the 5th of C major). Use this to find the notes:</p>
<pre>
What notes are in A Dorian?
Dorian is the 2nd mode → parent major scale starts a whole step below A.
Whole step below A = G
G major: G A B C D E F# G
A Dorian: A B C D E F# G A  ← same notes, start on A
</pre>

<h3>The Parallel Approach</h3>
<p>Compare each mode to the major scale with the same root. D Dorian vs D major — what's different? This approach is more useful while playing because it tells you what sound is distinctive, not just what the notes are:</p>
<pre>
D major:      D E F# G A B C# D
D Dorian:     D E F  G A B C  D   ← ♭3 and ♭7

G major:      G A B  C D E F# G
G Mixolydian: G A B  C D E F  G   ← only ♭7

E major:      E F# G# A B C# D# E
E Phrygian:   E F  G  A B C  D  E  ← ♭2, ♭3, ♭6, ♭7

F major:      F G A  B♭ C D E  F
F Lydian:     F G A  B  C D E  F   ← #4 (raised 4th vs. F major's B♭)
</pre>

<h2>Modal Character Summary</h2>

<table>
  <thead><tr><th>Mode</th><th>Compared to major</th><th>Sound</th><th>Typical chord type</th></tr></thead>
  <tbody>
    <tr><td>Ionian</td><td>= major scale</td><td>Bright, resolved, home</td><td>Imaj7</td></tr>
    <tr><td>Dorian</td><td>♭3, ♭7</td><td>Minor with a lift — warm, hopeful</td><td>Im7 (jazz, funk)</td></tr>
    <tr><td>Phrygian</td><td>♭2, ♭3, ♭6, ♭7</td><td>Dark, tense, Spanish/flamenco</td><td>Im7 (flamenco, metal)</td></tr>
    <tr><td>Lydian</td><td>#4</td><td>Dreamy, floating, otherworldly</td><td>Imaj7#11</td></tr>
    <tr><td>Mixolydian</td><td>♭7</td><td>Major with blues edge — dominant</td><td>I7 (blues, rock)</td></tr>
    <tr><td>Aeolian</td><td>♭3, ♭6, ♭7</td><td>Sad, serious, natural minor</td><td>Im7 (rock, classical)</td></tr>
    <tr><td>Locrian</td><td>♭2, ♭3, ♭5, ♭6, ♭7</td><td>Unstable, dissonant, tense</td><td>Im7♭5 (half-diminished)</td></tr>
  </tbody>
</table>

<h2>How to Actually Use Modes</h2>
<p>The goal isn't to play a mode and label it — it's to choose the right colour for the chord you're over. Over a minor 7th chord, you have a choice:</p>
<pre>
Over Dm7:
  D Dorian (1 2 ♭3 4 5 6 ♭7) → warmer, raised 6th gives optimism
  D Aeolian (1 2 ♭3 4 5 ♭6 ♭7) → darker, flatted 6th
  D Phrygian (1 ♭2 ♭3 4 5 ♭6 ♭7) → intense, ♭2 is the distinguishing colour

Over G7:
  G Mixolydian (1 2 3 4 5 6 ♭7) → natural dominant, unaltered
  G altered scale (jazz melodic minor 7th mode) → maximum tension, all extensions altered

Over Fmaj7:
  F Ionian → standard, completely safe
  F Lydian (1 2 3 #4 5 6 7) → lifted, dreamy — the #4 is the colour
</pre>

<h2>Listening Examples</h2>

<table>
  <thead><tr><th>Mode</th><th>Key recordings</th></tr></thead>
  <tbody>
    <tr><td>Dorian</td><td>Miles Davis "So What," Santana "Oye Como Va," Pink Floyd "Another Brick in the Wall"</td></tr>
    <tr><td>Phrygian</td><td>Chick Corea "Spain" (intro), Metallica "Wherever I May Roam," flamenco music generally</td></tr>
    <tr><td>Lydian</td><td>John Williams (Superman theme, E.T. flying theme), Joe Satriani "Flying in a Blue Dream"</td></tr>
    <tr><td>Mixolydian</td><td>"Sweet Home Alabama," "Norwegian Wood," "Old Time Rock &amp; Roll," Grateful Dead solos</td></tr>
    <tr><td>Aeolian</td><td>"Stairway to Heaven" (intro), "Enter Sandman," "All Along the Watchtower," most metal</td></tr>
    <tr><td>Locrian</td><td>Used over half-diminished chords in jazz; Bjork's "Army of Me" approximates Locrian character</td></tr>
  </tbody>
</table>

<h2>References</h2>
<ul>
  <li>Levine — <em>The Jazz Theory Book</em></li>
  <li>Bergonzi — <em>Inside Improvisation Series</em></li>
  <li><a href="https://www.musictheory.net/lessons/23" target="_blank" rel="noopener">musictheory.net — Modes ↗</a></li>
</ul>
