Modes and the Parallel Relationship
The diatonic modes are scale-like collections of notes with different patterns of half and whole steps. As we have learned previously, scales that share a tonic have a parallel relationship. In this chapter, modes are going to be described using the parallel relationship. Modes will also be described within a continuum of modal brightness; modal brightness: brighter modes sound more like a major scale, while darker modes sound more like a minor scale.
Example 1 ranks the seven diatonic modes in terms of relative brightness and darkness. It also summarizes which scale degrees are altered in relation to the ionian (major) mode, which will be explained in more detail below.
Example 1. Relative darkness and brightness of modes.
The brightest mode is the lydian mode. The ascending pattern of half and whole steps in this mode is W‑W‑W‑H‑W‑W‑H. Another way to think of this mode is as a major scale but with raised ^44^, whose solfège is fi (↑^4)(↑4^). Example 2 shows C lydian with solfège.
Example 2. C lydian with solfège.
The next brightest mode is the ionian mode. This mode consists of an ascending pattern of half and whole steps that is the same as a major scale: W-W-H-W-W-W-H. Example 3 shows C ionian with solfège.
Example 3. C ionian with solfège.
The next brightest mode is the mixolydian mode, with W-W-H-W-W-H-W as the ascending pattern of half and whole steps. Another way to think of this mode is as a major scale but with lowered ^77^. Example 4 shows C mixolydian with solfège.
Example 4. C mixolydian with solfège.
The lydian, ionian, and mixolydian modes are usually considered the brighter (or more major) modes because they contain mi instead of me (unaltered ^33^ instead of lowered ^33^). The dorian, aeolian, phrygian, and locrian modes are usually considered darker (or more minor) modes because they contain me instead of mi (↓^3↓3^ instead of unaltered ^33^).
The dorian mode is the first darker (or more minor) mode. This mode’s ascending pattern of half and whole steps is W-H-W-W-W-H-W. Another way to think of this mode is as a minor scale but with raised ^66^ (la). Example 5 shows C dorian with solfège:
Example 5. C dorian with solfège.
The next darkest mode is the aeolian mode. The aeolian mode’s ascending pattern of half and whole steps is the same as a natural minor scale: W-H-W-W-H-W-W. Example 6 shows C aeolian with solfège.
Example 6. C aeolian with solfège.
The next darkest mode is the phrygian mode. The ascending pattern of half and whole steps in the phrygian mode is H-W-W-W-H-W-W. This is the same pattern as a natural minor scale, but with lowered ^22^, whose solfège is ra. Example 7 shows C phrygian with solfège:
Example 7. C phrygian with solfège.
The darkest mode is the locrian mode. The locrian mode’s ascending pattern of half and whole steps is H-W-W-H-W-W-W. This is the same pattern as a natural minor scale, but with lowered ^22^ (ra) and lowered ^55^, whose solfège is se. Example 8 shows C locrian with solfège:
Example 8. C locrian with solfège.
Each mode can start on any note. For example, one could build a mixolydian collection starting on D♭, an aeolian collection starting on G♭, or a lydian collection starting on F♯. When writing modal collections, be sure to think about your accidentals carefully.
Example 9 shows all of the different modes with scale degrees and solfège, ordered from brightest to darkest (lydian to locrian):
Example 9. The modes from brightest to darkest, starting on C, with scale degrees.
Listen to Example 9 carefully, observing the difference between the modes.