Basic Modes

Introduction

A mode is a type of scale, and, historically speaking, modes have been around longer than what we know as the "major/minor system" (Click for more on modes). Centuries ago a system of "church modes" existed consisting of the following:

The modern system of two keys (major and minor) gradually evolved from this system, wherein the Ionian mode has now come to be known as the "major key" and the Aeolian mode the "minor key." Artists like Miles Davis pioneered the use of the church modes in jazz improvisation, and they've remained with us as a valuable creative tool.

Explanation

The way modes are usually taught is this: look at your keyboard and play the seven (eight) notes on the white keys from C to C (C, D, E, F, G, A, B, C). You have just played an Ionian scale. Now, play the notes from D to D. You have played a Dorian scale! In the same way, the Phrygian mode is E-E, Lydian is F-F, Mixolydian G-G, Aeolian A-A, and Locrian, B-B. This approach has two fallacies:

  1. By relying on the white keys, it reinforces the notion that white keys are good, black keys, bad
  2. Modes are viewed as derivative from a major/Ionian collection (C major), which does them a disservice.
I believe it's more "musical" and more useful for the improviser to remember how each mode is constructed (as a series of whole and half steps) independently, and to be able to imagine how each collection works on the keyboard--on any starting key. It's better to know that "Lydian on E" is E, F#, G#, A#, B, C#, D# than it is to know it starts on scale degree 4 of the B major pattern--suddenly, we're back in the Ionian mode! It's much better to know immediately what tones are part of any mode on any key.

Characteristics

What's exciting about modes is that since they are different than our common major/minor system, they have a "freshness" that most people find appealing. Sounding neither major, nor minor, they have a vibe all their own. It might be helpful to categorize the "color" or "brightness" of each mode in a table like you see here.

Although such a table is largely subjective (since scales don't really have "brightness" to them--it's a personal opinion), you can definitely see how some scales have a more "major" sound to them, and others have a more "minor" sound to them. Different styles of music also tend to be consistent with the types of modes they prefer. Popular American music today, for example, relies heavily on Mixolydian and Aeolian modes, and much less so on Lydian and Dorian modes. Conversely, Modal Jazz tends to stay away from the Ionian mode; but you'll find a lot of examples of Dorian jazz.

Examples

Below is a chart listing all seven church modes. They are presented first in the "white key" system mentioned above (where all white keys are used, and each mode is correlated with a particular scale degree) and secondly on an unrelated pitch. I've put boxes around the location of half-steps (otherwise, all intervals in the mode are whole steps) so you can see where the "tendency tones" are. You can also see that regardless of the transposition level, the relationship of half steps and whole steps remains constant. It should be your goal to play any mode starting on any key, and moreover, to play them accurately (fingering is important) and effortlessly.