11.4: Different Ways to Think About Modes
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- 258540
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Though these modes have been shown in this chapter using pitches without any sharps or flats, these modes can start on any pitch. It is beneficial to be able to understand which pitches would be included in an A Dorian scale, or an F Phrygian scale. How you internalize these ideas and apply them will be up to which method makes the most sense to you.
Relationship to the Major Key
One method of understanding modes is by relating each mode as starting on the scale degree in the major key. For this example, we will use the key of G major. The key of G major has an F sharp in the key signature, so you will notice that each of these scales include an F#.
| Scale Degree | Name of Scale | Pitches of the Scale |
|---|---|---|
| First scale degree | G Ionian | G-A-B-C-D-E-F#-G |
| Second scale degree | A Dorian | A-B-C-D-E-F#-G-A |
| Third scale degree | B Phyrigian | B-C-D-E-F#-G-A-B |
| Fourth scale degree | C Lydian | C-D-E-F#-G-A-B-C |
| Fifth scale degree | D Mixolydian | D-E-F#-G-A-B-C-D |
| Sixth scale degree | E Aeolian | E-F#-G-A-B-C-D-E |
| Seventh scale degree | F# Locrian | F#-G-A-B-C-D-E-F# |
Major or Minor with Altered Pitches
Another method of understanding modes is by relating each mode to its closest related scale and classifying it as a major or minor mode, as covered in 11.2: Major Modes vs. Minor Modes
| Name of Scale, Starting on D | Most Closely Related Scale | Pitches of the Modal Scale | Altered Scale Degrees |
|---|---|---|---|
| D Ionian Scale | Major | D-E-F#-G-A-B-C#-D | No alterations |
| D Dorian Scale | Natural minor | D-E-F-G-A-B-C-D | Raised sixth scale degree |
| D Phrygian Scale | Natural minor | D-E flat-F-G-A-B flat-C-D | Lowered second scale degree |
| D Lydian Scale | Major | D-E-F#-G#-A-B-C#-D | Raised fourth scale degree |
| D Mixolydian Scale | Major | D-E-F#-G-A-B-C-D | Lowered seventh scale degree |
| D Aeolian Scale | Natural minor | D-E-F-G-A-B flat-C-D | No alterations |
| D Locrian Scale | Natural minor | D-E flat-F-G-A flat-B flat-C-D | Lowered second, lowered fifth |
Patterns of Whole and Half Steps
The patterns of whole steps and half steps were outlined in our coverage of each of the scales individually, but this method is an additional method of understanding modes.
| Name of Scale | Pattern of Whole and Half Steps | Example |
|---|---|---|
| Ionian Scale | W-W-H-W-W-W-H | A Ionian: A-B-C#-D-E-F#-G#-A |
| Dorian Scale | W-H-W-W-W-H-W | A Dorian: A-B-C-D-E-F#-G-A |
| Phrygian Scale | H-W-W-W-H-W-W | A Phrygian: A-B flat-C-D-E-F-G-A |
| Lydian Scale | W-W-W-H-W-W-H | A Lydian: A-B-C#-D#-E-F#-G#-A |
| Mixolydian Scale | W-W-H-W-W-H-W | A Mixolydian: A-B-C#-D-E-F#-G-A |
| Aeolian Scale | W-H-W-W-H-W-W | A Aeolian: A-B-C-D-E-F-G-A |
| Locrian Scale | H-W-W-H-W-W-W | A Locrian: A-B flat-C-D-E flat-F-G-A |