Modern modes edit
Modern Western modes use the same set of notes as the major scale, in the same order, but starting from one of its seven degrees in turn as a tonic, and so present a different sequence of whole and half steps. With the interval sequence of the major scale being W–W–H–W–W–W–H, where "W" means a whole tone (whole step) and "H" means a semitone (half step), it is thus possible to generate the following modes:[1]
Mode | Tonic relative to major scale |
Interval sequence | Example |
---|---|---|---|
Ionian, AKA "Major" | I | W–W–H–W–W–W–H | C–D–E–F–G–A–B–C |
Dorian | ii | W–H–W–W–W–H–W | D–E–F–G–A–B–C–D |
Phrygian | iii | H–W–W–W–H–W–W | E–F–G–A–B–C–D–E |
Lydian | IV | W–W–W–H–W–W–H | F–G–A–B–C–D–E–F |
Mixolydian | V | W–W–H–W–W–H–W | G–A–B–C–D–E–F–G |
Aeolian, AKA "Minor" | vi | W–H–W–W–H–W–W | A–B–C–D–E–F–G–A |
Locrian | viiø | H–W–W–H–W–W–W | B–C–D–E–F–G–A–B |
For the sake of simplicity, the examples shown above are formed by natural notes (also called "white notes", as they can be played using the white keys of a piano keyboard). However, any transposition of each of these scales is a valid example of the corresponding mode. In other words, transposition preserves mode.[2]
- ^ Levine (1995), Figure 2-4
- ^ Boyden (1994), p. 8