The seven modes are seven related scales built from the same pattern of whole steps and half steps, each starting on a different scale degree. This cheat sheet helps students compare modal sounds, formulas, and scale degrees quickly while composing, improvising, or analyzing music. It is useful because modes appear in classical music, jazz, film music, rock, folk, and many modern styles.
A clear reference makes it easier to choose the right sound instead of guessing notes by ear alone.
The main idea is that each mode has a formula compared with the major scale, such as 1 2 b3 4 5 6 b7 for Dorian. Ionian is the same as the major scale, and Aeolian is the same as the natural minor scale. Bright modes usually have raised or major scale degrees, while darker modes use more lowered degrees.
The order from brightest to darkest is often Lydian, Ionian, Mixolydian, Dorian, Aeolian, Phrygian, and Locrian.
Key Facts
- Ionian uses the formula 1 2 3 4 5 6 7 and is the same as the major scale.
- Dorian uses the formula 1 2 b3 4 5 6 b7 and sounds minor with a brighter natural 6.
- Phrygian uses the formula 1 b2 b3 4 5 b6 b7 and has a dark sound because of the lowered 2.
- Lydian uses the formula 1 2 3 #4 5 6 7 and sounds bright because of the raised 4.
- Mixolydian uses the formula 1 2 3 4 5 6 b7 and sounds major with a bluesy lowered 7.
- Aeolian uses the formula 1 2 b3 4 5 b6 b7 and is the same as the natural minor scale.
- Locrian uses the formula 1 b2 b3 4 b5 b6 b7 and is unstable because it has a lowered 5.
- The white-key modes are C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, and B Locrian.
Vocabulary
- Mode
- A mode is a seven-note scale with a specific pattern of whole steps and half steps that creates a distinct sound.
- Scale degree
- A scale degree is the numbered position of a note within a scale, such as 1 for the tonic or 5 for the dominant.
- Tonic
- The tonic is the first note of a scale or mode and acts as the home note.
- Interval formula
- An interval formula shows how each scale degree is altered compared with the major scale.
- Relative mode
- A relative mode uses the same notes as another scale but begins and resolves on a different tonic.
- Parallel mode
- A parallel mode has the same tonic as another mode or scale but uses a different pattern of notes.
Common Mistakes to Avoid
- Calling every white-key scale C major is wrong because the tonic changes the mode and the musical center. D to D on white keys is D Dorian, not C major.
- Forgetting accidentals in modal formulas is wrong because one altered note can change the mode completely. For example, Mixolydian needs b7, while Ionian uses 7.
- Confusing relative and parallel modes is wrong because they answer different questions. C Ionian and A Aeolian are relative, but C Ionian and C Aeolian are parallel.
- Treating Dorian as plain minor is wrong because Dorian has a natural 6 instead of b6. That one note gives Dorian its brighter minor sound.
- Ignoring the tonic in melodies is wrong because the same pitch collection can sound like different modes depending on the note that feels like home.
Practice Questions
- 1 Write the notes of G Mixolydian using the formula 1 2 3 4 5 6 b7.
- 2 Identify the mode with the formula 1 2 b3 4 5 6 b7, then write its notes starting on D.
- 3 Using only white keys, what mode starts on F, and what scale degree makes it different from Ionian?
- 4 A melody uses the notes of C major but repeatedly resolves to A and emphasizes A as home. Explain why it sounds like A Aeolian instead of C Ionian.