Modes
The modes, from Dorian to the altered scale
The seven modes of major, on C
Played on the same tonic, the modes line up from brightest to darkest: each step darker lowers one note. The characteristic note is the one that sets the mode apart from plain major or natural minor; it is worked out from the notes themselves, not looked up.
| Mode | Notes | Characteristic | Avoid | Hear it |
|---|---|---|---|---|
| C LydianCmaj7 | None | |||
| C IonianCmaj7 | C D E F G A B | The reference | F | |
| C MixolydianC7 | F | |||
| C DorianCm7 | A | None | ||
| C AeolianCm7 | The reference | |||
| C PhrygianCm7 | ||||
| C Locrian |
Hear a mode from a vamp
A mode is easiest to hear over a two chord vamp that keeps its characteristic note in the harmony. D Dorian alternates Dm7 with G7, whose B is Dorian's raised sixth.
- Dm7i7
- G7IV7
- Dm7i7
- G7IV7
Modes of melodic minor
Melodic minor has its own seven modes, and they are the sound of most modern jazz harmony: Lydian dominant over a dominant with a sharp eleven, the altered scale over a fully altered dominant.
| Mode | Notes | Characteristic | Avoid | Hear it |
|---|---|---|---|---|
| C Lydian Augmented | A | |||
| C Lydian DominantC7 | None | |||
| C Melodic MinorCmMaj7 | None | |||
| C7 | E | |||
| Cm7 | ||||
| None | ||||
| C Altered |
Modes of harmonic minor
Harmonic minor gives Phrygian dominant, the fifth mode, which is the sound of a major V in a minor key, and the scale behind a great deal of flamenco and metal.
| Mode | Notes | Characteristic | Avoid | Hear it |
|---|---|---|---|---|
| Cmaj7 | None | |||
| F A | ||||
| Cm7 | None | |||
| C Harmonic MinorCmMaj7 | B | |||
| C Phrygian DominantC7 | ||||
| C°7 |
Every chord on this page is spelled and voiced by Tonalia's music engine.