Many people ask what the relationship between scales are.  This is a very difficult question to briefly answer.  In these pages we will review all Modals (Modes) and their relationship to the more common term "Scale".  (NOTE: This page is under construction. The teaching structure may change to attempt to make it more clear.  It may be reorganized/rewritten several times).

It is highly recommended that you understand all of your Major Scales before reading about Modals.

Key Construction for All Modes

The following chart shows you the key constructions and in the order that they appear in the scale.  Don't worry if this chart confuses you, there is a 2nd and clearer (for some people) method.  The example scale of C with the notes is only an example for the Ionian Mode.  Since the other modes start on different notes you can quickly see that this chart is a definition of how each Mode is built.

Chart A is the basis for Mode construction for all keys.  But it can be very confusing to the novice and experienced player.  The following charts and descriptions will help you understand Modal Theory.  At the end of the Lesson you should be able to revert back to this chart for a better understanding.  As you listen and read music you will then be able to understand and determine what Mode you are in just by listening.  This will require alot of practice and patience.

Chart A

The Major Intervals create the Ionion Scale.  Basically, in any key that we are in if we use the Major Intervals we would get that scale. 

But for clarity each Mode starts on the next note up in each Scale, and thus it actually would be more visually correct with the Example as this in C Major (Ionian):

Chart B

This Chart B is clearly the easiest and quickest method to be able to play each Mode. But it doesn't necessarily teach you the theory behind it.

Order of Intervals

Of the C Major scale, each mode sounds like a different scale due to the Order of Intervals.  Each scale has the same Order of Interval no matter the Key. Test it yourself and look at each scale and write down the Order of Intervals.

Whole and Half tones are sometimes indicated in some theory books as Tone and semiTone.

Modal Formula

There are two formulas that can be used to determine the Mode.  Some may be easier for other people and vice versa.

(Formula #1) There are 7 modal formulas:
Mode        # of Sharps/Flats         Interval
Ionian -    0 sharps, 0 flats         1 2 3 4 5 6 7 1
Dorian -      2 flats                 1 2 b3 4 5 6 b7 1
Phyrygian -   4 flats                 1 b2 b3 4 5 b6 b7 1
Lydian -      1 sharp                 1 2 3 #4 5 6 7 1
Mixolydian -  1 flat                  1 2 3 4 5 6 b7 1
Aeolian -     3 flats                 1 2 b3 4 5 b6 b7 1
Locrian -     5 flats                 1 b2 b3 4 b5 b6 b7 1
 

Now formula looks slightly confusing by most people (see the First Interval Chart). For some, it makes perfect sense.  If you recall the Order or Intervals in the Key Construction Section then you will see the relationship between this formula and the scales.  You do not add flats or sharps but you sharped or flatten the respective interval to get the correct "scale".  You still need to start on the correct note! We are not actually added a flat or sharp to the Scales' Key.

(Formula #2)

For me, This is the easier of the formulas to understand and learn.  For each Mode

do-Ionian
re-Dorian
mi-Phrygian
fa-Lydian
so-Mixolydian
la-Aeolian
ti-Locrian
 

we would  simply move up one note on the scale and start there.  Therefore, in a C Major Scale the Ionian would start on C, Dorian on D, Phrygian on E, Lydian on F, etc.  You will have to memorize each Mode Name, in order and be able to determine at which step each Scale Mode started on.  In the end, this may either be easier or more difficult than the Formula #1 method.

Basic Usage of Modes

You can alter the perception of the mood by using different modes.  The mode gets a darker mood as it varies more.

LYDIAN IONIAN MIXOLYDIAN DORIAN AEOLIAN PHRYGIAN LOCRIAN
brightest ------------------> <------------------ darkest


Lydian - a very bright and upbeat mode. Good for pop, kids music, christmas songs, etc

Ionian - a very sweet, happy, bright mode. Used for happy songs, love songs, holiday music. This is used for almost all childrens
music.

Mixolydian - a middle of the road bright scale. Good for light rock, pop, country, etc

Dorian - a perfect middle ground mode. This mode is not too bright, but not to dark. Good for country, rock, blues & jazz.

Aeolian - a more gritty, bluesy, and warm sounding rock scale. The standard rock and blues scale.

Phrygian - a more dark, classical metal sound.

Locrian - a very dark, dissident, brooding. Good for heavy metal, dark classical (Mussorgsky), etc.

Ionian

To start we will review the Major Scale, also known as "Ionian" Mode.

The Ionian scale is a 7 note scale (Major and minor scales are 7 notes that are taught in High School, the 8th being the next octave note). 

Ionian Modes - Because it has 7 notes it thus has 7 modes.  Those 7 modes are (This is simply to be memorized in order at this point.):

Mode                    Pronounciation
Ionian        (i-o-nee-in)
Dorian        (door-e-in)
Phrygian      (fridge-e-in)
Lydian        (lid-e-in)
Mixolydian    (mix-o-lid-e-in)
Aeolian       (a-o-lee-in)
Locrian       (lo-cree-in)

Key Construction

Key Construction is basically naming the chromatics for each chosen key.  There are 12 chromatics (C [root], C#/Db, D[2nd], D#/Eb, E[3rd], F[4th], F#/Gb, G[5th], G#/Ab, A[6th], A#/Bb, B [7th]- basically 12 possible notes per octave) in key construction. These steps must be memorized in order.

Some people have learned Major Scale (Ionian) via "Do, Re, Mi, Fa, So, La, Ti, Do".  This scales is very easy to the ears and is the basis for Classical & Childrens Music.

To understand how this is structured we must know the 12 intervals, shown on the left column.  The notes to the right are samples of what they can be.  The numbers in the 2nd column are which intervals are used for the Ionian mode.  1 corresponds to "Do", 2 to "Re", etc. and those correspond to the interval and note.

The order of the intervals (very important) for Key Construction  is: Whole, Whole, Half, Whole, Whole, Whole, Half  (W,W,H,W,W,W,H).

If you use this methodology, you can determine any Ionian mode of any Key.  Please review the Major Scales and see how they are based on this theory.  Also review the example below of Bb Major and D Major

Now let's take our knowledge one step further.

Recall us mentioning the "do, re, mi, fa, so, la, ti, do" scale.

Let's now use "do" as the root for our Ionian and other modes.

do-Ionian
re-Dorian
mi-Phrygian
fa-Lydian
so-Mixolydian
la-Aeolian
ti-Locrian
do-(octave)

Anytime we use the key of "do" we will be in a Major Scale. Remember, the interval for this is W,W,H,W,W,W,H

But if we start the scale by using the second note we have the interval of W,H,W,W,W,H,W.  By doing this we are changing the key of our scale to "re" Dorian.  Now, it now longer sounds like our Ionian Major Scale because it's not a Major Scale anymore.  If you recall a Major Scale has the interval WWHWWWH.  This scale has the interval WHWWWHW.

Remember, Different Scales sound different due to their intervals.  One book I recall reading actually mapped out the intervals of all the scales in all the modes.  We will review that visual impact later in our learnings.

If we look at the G Major Scale (starts on G, with F#) we would get the following:  As we can see, the Ionian scales actually contains all the other modes in it.

1. E Aeolian
2. F# Locrian
3. G Ionian
4. A Dorian
5. B Phrygian
6. C Lydian
7. D Mixolydian
 

The 7 modal formulas show us how they relate to each other.  If we recall the previous chart, the Ionian scales is based on the following interval

1 2 3 4 5 6 7 1

Going back to the Modal Formula, you can see the relationship of each mode to the Ionian.

Mode        # of Sharps/Flats         Interval
Ionian -    0 sharps, 0 flats         1 2 3 4 5 6 7 1
Dorian -      2 flats                 1 2 b3 4 5 6 b7 1
Phyrygian -   4 flats                 1 b2 b3 4 5 b6 b7 1
Lydian -      1 sharp                 1 2 3 #4 5 6 7 1
Mixolydian -  1 flat                  1 2 3 4 5 6 b7 1
Aeolian -     3 flats                 1 2 b3 4 5 b6 b7 1
Locrian -     5 flats                 1 b2 b3 4 b5 b6 b7 1

So taking a look at the G Major Scale of  G A B C D E F# G

To get the Dorian scale of that we would flatten the 3rd and 7th step:

G A Bb C D E F G which has the interval of WHWWWHW.  But, let's recall that the Dorian mode starts on the second note.  An easier formula would be to use the same Scale, C Major and start on the 2nd note.  A B C D E F# G A, which gives us WHWWWHW, or the A Dorian scale.

Lastly, let's not forget to add the starting note to the Scale.  C Major Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, and B Locrian.  All these are based in it's root C Major Ionian scale.

Or for D Major Ionian (F# & C#), E Dorian, F# Phrygian, G Lydian, A Mixolydian, B Aeolian, C# Locrian.  These are based on it's F Major Ionian Scale.

Now, let's put this theory into visual representation (you can use these up or down an octave):

Now, if you notice, we start getting into the weird keys such as F# Aeolian.   If you are playing by ear or simple music with chords how do you determine the root Key if it is not given?  This is where it becomes easier if you understand the Chart A and Modal Formula. 

Natural minor scale WHWWHWW     Aeolian - natural minor scales are derived from the Aeolian scale. 

Harmonic minor scale WHWWHWH 7th sharpened

Melodic Minor WHWWWWH  6th & 7th sharpen (most common minor scales taught)

<more to come 2/28/05>

For questions or comments about these Theory pages please contact Steve at stevesklar@gmail.com

 [Clarinets]  [Mouthpieces]  [Repair] [Trial Policy] [Scales, etc.]