The Derivation of Modes©2010 Mermikides

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The major scale has a particular pattern of tones and semitones.

I

tone

II

tone

III

semitone

IV

tone

V

tone

VI

tone

VII

semitone

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Since these intervals are not regular, we get a different pattern, and set of scale degreesdepending from which of the 7 notes we start with. Each of these 7 starting pointsgives a 'mode' of the major scale and each has its own distinct and beautiful character, harmonic language and repertoire.

tone

Mode 1: Starting on the 1st degree: Ionian. In this case: C Ionian (C, D, E, F, G, A, B) with degrees (R, 2, 3, 4, 5, 6, 7)Identical, of course, to the major scale.

semitone

2. DORIAN

1. IONIAN

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tone

Mode 2: Starting on the 2nd degree: Dorian. In this case: D Dorian (D, E, F, G, A, B, C) with degrees (R, 2, b3, 4, 5, 6, b7)Natural minor with a 'sweet' and 'funky' major 6th.

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Mode 3: Starting on the 3rd degree: Phrygian. In this case: E Phrygian (E, F, G, A, B, C, D) with degrees (R, b2, b3, 4, 5, b6, b7)Natural minor with a 'sinister' and 'moorish' minor 2nd.

tone

3. PHRYGIAN

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Mode 4: Starting on the 4th degree: Lydian. In this case: F Lydian (F, G, A, B, C, D, E) with degrees (R, 2, 3, #4, 5, 6, 7)Major with a 'bright' and 'magical' raised (augmented) 4th.

4. LYDIAN

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Mode 5: Starting on the 5th degree: Mixolydian. In this case: G Mixolydian (G, A, B, C, D, E, F) with degrees (R, 2, 3, 4, 5, 6, b7)Major with a 'bluesy' and 'majestic' flattened 7th.

semitone

5. MIXOLYDIAN

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Mode 6: Starting on the 6th degree: Aeolian. In this case: A Aeolian (A, B, C, D, E, F, G) with degrees (R, 2, b3, 4, 5, b6, b7)Just like natural minor but without the alteration of the 6th and 7th degrees as found in typical tonal harmony. Aeolian is a 'bleak' and 'sorrowful' mode.

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6. AEOLIAN

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semitone

Mode 7: Starting on the 7th degree: Locrian. In this case: B Aeolian (B, C, D, E, F, G, A) with degrees (R, b2, b3, 4, b5, b6, b7)Phrygian with a flattened 5th. Locrian's diminished quality is 'demonic' and 'twisted'.

tone

7. LOCRIAN

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Use the 'root chord' regularly e.g. A minor or Aminor 7 in A Aeolian.This should occur on strong beats and bars (Every downbeat, or on every 2 or 4 bars for example)

Since 7 modes are derived from one scale, they all share the same notes,and diatonic chords. How then can we make, for example D Dorian sound differentto E Phrygian or F Lydian? Here are 5 methods to help write effective chord progressions.You don't need to use them all, but they are excellent principles.

A aeolian: Root chord appears on the downbeat every 2 bars, solidifying mode.

A‹ D‹

Writing Modal Chord Progressions

1. Return to Root Chord often

FŒ„Š7 E‹7 A‹7 G F G

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By keeping the root of the mode constantly below diatonic chords, the mode is clearly established.

F Lydian: Root of mode is kept as a pedal tone below diatonic chords, solidifying mode.

FŒ„Š7 G/F A‹7/F

2. Use a Pedal Tone

G/F FŒ„Š7 G/F A‹7/F E‹7/F

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By keeping the root of the mode constant above a modal bassline, the mode is clearly established.G mixolydian: Root chord of G is kept constant while the bass line outlines important notes of the mode.

G G/F

3. Static root chord with modal bass line

4. Non-triadic harmony

G/E G/F G G/F G/E G/C G/F

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Discover the 'character' chords of the mode - the chords that best describe themode and show its unique identity - and use them. The melody should also containthe character notes of each mode, and return to the root often. The character notes and chords are described for 5 very useful modes below.

To avoid tonal references, chords can be constructed in 2nd, 4ths, 5ths and 7ths(and combinations there of) rather than just 3rdsD Dorian: These chords are built in 4ths creating a more 'open'D‹11 E‹11

5. Character

CŒ„Š11 E‹11

V V V V V V V V V V V V V V V V

V V V V V V V V V V V V V V V V

V V V V V V V V V V V V V V V V

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Root

Let's look at the dorian mode, and choose A dorian so we can easily see its relationshipto A natural minor. Since A dorian is derived from G major (the 2nd mode of G major) we'll use one sharp in the key signature. However A (and not G) should be considered the root, and we'll work out allscale degrees and chords with A as the root. The scale degrees are (R,2,b3,4,5,6,b7)

A Dorian

Maj2 Min3

Ä

Dorian

P4 P5

( )

Maj6

Ä

Min7 Octave

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Im

Note that Dorian is different from natural minor in that it has a major 6th (not minor 6th) - in this case F# not FThis is its character note. In fact it is the presence of both a minor 3rd and major 6th that gives much of Dorian's vibe.

A Dorian

Here are the triads of A Dorian , together with a ('US') roman numeral analysis. Chords containing the character major 6th (F#) are underlined. The IIm and IV are the most commondorian modal chords (the VIº ir unstable and not commonly found)

A‹

IIm

B‹

bIII

C

IV

D

Vm

E‹

VIº

F©º

bVII

G

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Im7

A Dorian

And here are the 7th chords with roman numeral analysis. A very common and effective Dorian chord is the IV7, as it contains both the minor 3rd and major 6th of the mode.Of the seventh chords IIm7, IV7 are the most often used to describe Dorian modality, but most ofthe other diatonic chords may be found in progressions. In addition the Im6 is chord is often used.

There are may examples of the Dorian mode in popular music here are a few:

So What - Miles Davis (alternates between D Dorian and Eb Dorian)Scarborough Fair and Drunken Sailor traditional songs,Pink Floyd 'Another Brick in the Wall' ( D Dorian:Dm7, F, C, G Im7, bIII, bVII, IV)The classic arpeggio of 'Sine On You Crazy Diamond' (G dorian. and most of the 'Dark Side of the Moon' album (E Dorian: Em (or Emadd9,Em7) to A7-Im to IV7)The opening riff of Lenny Kravitz' 'Always On the Run' (E dorian)Beatles - Eleanor Rigby (Verse melody in E dorian)Joe Satriani - 'Ice 9' opening melody (C# dorian)Loads of funk tunes: eg 'Brick House' - Commodores 'Le Freak' Chic Moondance - Van Morrison. The verses are Am Bm/A C/A Bm/AOye Como Va - Santana (Am D7 -Im IV7)

A‹7

IIm7

B‹7

bIIImaj7

CŒ„Š7

IV7

D7

Vm7

E‹7

VIø7

F©‹7(b5)

bVIImaj7

GŒ„Š7

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Root

Now Let's look at the 3rd mode, the phrygian mode, and choose A phrygian so we can easily see its relationshipto A. Since this is derived from F major (the 3rd mode of F major) we'll use one flat in the keysignature. However A (and not F) should be considered the root, and we'll work out allscale degrees and chords with F as the root. The scale degrees are (R,b2,b3,4,5,b6,b7)

A Phrygian

( )Min2

Ä

Min3

Phrygian

P4 P5 Min6 Min7 Octave

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Im

A Phrygian

Note that Phrygian is different from natural minor in that it has a minor 2nd (not major 2nd) - in this case Bb not BThis is the character note of Phrygian which gives it its unique 'flamenco' quality.

Here are the triads of A Phrygian , together with a ('US') roman numeral analysis. Chords containing the character minor 2nd (Bb) are underlined. The bIIm and bVIIm are the most commonphrygian modal triads (the Vº if unstable and not commonly used)

A‹

bII

B¨

bIII

C

IVm

D‹

Vº

Eº

bVI

F

bVIIm

G‹

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Im7

Here are the seventh chords of A phrygian with roman numeral analysis.Of the seventh chords bIImaj7 and bVIIm7 are the most often used to describe Phrygian modality, but most ofthe other diatonic chords may be found in progressions. In additional the Im(addb9) chord is also used. Also note that 'power chords' (chords with just roots and fifths) are found in Phrygian (and other modal) contexts.

A Phrygian

There are may examples of the Phrygian mode in popular music, particularly when 'spanish' andsinister atmospheres are required. Here are a few:

White Rabbit - Jefferson Airplane. (F#5 and G5 and the notes from F# phrygian are used)

Symphony of Destruction - Megadeth (the opening riff uses E5, F5 and G5 from E Phrygian)

The God That Failed - Metallica (Eb5, Fb5, Gb5, Bb5 from Eb Phrygian)

War - Joe Satriani (E5 and Fmaj7(#11) from E phrygian)

A‹7

bIImaj7

B¨Œ„Š7

bIII7

C7

IVm7

D‹7

Vm7(b5)

E‹7(b5)

VIø7

FŒ„Š7

bVIIm7

G‹7

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Root

The 4th mode of the major scale, the Lydian mode, is often found in film soundtracks for its 'floating' and'magical' quality. The lydian mode can be derived from C major from F to F. If we calculate Lydian with a root of C,we can easily see how it compares to a major scale. In this casewe get an F# instead of an F. Lydian is a major scale with a raised (augmented) 4th. (R, 2, 3, #4, 5, 6, 7)

C Lydian

Maj2 Maj3

( )

Lydian

#4

Ä

P5 Maj6 Maj7 Octave

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I

C Lydian

Note that Lydian is different from major in that it has an augmented 4th (not perfect 4th) - in this case F# not FThis is the character note of Lydian which gives it its unique 'magical' quality.

Here are the triads of C Lydian , together with a ('US') roman numeral analysis. Chords containing the character augmented 4th (F#) are underlined. The II and VIIm are the most commonlydian modal triads (the #IVº if unstable and not commonly used)

C

II

D

IIIm

E‹

#IVº

F©

V

G

VIm

A‹

VIIm

B‹

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Imaj7

Here are the seventh chords of C lydian with roman numeral analysis.Of the seventh chords II7 (often in 3rd inv.), Vmaj7 and VIIm7 are the most often used to describe Lydian modality, but most of the other diatonic chords may be found in progressions. In addition the Imaj7(#11) chord is also used.

C Lydian

There are many examples of the Lydian mode in popular and film music, particularly when a floating andmagical atmospheres are required. Here are a few moments from pop songs:

Sara - Fleetwood Mac. (Opens with F, G/F and Am/F all from F Lydian)

Man on the Moon - REM (the intro and verses use C major to Dadd11 from C Lydian)

The Simpsons theme - Danny Elfman (One of the most famous lydian melodies of all time in C Lydian-In fact some of the harmonic material implies Lydian dominant - a mode of melodic minor)

The Riddle - Steve Vai (Open in E Lydian with an A# (sharpened 4th as the opening melody note)

Other examples include Blue Jay Way - The Beatles, Every Little Thing She Does is Magic - The Police,All I need - Radiohead (C Lydian) The verses of Tonight, Tonight - Smashing Pumpkins.

CŒ„Š7

II7

D7

IIIm7

E‹7

IVm7

F©‹7(b5)

Vm7(b5)

GŒ„Š7

VIm7

A‹7

bVIIm7

B‹7

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Root

The 5th mode of the major scale, the mixolydian mode, is often found in rock and blues.It is also found in superficially 'eastern' influenced pop music due to its similarity with some Ragas. The mixolydian mode can be derived from C major from G to G. If we work out a mixolydian scale with a root of C,we can easily see how it compares to a major scale. In this casewe get a B-flat instead of a B, so mixolydian is a major scale with a minot (flattened) 7th. (R, 2, 3, 4, 5, 6, b7)

C Mixoydian

Maj2 Maj3

Mixolydian

P4 P5 Maj6 Min7

Ä

( )

Octave

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I

C Mixolydian

So Mixoydian is different from major in that it has a minor (not major) 7th - in this case B-flat not BThis is the character note of mixoydian which gives it its 'dominant' quality. In fact it is the combination of the major 3rd and minor 7th that sets it apart from all the other modes of the major scale.Here are the triads of C Mixolydian , together with a ('US') roman numeral analysis. Chords containing the character minor 7th (Bb) are underlined. The Vm and particularly the bVII are the most common mixolydian modal triads (the IIIº if unstable and not commonly used)

C

II

D‹

IIIº

Eº

IV

F

Vm

G‹

VI

A‹

bVII

B¨

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I7

Here are the seventh chords of C mixolydian with roman numeral analysis.Of the seventh chords I7 , Vm7 and bVIImaj7 are the most often used to describe mixoydian modality, but most of the other diatonic chords may be found in progressions, particular the IV chord. bVII/IV/I, for example, is a common mixolydian progression.

There are countless examples of the mixolydian mode in popular music - particularly in the harmonyof a track (even if melodies and solos are in minor pentationic) The bVII/IV/I sequence can be foundin everything from AC/DC to Zappa. More 'pure' examples of mixolydian (when harmony and melody are both mixolydian) include:

Norwegian Wood - Beatles. (E Mixolydian)

Sweet Child of Mine - Guns and Roses and Sweet Home Alabama - Lynyrd Skynyrd(D, Cadd9, G D in verses and the notes of guitar intro are all from D mixolydian)

Champagne Supernova - Oasis (A, A/G, A/F# and A/E - derived from A mixolydian)

Other examples include Led Boots - Jeff Beck, Within You or Without You - Beatles,

C Mixolydian

C7

IIm7

D‹7

IIIø

E‹7(b5)

IVmaj7

FŒ„Š7

Vm7

G‹7

VIm7

A‹7

bVIImaj7

B¨Œ„Š7

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The 6th mode of the major scale, the aeolian mode, is a common mode in rock and pop music when amournful emotion is required.The aeolian mode can be derived from C major from A to A which gives us the followingscale degrees. (R, 2, b3, 4, 5, b6, b7)

A Aeolian

Maj2 Min3

Aeolian

P4 P5 Min6

Ä

Min7

Ä

Octave

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A Aeolian

You'll notice that the aeolian mode is identical to the natural minor scale.However in a minor key, the 7th note of the scale is often changed to a leading tone (harmonic minor)which allows for V7 chord for example. The 6th degree is also sometimes changed, as in melodic minor.However the aeolian mode has a fixed minor 6th and minor 7th which gives it its particular character. Here are the triads of A Aeolian , together with a ('US') roman numeral analysis. Chords containing the character minor 6th (F) - distinguishing it from Dorian - are underlined - the IIº (rarely used), IVm, VI. The Vm and bVII which contain the character minor 7th (G) are also underlined.

A‹

IIº

Bº

III

C

IVm

D‹

Vm

E‹

VI

F

bVII

G

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Here are the seventh chords of A aeolian with roman numeral analysis. All of these contain the minor 6th and minor 7th, and they are all used in aeolian progressions -although theIIm7(b5) is rare.A Aeolian

There are many examples of the Aeolian mode in popular music - the Im/bVII/bVI/bVII sequence is common,as well as peices built around Im, IVm and Vm.Here are a few examples of the Aeolian mode in popular music

The X-Files Theme - melody in A Aeolian.

All Along the Watchtower - Jimi Hendrix (C#m - Bm - A all from C# Aeolian - although the guitar is tuned down a semitone)

Ain't No Sunshine- Bill Withers is built around Am7, Dm7 and Em7 (all from A Aeolian)

Stairway to Heaven (Led Zeppelin) outro solo has the repeated chords Am G F G from A Aeolian.

The Sound of Silence (Simon and Garfunkel) is in Eb Aeolian. (with chords Im bVII bVII and III)

A‹7

IIm7(b5)

B‹7(b5)

bIIImaj7

CŒ„Š7

IVm7

D‹7

Vm7

E‹7

bVImaj7

FŒ„Š7

bVII7

G7

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