Modes are derived by starting the Major Scale (Ionian) from each of its seven degrees. Each mode preserves the same sequence of intervals but begins at a different point, creating new tonal centers and characteristic moods.
They’re fundamental to jazz, rock, modal folk, and modern film scoring.
Parent formula (Major/Ionian):
W – W – H – W – W – W – H
I. Ionian (Major Scale)
Formula: W – W – H – W – W – W – H
Example (C Ionian): C D E F G A B C
Character: Bright, balanced, and resolved. Foundation of Western tonality.
Common use: Pop, classical, and major key standards.
Parallel chord function: I major (C major).
II. Dorian
Formula: W – H – W – W – W – H – W
Example (D Dorian): D E F G A B C D
Character: Minor tonality with a raised 6th — smooth and soulful.
Sound: Minor with optimism; often used in funk and jazz.
Example songs: “So What” (Miles Davis), “Oye Como Va” (Santana).
Parallel chord: i7 (Dmin7).
III. Phrygian
Formula: H – W – W – W – H – W – W
Example (E Phrygian): E F G A B C D E
Character: Dark, exotic, and tense due to the ♭2.
Sound: Spanish or Middle Eastern flavor.
Common uses: Flamenco, metal riffs, dramatic scoring.
Parallel chord: i7sus♭9 or minor with ♭2 color.
IV. Lydian
Formula: W – W – W – H – W – W – H
Example (F Lydian): F G A B C D E F
Character: Major with a raised 4th — bright, open, “floating.”
Sound: Dreamy, cinematic, used for modern film and fusion.
Example: Joe Satriani, Steve Vai, or film themes by John Williams.
Parallel chord: Imaj7(#11).
V. Mixolydian
Formula: W – W – H – W – W – H – W
Example (G Mixolydian): G A B C D E F G
Character: Major with a ♭7 — relaxed, bluesy, and dominant.
Sound: Rock, funk, jam-band grooves.
Examples: “Sweet Home Alabama” (Lynyrd Skynyrd), “Norwegian Wood” (The Beatles).
Parallel chord: Dominant 7 (G7).
VI. Aeolian (Natural Minor)
Formula: W – H – W – W – H – W – W
Example (A Aeolian): A B C D E F G A
Character: Pure minor tonality — dark, introspective, emotional.
Sound: Core of rock and classical minor key harmony.
Examples: “Stairway to Heaven” (Led Zeppelin), “Nothing Else Matters” (Metallica).
Parallel chord: i or i7.
VII. Locrian
Formula: H – W – W – H – W – W – W
Example (B Locrian): B C D E F G A B
Character: Diminished and unstable — ♭2 and ♭5 create tension.
Sound: Rarely used melodically; appears in jazz, metal, or experimental contexts.
Parallel chord: m7♭5 (half-diminished).
Summary Table (C Major Parent Scale)
| Mode | Start Note | Formula (relative) | Characteristic Tone | Chord Type |
|---|---|---|---|---|
| : - | : | : -- | : | : |
| Ionian | C | Major | – | Major (I) |
| Dorian | D | Minor | Raised 6th | Minor 7 |
| Phrygian | E | Minor | Flat 2 | Minor 7(♭9) |
| Lydian | F | Major | Raised 4th | Major 7(#11) |
| Mixolydian | G | Major | Flat 7 | Dominant 7 |
| Aeolian | A | Minor | Flat 6 | Minor 7 |
| Locrian | B | Diminished | Flat 2 & Flat 5 | Half-diminished (m7♭5) |