Jazz Theory 14 MODES of the Major scale What is a Mode ? The ancient Greek modes Modern approach to the Greek modes The Dorian mode The Phrygian mode The Lydian mode The Mixolydian mode The Aeolian mode The Locrian mode Quiz - Quiz Answers Ear test 21 - Answers Lesson Material - General files Jazz Theory lessons online

JT 14.1 - What is a Mode ?

Listen to following melody and observe its notation :

Audio 1

The composition uses only the white notes of the piano, but it is clearly not written in the key of C major.
The melody sounds distinctly minor, and the key centre, the tonic, is the note E.

The melody is therefore derived from this scale :

Audio 1

This scale is called the E Phrygian mode.
It uses the same notes as the C major scale, but the tonic of the scale is E, not C.

What is the difference, you might ask ?
Each note of a scale (or a melody) is heard in relation to the most important tone of that scale, the tonic note.
This is the musical reference point or key centre for the melody.
The interval each scale-tone forms with the tonic of the scale is a characteristic element of the range of sounds that scale produces.

The C major scale and E Phrygian mode contain the same scale-tones, but their key centres are at a different place in relation to the two semitones in the scale.
This results in different interval qualities between the various scale tones and the tonic note.

Audio 2

A mode is therefore a displaced scale.
It uses the same notes as the mother scale but the tonic note is different. This produces a different musical flavour which is unique for that mode.

JT 14.2 - The ancient Greek modes

The Greek Pythagoras (± 550 BC) defined the notes A - B - C - D - E - F - G which became the full range of notes used in the ancient Greek musical system. They now form the seven white notes on our present day keyboard.

From these seven notes the Greeks gradually developed the seven modes.
Each mode consisted of the same seven notes but had its own unique tonic. Any single note melody line (later known as plainsong) composed from a particular mode exhibited the musical flavour of that mode.
Each mode was named after the Greek region (or people) from which it was derived or where it was particularly popular.

The seven modes are :

Mode name Tonic Notes (C) Ionian mode C C - D - E F - G - A - B C (D) Dorian mode D D - E F - G - A - B C - D (E) Phrygian mode E E F - G - A - B C - D - E (F) Lydian mode F F - G - A - B C - D - E F (G) Mixolydian mode G G - A - B C - D - E F - G (A) Aeolian mode A A - B C - D - E F - G - A (B) Locrian mode B B C - D - E F - G - A - B (Semitone intervals shown in red.)

Audio 3

Memorise the mode names by relating them to a sentence like this one :

The Greek modes were in due course adopted (and modified) by the early Christian church and as a result dominated the Western music culture for over 1100 years.

The original Greek modes were modified in several stages : first into four, then into eight and finally into twelve Church modes for use in the Christian church. First stage by the Bishop of Milan, St.Ambrose (± 350 AD), the second by Pope Gregory the Great (± 550 AD), and the last one by the Swiss monk Henricus Glareanus in 1547. Glareanus unfortunately mixed up the Greek names for the seven original modes, so that the present names do no longer match up with the initial Greek notations. Thankfully the names live on and pay tribute to the enormous contribution the ancient Greek culture has made to Western music for over 2000 years. Following the gradual addition of the black notes (on the keyboard) to our musical system, the acceptance of the tempered tuning system (so strongly promoted by J.S.Bach), and the emergence of music harmony, the Greek modes started to break up. Only two modes remained : the Ionian mode became our present major scale, and the Aeolian mode was used to produce the various minor scales.

In Jazz improvisation (see Lesson 15) the modes are used for improvisation over individual chords.

Also, as our Western music culture appears to have exhausted all avenues of directional harmony (based on the Circle of Fifths), there is a return to modal music, but this time with a contemporary perspective.

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JT 14.3 - Modern approach to the Greek modes

With our present twelve note music system we can transpose the original white key modes of the Greek system to all twelve keys.

JT 14.4 - The Dorian mode

The Dorian mode is derived from the major scale one whole tone below its tonic.

Shown below are the D Dorian mode (derived from the C major scale) and the C Dorian mode (derived from the Bb major scale).

(The flat (b) in front of a note number indicates it is a semitone lower compared to the corresponding note number of the major scale.)

Audio 5

The characteristic features of the Dorian mode are its minor 3rd (D-F, C-Eb) and minor 7th (D-C, C-Bb) intervals. The minor 3rd makes this mode a distinctly minor scale.

The Dorian mode is extensively used in Jazz improvisation over most minor chords.

Chordal instruments can delineate the sound of the Dorian mode by alternating between the Im and the IIm triad chords :

• for D Dorian mode : Dm <---> Em
• for C Dorian mode : Cm <---> Dm

JT 14.5 - The Phrygian mode

The Phrygian mode is derived from the major scale a major 3rd (two whole tones) below its tonic.

Shown below are the E Phrygian mode (derived from the C major scale) and the C Phrygian mode (derived from the Ab major scale).

Audio 6

The Phrygian mode contains a minor 2nd (E-F, C-Db), a minor 3rd (E-G, C-Eb), a minor 6th (E-C, C-Ab), and a minor 7th (E-D, C-Bb) interval.

The minor 3rd makes this mode a distinctly minor scale.
The most striking feature is its semitone interval between the tonic and second note.

The most famous application of the Phrygian mode is in the Spanish flamenco music, which characteristic flavour is entirely due to the Phrygian sound.

Chordal instruments can delineate the sound of the Phrygian mode by alternating between the Im and the bII triad chords :

• for E Phrygian mode : Em <---> F
• for C Phrygian mode : Cm <---> Db

JT 14.6 - The Lydian mode

The Lydians, after whom this mode was named, were probably the first people on earth who introduced (± 800 BC ?) a payment system based on coins.

The Lydian mode is derived from the major scale a perfect 5th above - or a perfect 4th (5 semitones) below - its tonic.

Shown below are the F Lydian mode (derived from the C major scale) and the C Lydian mode (derived from the G major scale).

Audio 7

The defining features of the Lydian mode are the major 3rd (F-A, C-E) and the augmented 4th (F-B, C-F#) intervals. The major 3rd gives the Lydian mode a distinctly major sound.

The raised 4th (tritone) gives it a bright contemporary sound. Modern musicians use the Lydian mode therefore quite commonly for improvisation over all major chords.

Chordal instruments can delineate the sound of the Lydian mode by alternating between the I and the II triad chords :

• for F Lydian mode : F <---> G
• for C Lydian mode : C <---> D

JT 14.7 - The Mixolydian mode

The Mixolydian mode is derived from the major scale a perfect 4th (5 semitones) above - or a perfect 5th below - its tonic.

Shown below are the G Mixolydian mode (derived from the C major scale) and the C Mixolydian mode (derived from the F major scale).

Audio 8

The defining features of the Mixolydian mode are the major 3rd (G-B, C-E) and the minor 7th (G-F, C-Bb) intervals. These two intervals give the mode the characteristic dominant sound.

The Mixolydian mode is extensively used in Jazz improvisation over most dominant 7th chords..

Chordal instruments can delineate the sound of the Mixolydian mode by alternating between the I and the bVII triad chords :

• for G Mixolydian mode : G <---> F
• for C Mixolydian mode : C <---> Bb

JT 14.8 - The Aeolian mode

The Aeolian mode is derived from the major scale a minor 3rd (3 semitones) above its tonic.

Shown below are the A Aeolian mode (derived from the C major scale) and the C Aeolian mode (derived from the Eb major scale).

Audio 9

The Aeolian mode contains a minor 3rd (E-G, C-Eb), a minor 6th (E-C, C-Ab), and a minor 7th (E-D, C-Bb) interval.

The minor 3rd makes this mode a distinctly minor scale.
The minor 6th interval distinguishes it from the Dorian mode

The Aeolian mode is perhaps better known as the natural minor scale.
Its key signature is the 'official' minor key signature. It is the 'related minor scale' of the major scale with the same key signature (A minor is related to C major, C minor is related to Eb major, etc.)

Chordal instruments can delineate the sound of the Aeolian mode by alternating between the Im and the IIdim triad chords :

• for A Aeolian mode : Am <---> Bdim
• for C Aeolian mode : Cm <---> Ddim

JT 14.9 - The Locrian mode

The Locrian mode is derived from the major scale one semitone above its tonic.

Shown below are the B Locrian mode (derived from the C major scale) and the C Locrian mode (derived from the Db major scale).

Audio 10

The Locrian mode contains a minor 2nd (B-C, C-Db), a minor 3rd (B-D, C-Eb), a diminished 5th (B-F, C-Gb), a minor 6th (B-G, C-Ab), and a minor 7th (B-A, C-Bb) interval.

The minor 3rd combined with the diminished 5th give the Locrian mode a distinctly diminished sound.
It has like the Phrygian mode a semitone interval between the tonic and second note of the mode, but the diminished 5th sets it apart from all this and all other modes.

The Locrian mode is used for improvisation over diminished triads and half diminished chords.

Chordal instruments can delineate the sound of the Locrian mode by alternating between the Idim and the bII triad chords :

• for B Locrian mode : Bdim <---> C
• for C Locrian mode : Cdim <---> Db

JT 14.10 - Quiz

A.
1. What is a scale ?
2. What is a mode ?
3. Is the distinction between a scale and a mode an essential one or more a Historic one ?

B.
1. What is the characteristic feature of the Lydian mode (compared to the major scale) ?
2. What are the original Greek mode names for our present major scale and natural minor scale ?
3. What characteristic feature have the Phrygian mode and Locrian mode in common ?

C.
From which major scales are the following Locrian modes derived ?
1. A Locrian
2. F# Locrian
3. E Locrian
4. G# Locrian
5. D Locrian

D.
Convert the following major scales into Lydian modes by altering one note.
1. C D E F G A B C
2. Bb C D Eb F G A Bb
3. E F# G# A B C# D# E
4. G A B C D E F# G
5. Eb F G Ab Bb C D Eb

E.
Convert the following major scales into Aeolian modes by selecting a different tonic note (but using all the same notes).
1. C D E F G A B C
2. Bb C D Eb F G A Bb
3. E F# G# A B C# D# E
4. G A B C D E F# G
5. Eb F G Ab Bb C D Eb

F.
Identify the following modes.
1. E F G A Bb C D E
2. F G Ab Bb C D Eb F
3. A B C# D E F# G A
4. Bb C D E F G A Bb
5. D Eb F G A Bb C D

G.
Mark the Lydian mode in all keys on the Keyboard Diagrams.

Use the formula : - t - t - t - s - t - t - s -

H.
Write the notes and note numbers of the Lydian mode in all keys on the Scale Letters Diagrams.

Use the note numbers : 1 - 2 - 3 - #4 - 5 - 6 - 7 - 1

JT 14.11 - Ear test 21

There are three different modes in the Ear test.

1. C Major scale (Ionian mode) 2. Lydian mode 3. C Mixolydian mode

- t - t - s - t - t - t - s - - t - t - t - s - t - t - s - - t - s - t - t - t - s - t -

(1 - 2 - 3 - 4 - 5 - 6 - 7 - 1) (1 - 2 - 3 - #4 - 5 - 6 - 7 - 1) (1 - 2 - 3 - 4 - 5 - 6 - b7 - 1)

Here a Demo which plays the three modes in above order (twice).

Single Items test
Each number plays one of the three modes, all starting on the tonic note C :

Ear test 21 - modes.
Each mode is played twice : first up only, then up and down.
(The Tonic note for each mode is different this time.)

JT 14.12 - Lesson Material