modal | Gianni Chiarello

This is a another classic chart to understand how modes are built by comparing them to the major scale staring from the same note…you’ll see right away how D Dorian is a minor mode and how it differs from D major scale.

Printable PDF: Modes Pt3

C Ionian = C major by constitution and it is a Major mode.

C Ionian	C	D	E	F	G	A	B
C Major	C	D	E	F	G	A	B

D Dorian

D Dorian	D	E	F	G	A	B	C
D Major	D	E	F#	G	A	B	C#

As you can see the difference here is that the Dorian mode has the minor 3^rd (F natural instead of F#) and the minor 7^th (C natural). The Dorian Mode is a Minor mode

E Phrygian

E Phry	E	F	G	A	B	C	D
E Major	E	F#	G#	A	B	C#	D#

Here not only we can see the minor 3^rd and the minor 7^th but also the minor 6^th and 2^nd . This last note gives the characteristic sound to this mode. This is a minor mode.

F Lydian

F Lyd	F	G	A	B	C	D	E
F Major	F	G	A	Bb	C	D	E

A major mode with the raised 4^th (Bb raised to B natural). Quite an interesting sound, used a lot for its dream like qualities.

G Mixolydian

G Mixo	G	A	B	C	D	E	F
G Major	G	A	B	C	D	E	F#

This is called a major dominant mode, the characteristic note is the minor 7^th on a major scale.

A Aeolian

A Aeol	A	B	C	D	E	F	G
A Major	A	B	C#	D	E	F#	G#

This mode is also known as Relative minor or Natural minor. Has a minor 3^rd, minor 6^th and 7th

B Locrian

B Locr	B	C	D	E	F	G	A
B Major	B	C#	D#	E	F#	G#	A#

Maybe not as popular as the other modes, but used quite a lot in many jazz standards and similar tunes this is a minor mode with minor 2^nd , 3^rd, 6^th and 7^th. Also the characteristic note is the diminished 5^th, that makes this mode one of kind among those from the major scale.

Modes of the major scale Pt2.

In the first video I showed you all the modes from one scale (C major), where all the modes shared the same notes, each one starting from a different note. Here I’ll do something different: all my modes will start from the same note (C). Of course all these modes will belong to different major keys. This allows me to understand the structure of the modes, comparing them in a key (C) where it easier to calculate intervals. This is called the ‘parallel approach’.

C Ionian

C D E F G A B

C Dorian

C D Eb F G A Bb

C Phrygian

C Db Eb F G Ab Bb

C Lydian

C D E F# G A B

C Mixolydian

C D E F G A Bb

C Aeolian

C D Eb F G Ab Bb

C Locrian

C Db Eb F Gb Ab Bb

And, as usual, this is the nice printable PDF for you to hang on the wall: Modes of The Major scale: parallel approach

Modes of major scale pt3

Modes of major scale pt2

Modes of the major scale Pt2.