In music, a mode is an ordered series of musical intervals, which, along with the key or tonic, define the pitches. However, mode is usually used in the sense of scale applied only to the specific diatonic scales found below. Wikibooks Wikiversity has more about this subject: School of Music Look up Music on Wiktionary, the free dictionary Wikisource, as part of the 1911 Encyclopedia Wikiproject, has original text related to this article: Music Wikicities has a wiki about Music: Music MusicNovatory: the science of music encyclopedia Science of Music... In music theory, an interval is the difference (a ratio or logarithmic measure) in pitch between two notes and often refers to those two notes themselves (otherwise known as a dyad). ... In music theory, the key identifies the tonic triad, the chord, major or minor, which represents the final point of rest for a piece, or the focal point of a section. ... The tonic is the first note of a musical scale, and in the tonal method of music composition it is extremely important. ... In music, pitch is the perception of the frequency of a note. ... In music, a scale is a set of musical notes in order by pitch, either ascending or descending. ... In music theory, a diatonic scale is a scale whose notes are built on the natural staff positions of lines and spaces, with no accidentals, with or without a key signature. ...

History

The early music of Greek antiquity referred to scales in the context of scalar modes. The modes are named after cities that preferred a given mode in times past. The Greek philosopher Plato felt that playing music in a particular mode would incline one towards specific behavior associated with that mode, and suggested that soldiers should listen to music in dorian or phrygian modes to help make them stronger, but avoid music in lydian or ionian modes, for fear of being softened. In music, a scale is an unordered collection of notes or pitches, as opposed to a series of intervals, which is a musical mode. ... Statue of a philosopher, presumably Plato, in Delphi. ...

The Greek modes were:

• Lydian, hypolydian and mixolydian.
• Phrygian and hypophrygian.
• Dorian and hypodorian.
• Aeolian and locrian.
• Ionian.

There is a common misconception that the Church modes of medieval European music were directly descended from this notion of modality. In fact, the church modes originated in the 9th century. Authors from that period misinterpreted a text by Boethius, a scholar from the 6th century who had translated the Greek musical theory into Latin. In the 16th century, the Swiss theorist Henricus Glareanus published Dodekachordon, in which he solidified the concept of the church modes, and added four additional modes: the Aeolian, Hypoaeolian, Ionian, and Hypoionian. Thus, the names of the modes used today do not actually reflect those used by the Greeks. However, the use and conception of modes or modality today is also different from their use and conception in Early music. Jim Samson (1977, p.148) describes: "Clearly any comparison of medieval and modern modality would recognize that the latter takes place against a background of some three centuries of harmonic tonality, permitting, and in the nineteenth century requiring, a dialogue between modal and diatonic prodedure." Due to historical confusion, Lydian mode can refer to two very different musical modes or diatonic scales. ... The Hypolydian mode, literally meaning below Lydian, is a musical mode or diatonic scale of ancient Greece that was based upon the Lydian tetrachord: a series of rising intervals of two whole tones followed by a semitone. ... The Mixolydian mode is a musical mode or diatonic scale. ... Due to historical confusion, Phrygian mode can refer to two very different musical modes or diatonic scales. ... The Hypophrygian mode, literally meaning below Phrygian, is a musical mode or diatonic scale of ancient Greece that was based upon the Phrygian tetrachord: a series of rising intervals of a whole tone, followed by a semitone, followed by another whole tone. ... Due to historical confusion, Dorian mode can refer to two very different musical modes or diatonic scales. ... The hypodorian mode, literally meaning below dorian, is a musical mode or diatonic scale of ancient Greece that was based upon the dorian tetrachord: a series of rising intervals of a semitone followed by two whole tones. ... The aeolian mode is a musical mode or diatonic scale. ... The Locrian mode is a musical mode or diatonic scale. ... In music theory, the major scale is one of the diatonic scales. ... This earthenware dish was made in 9th century Iraq. ... Anicius Manlius Severinus Bo thius (AD 480 - 524 or 525) was a Christian philosopher of the 6th century. ... (5th century — 6th century — 7th century — other centuries) Events The first academy of the east the Academy of Gundeshapur founded in Persia by the Persian Shah Khosrau I. Irish colonists and invaders, the Scots, began migrating to Caledonia (later known as Scotland) Glendalough monastery, Wicklow Ireland founded by St. ... (15th century - 16th century - 17th century - more centuries) As a means of recording the passage of time, the 16th century was that century which lasted from 1501 to 1600. ... Heinrich Glarean (also Glareanus) (June 1488 – March 28, 1563) was a Swiss music theorist, poet and humanist. ...

Early music made heavy use of the Church modes. A mode indicated a primary pitch or final and the organization of pitches in relation to the final, and suggested range, melodic formulas associated with different modes, location and importance of cadences, and affect (ie, emotional affect). As Liane Curtis (1998) explains, "Modes should not be equated with scales: principles of melodic organization, placement of cadences, and emotional affect are essential parts of modal content," in Medieval and Renaissance music. Early music is a term used to describe pre-Classical Western music, from the earliest written music to 1500 at the earliest (Judd, 1998, p. ...

Carl Dahlhaus (1990, p.192) lists "three factors that form the respective starting points for the modal theories of Aurelian of Réôme, Hermannus Contractus, and Guido of Arezzo: Carl Dahlhaus (June 10, 1928- May 1989), a musicologist from Berlin, has been one of the major contributors to the development of musicology as a scholarly discipline during the post-war era. ... Aurelian of Réôme (Aurelianus Reomensis) (fl. ... Hermannus Contractus (also called Hermannus Augiensis, Hermann of Reichenau) (1013 – 1054) was an 11th century scholar, composer, and music theorist. ... Listen to this article · (info) This audio file was created from the revision dated 2005-07-13, and does not reflect subsequent edits to the article. ...

1. the relation of modal formulas to the comprehensive system of tonal relationships embodied in the diatonic scale;
2. the partitioning of the octave into a modal framework; and
3. the function of the modal final as a relational center."

The oldest medieval treatise regarding modes is Musica disciplina by Aurelian of Réôme while Hermannus Contractus was the first to define modes as partitionings of the octave (ibid, p.192-191).

However, the modes were later organized due to their relationship to the interval pattern of the major scale. The modern conception of modal scales describes a system where each mode is the usual diatonic scale, but with a different starting note. Modes came back into favour some time later in the development of jazz (modal jazz) and more contemporary 20th century music. Much folk music is also composed or best analysed in terms of modes. For example, in Irish traditional music the ionian, dorian, aeolian and mixolydian modes occur (in roughly decreasing order of frequency); the phrygian mode is an important part of the flamenco sound. Jazz is a musical art form originally characterized by blue notes, syncopation, swing, call and response, polyrhythms, and improvisation. ... Modal jazz is jazz played using musical modes rather than chord progressions. ... Folk music, in the original sense of the term, is music by and of the people. ... Ireland is an island in the North Atlantic politically divided between the Republic of Ireland and Northern Ireland. ... Flamenco dancer Belen Maya, photograph taken by Gilles Larrain at his studio, 2001 Flamenco is a song, music and dance style which is strongly influenced by the Gitanos, but which has its deeper roots in Moorish and Jewish musical traditions. ...

Some works by Beethoven contain modal inflections, and Chopin, Berlioz, and Liszt made extensive use of modes. They influenced nineteenth century Russian music, Mussorgsky and Borodin influenced Claude Debussy, Leos Janacek, Jean Sibelius, and other twentieth century composers. Zoltán Kodály, Holst, Manuel de Falla use modal elements as modifications of a diatonic background, while Debussy and Bela Bartok modality replaces diatonic tonality. (Samson 1977) Ludwig van Beethoven Ludwig van Beethoven (baptized December 17, 1770 – March 26, 1827) was a German composer of Classical music, the predominant musical figure in the transitional period between the Classical and Romantic eras. ... This article is about Frédéric Chopin, the composer. ... Portrait of Berlioz by Signol, 1832 Louis Hector Berlioz (December 11, 1803 – March 8, 1869) was a French Romantic composer best known for the Symphonie Fantastique, first performed in 1830, and for his Requiem of 1837, with its tremendous resources that include four antiphonal brass choirs. ... Franz Liszt (October 22, 1811 – July 31, 1886) was a virtuoso pianist and composer. ... Modest Petrovich Mussorgsky (Моде́ст Петро́вич Му́соргский) (March 21, 1839 – March 28, 1881; sometimes spelt Modeste Moussorgsky), was an innovative Russian composer famed for his colourful, exotic, and lush orchestral pieces dedicated to various subjects of medieval Russian history. ... bust of Alexander Borodin Alexander Porfyrevich Borodin (Алекса́ндр Порфи́рьевич Бороди́н) (November 12, 1833 – February 27, 1887) was a Russian composer who made his living as a chemist. ... This article needs to be cleaned up to conform to a higher standard of quality. ... The title given to this article is incorrect due to technical limitations. ... A bust of Jean Sibelius at the Sibelius-monumentti in Helsinki. ... Zoltán Kodály Zoltán Kodály (December 16, 1882 – March 6, 1967) was a Hungarian composer, ethnomusicologist, educator, linguist and philosopher. ... Holst may be: Adriaan Roland Holst (1888 - 1976), Dutch writer Gustav Holst (1874 - 1934), British composer Imogen Holst (1907 - 1984), British conductor, composer and writer, daughter of Gustav This is a disambiguation page — a navigational aid which lists other pages that might otherwise share the same title. ... Manuel de Falla y Matheu (November 23, 1876 – November 14, 1946) was a Spanish composer of classical music. ... B la Bart k (March 25, 1881 – September 26, 1945) was a composer, pianist and collector of East European folk music. ...

While all tonal music may be described as modal, music that is labeled modal most often has less diatonic functionality and changes key less often. See also: function and functional. ...

Church modes

The eight Church modes, or Gregorian modes, can be divided into four pairs, where each pair shares the "final note" or tonic. Most chants in a particular mode will begin on the mode's final note, and all are expected to end on that note. The pair also shares the central five notes of the scale. If the "scale" is completed by adding the three upper notes, the mode is termed "authentic", while if the scale is completed by adding the three lower notes, the mode is called "plagal" (serious).

The pairs are organized so that the modes sharing a final note are numbered together, with the odd numbers used for the authentic modes and the even numbers for the plagal modes.

In addition, each mode has a "dominant" or "reciting tone" which is the tenor of the psalm tone. The reciting tones of all authentic modes began a fifth above the final, with those of the plagal modes a third above. However, the reciting tones of modes 3, 4, and 8 rose one step during the tenth and eleventh centuries with 3 and 8 moving from b to c' (half step) and that of 4 moving from g to a (whole step). (Hoppin 1978, p.67) In the church modes of Gregorian chant the reciting tone (also dominant, tenor, tubae) is the melodic formula used for reciting psalm tones. ... The musical interval of a perfect fifth is the relationship between the first note (the root or tonic) and the fifth note in a major scale. ... In music, see the following intervals: Major third Minor third The mediant, and the chord built on the mediant, is often called simply the third, as it is the third degree of the diatonic scale. ... STEP has five meanings: Sixth Term Examination Paper The Society of Trust and Estate Practitioners. ... A half step is either: the interval of a minor second in music, or the half step (dance move) in dance. ... The musical interval of a major second — also called a whole-tone — is the relationship between the first note (the root or tonic) and the second note in a major scale (and also a minor scale). ...

Only one accidental is permitted in classical Gregorian chant -- si (B) may be lowered by a half-step. This usually (but not always) occurs in modes V and VI, and is optional in other modes.

Given the confusion between ancient, Early, and modern terminology, "today it is more consistent and practical to use the traditional designation of the modes with numbers one to eight," (Curtis 1998) using Roman numeral (I-VIII), rather than using the pseudo-Greek naming system. Due to historical confusion, Dorian mode can refer to two very different musical modes or diatonic scales. ... The hypodorian mode, literally meaning below dorian, is a musical mode or diatonic scale of ancient Greece that was based upon the dorian tetrachord: a series of rising intervals of a semitone followed by two whole tones. ... Due to historical confusion, Phrygian mode can refer to two very different musical modes or diatonic scales. ... The Hypophrygian mode, literally meaning below Phrygian, is a musical mode or diatonic scale of ancient Greece that was based upon the Phrygian tetrachord: a series of rising intervals of a whole tone, followed by a semitone, followed by another whole tone. ... Due to historical confusion, Lydian mode can refer to two very different musical modes or diatonic scales. ... The Hypolydian mode, literally meaning below Lydian, is a musical mode or diatonic scale of ancient Greece that was based upon the Lydian tetrachord: a series of rising intervals of two whole tones followed by a semitone. ... The Mixolydian mode is a musical mode or diatonic scale. ... The Mixolydian mode is a musical mode or diatonic scale. ... The system of Roman numerals is a numeral system originating in ancient Rome, and was adapted from Etruscan numerals. ...

The eight musical modes. f indicates "final" (Curtis, 1998).

Download high resolution version (2216x373, 15 KB) Wikipedia does not have an article with this exact name. ... Download high resolution version (2216x373, 15 KB) Wikipedia does not have an article with this exact name. ...

Use of the modes

It is important to realize that most of the theoretical writings on Gregorian chant modes postdate the composition of the early Gregorian chant repertoire, which was not composed with the intention of conforming to particular modes. As a result, for these chants, the application of a mode number can be only approximate. Later chants, however, were written with a conscious eye on the eight modes.

Interpretation of the modes

Various interpretations of the "character" imparted by the different modes have been suggested. Three such interpretations, from Guido D'Arezzo (995-1050), Adam of Fulda (1445-1505), and Juan de Espinoza Medrano (1632-1688), follow:

Modern modes

The major and minor modes

Three of the modes are major, while four of them are minor. One of the minor modes is considered theoretical rather than practical. A mode is said to be minor if the 3rd scale degree is flattened; that is, if the third scale degree is one and a half steps above the 1st, instead of the two steps in a major mode. In music theory, an interval is the distance in pitch between two notes, the lower and higher members of the interval. ... In music theory, an interval is the distance in pitch between two notes, the lower and higher members of the interval. ...

Major modes

• Ionian (I) (listen)
• Lydian (IV) (listen)
• Mixolydian (V) (listen)

In music theory, the major scale is one of the diatonic scales. ... Due to historical confusion, Lydian mode can refer to two very different musical modes or diatonic scales. ... The Mixolydian mode is a musical mode or diatonic scale. ...

Minor modes

• Dorian (II) (listen)
• Phrygian (III) (listen)
• Aeolian (VI) (listen)
• Locrian (VII) (listen)

Due to historical confusion, Dorian mode can refer to two very different musical modes or diatonic scales. ... Due to historical confusion, Phrygian mode can refer to two very different musical modes or diatonic scales. ... The aeolian mode is a musical mode or diatonic scale. ... The Locrian mode is a musical mode or diatonic scale. ...

Mode characteristics

Each mode has a characteristic scale degree and certain harmonic structures that give each its distinctive sound. In music or music theory a scale degree is an individual note of a scale, both its pitch and its diatonic function. ... In music and music theory, a chord (from the middle English cord, short for accord) is three or more different notes or pitches sounding simultaneously, or nearly simultaneously, over a period of time. ...

• The Lydian mode has a raised fourth relative to the Ionian, which creates a iv diminished, vii minor, and a II major chord. The theme song from the TV show The Simpsons is a commonly-cited example of the Lydian mode with its prominent raised fourth, although its lowered seventh technically puts it in a derived mode known as "Lydian Dominant". The first syllable of the birthday celebrant's name in "Happy Birthday" (after "Happy birthday, dear ...") is the raised fourth of a Lydian chord.

• The Ionian mode has a V7 chord, and is the only mode where the V7 occurs naturally. Without further clarification, "major mode" or just "major" refers to the Ionian mode. Most common songs, including such simple classics as "Happy Birthday" and "Twinkle Twinkle Little Star," are in the Ionian mode.

• The Mixolydian mode has a flat 7th degree relative to the Ionian; this creates a I7, a v minor, and a VII major chord. There is also a iii dim chord, but it is not used extensively in modal compositions. The Beatles song "Norwegian Wood" and the ABBA Song "The Visitors" are in Mixolydian mode.

• The Dorian mode has a characteristic raised sixth relative to the Aeolian mode, which produces a major IV chord and a minor II chord. "What shall we do with the drunken sailor" is in the Dorian mode, as is the Sixth Symphony by Jean Sibelius.

• The Aeolian mode has a flat three, six, and seven; its characteristic chords are the minor iv and v chords. There is a subtle distinction between an Aeolian modal composition and a composition in a minor key, because the sixth and seventh degrees in a minor key can be altered to create major IV and V chords. The guitar solo in "Achilles' Last Stand" by Led Zeppelin is in Aeolian mode. The Aeolian mode is also known as the Natural (Pure), or Relative minor scale.

• The Phrygian mode has a lowered second relative to Aeolian, which creates its characteristic bII major and v diminished chords. This mode is quite common in flamenco music and is often referred to as the "Spanish" mode. The Jimmy Somerville song "So Cold The Night" and the Jefferson Airplane song "White Rabbit" are in Phrygian mode. The second movement of Brahms's Fourth Symphony famously opens in the Phrygian mode.

• The Locrian mode has a flat second and fifth scale degree and has a diminished i chord. It is highly unstable, and its diminished i chord makes establishing tonality in the mode nearly impossible. The few pieces written in this mode usually used an altered i minor chord to establish the tonal center, and then used the minor iii and major V chord to establish the modality. The locrian mode is so unstable that the bII chord cannot be used as it will quickly and inevitably establish itself as the I chord of a major key. The iv minor chord in second inversion with the tonic doubled is a good I chord for Locrian because it is the exact reverse of a major chord.

The Simpsons is a long-running animated television series, with 17 seasons and 358 episodes since it debuted on December 17, 1989 on FOX, and is a spinoff of The Tracey Ullman Show. ... In music theory, the major scale (or major mode) is one of the diatonic scales. ... The Beatles (L-R, Paul McCartney, George Harrison, Ringo Starr, John Lennon), in 1964, performing on The Ed Sullivan Show promoting their first U.S. hit song, I Want To Hold Your Hand, and ushering in the British Invasion of American popular music. ... ABBA (clockwise from top left: Frida, Benny, Agnetha, Bj̦rn) on the cover of their single Summer Night City. ... A bust of Jean Sibelius at the Sibelius-monumentti in Helsinki. ... A minor scale in musical theory is a diatonic scale whose third scale degree is an interval of a minor third above the tonic. ... In music, the relative minor of a particular major key (or the relative major of a minor key) is the key which has the same key signature but a different tonic, as opposed to parallel minor or major, respectively. ... Jimmy Somerville Jimmy Somerville (born June 22, 1961) is a Scottish pop singer. ... Jefferson Airplane was an American rock band from San Francisco, a pioneer of the LSD-influenced psychedelic rock movement. ... White Rabbit is a psychedelic rock song from Jefferson Airplanes 1967 album, Surrealistic Pillow. ... Johannes Brahms Johannes Brahms (May 7, 1833 РApril 3, 1897) was a German composer of classical music. ... The Symphony No. ... Tonality is a system of writing music according to certain hierarchical relationships pitch relationships around a center or tonic. ...

Modes in jazz

In jazz, the modes of the major scale are commonly played over specific chords. The chord examples below are shown for the modes of the key of C. For example, over an Fmaj7#4 chord, musicians typically play notes from the F Lydian scale in the key of C.

Although both Dorian and Aeolian can be played over a minor seventh (m7) chord, Dorian mode is most commonly used in straightahead jazz because of the consonant natural 6th (e.g. B over Dm7), as opposed to the b6 in Aeolian. Similarly, instead of Locrian, many jazz musicians play the 6th mode of the melodic minor over a half-diminished (ø or m7b5) chord, because the natural 9th in that mode (e.g. C# over Bø) is more consonant with the m7b5 chord than the b9 in Locrian (e.g. C over Bø). The "susb9" chord is also often played using the 2nd mode of melodic minor instead of Phrygian because of the natural 6th. See #Other possible uses below for jazz chords built from melodic minor modes.

Learning the modes

Different methods may be employed when working with the modes.

Perhaps the simplest way to gain an understanding of the modes is to come to the realization that, when examined from the proper perspective, they can be seen as being comprised of exactly the same notes. Take the notes of the C Major scale, for example. Spanning one octave, the notes of the C Major scale are C, D, E, F, G, A, B ,C. This is called the Ionian mode or, more correctly, the C Ionian mode owing to the fact that the Tonic is the C note. (Note that the Major scale in any key and its Ionian mode are equivalent.) To expound further still utilizing the notes of the C Major scale as the frame of reference: The tonic is the first note of a musical scale, and in the tonal method of music composition it is extremely important. ...

• C Ionian mode consists of the notes C, D, E, F, G, A, B, C (Do, Re, Mi, Fa, Sol, La, Ti, Do)

• D Dorian mode consists of the notes D, E, F, G, A, B, C, D (Re, Mi, Fa, Sol, La, Ti, Do, Re)

• E Phrygian consists of E, F, G, A, B, C, D, E (Mi, Fa, Sol, La, Ti, Do, Re, Mi)

• F Lydian consists of F, G, A, B, C, D, E, F (Fa, Sol, La, Ti, Do, Re, Mi, Fa)

• G Mixolydian consists of G, A, B, C, D, E, F, G (Sol, La, Ti, Do, Re, Mi, Fa, Sol)

• A Aeolian consists of A, B, C, D, E, F, G, A (La, Ti, Do, Re, Mi, Fa, Sol, La)

• B Locrian consists of B, C, D, E, F, G, A, B (Ti, Do, Re, Mi, Fa, Sol, La, Ti)

When viewed from this perspective, the modes lose quite a bit of their mystique. As we can see, all of the above modes consist of precisely the same notes; the notes of the C Major scale. What sets them apart from one another is the tonal center of each mode. For example, D Dorian mode is simply the C Major scale where the tonal center has been shifted to the D note. In other words, the D note becomes the Tonic. This shift in tonality results in a minor scale mode known as the D Dorian mode. The notes, however, are still the same as those of the C Major scale. This concept can be applied chromatically to every Major scale. Tonality is a system of writing music according to certain hierarchical relationships pitch relationships around a center or tonic. ...

If we were to observe this shift in tonality as it applies towards intervals , we would have the following: In music theory, an interval is the difference (a ratio or logarithmic measure) in pitch between two notes and often refers to those two notes themselves (otherwise known as a dyad). ...

• Ionian Mode

Do, Re, Mi, Fa, Sol, La, Ti, Do

1, 2, 3, 4, 5, 6, 7, 1

• Dorian Mode

Re, Mi, Fa, Sol, La, Ti, Do, Re

2, 3, 4, 5, 6, 7, 1, 2

---Becomes---

1, 2, b3, 4, 5, 6, b7, 1

• Phrygian Mode

Mi, Fa, Sol, La, Ti, Do, Re, Mi

3, 4, 5, 6, 7, 1, 2, 3

---Becomes---

1, b2, b3, 4, 5, b6, b7, 1

• Lydian Mode

Fa, Sol, La, Ti, Do, Re, Mi, Fa

4, 5, 6, 7, 1, 2, 3, 4

---Becomes---

1, 2, 3, #4(b5), 5, 6, 7, 1

• Mixolydian Mode

Sol, La, Ti, Do, Re, Mi, Fa, Sol

5, 6, 7, 1, 2, 3, 4, 5

---Becomes---

1, 2, 3, 4, 5, 6, b7, 1

• Aeolian Mode

La, Ti, Do, Re, Mi, Fa, Sol, La

6, 7, 1, 2, 3, 4, 5, 6

---Becomes---

1, 2, b3, 4, 5, b6, b7, 1

• Locrian Mode

Ti, Do, Re, Mi, Fa, Sol, La, Ti

7, 1, 2, 3, 4, 5, 6, 7

---Becomes---

1, b2, b3, 4, b5, b6, b7, 1

As this illustrates, the seven modern modes can thus be thought of as resulting from a shifting of perspective such that each degree of the Major scale is considered to be the Tonic for its corresponding mode. As such, it follows that each interval within a mode is assigned a new interval designation according to its position relative to the new Tonic.

A mathematical approach

If you're an instrumentalist, you may find the following approach useful to understanding the modal scales.

• The Ionian mode is identical to the major scale of tonal music.

• The Aeolian mode is identical to the natural (pure) minor scale of tonal music. Compared to Ionian, its 3rd, 6th, and 7th notes have been lowered one half-step.

• Lydian is identical to Ionian, except that the 4th note in the scale is raised one half-step.

• Mixolydian is identical to Ionian, exception that the 7th note in the scale is lowered one half-step.

• Dorian is identical to Aeolian, except its 6th scale degree is raised one half-step.

• Phrygian is identical to Aeolian, except its 2nd scale degree is lowered one half-step.

• Locrian, the theoretical mode, is identical to Aeolian, except its 2nd and 5th scale degrees are flattened. Because its 5th scale degree is flattened, this mode sounds very unstable, and thus, is seldom used.

Using this technique, one may apply a simple bit of mathematics towards converting from one mode to another. First, one should memorize the number of flats and sharps for all Ionian scales (e.g. F ionian has 1 flat). One should also memorize how to notate the flats and sharps on a musical bar. Then, one should memorize this chart: In music theory, the major scale (or major mode) is one of the diatonic scales. ... A minor scale in musical theory is a diatonic scale whose third scale degree is an interval of a minor third above the tonic. ...

• Ionian: 0
• Dorian: −2
• Phrygian: −4
• Lydian: +1
• Mixolydian: −1
• Aeolian: −3
• Locrian: −5

If you think of flats as negative numbers and sharps as positive numbers, you may use simple mathematics to convert between modes. For example, having memorized that the C major/ionian scale has zero sharps or flats, and wanting to know what notes C phrygian should change, you would add 0 to phrygian's −4 to get −4.. meaning four flats. So C phrygian has four flats, (B, E, A, and D).

Or, for a slightly more complicated example, try figuring out F locrian:

F major/ionian has 1 flat, so it is −1. Locrian has a −5, so −1 +−5 is −6. Therefore, F locrian has six flats (B, E, A, D, G, and C).

If you work with keyboard instruments, you may find the following technique more useful in working with modes.

If you are familiar with major scales, each modal scale may be thought of as starting at a different scale degree from the major scale.

Thus, you may memorize which scale degree to start at for each mode.

• Ionian: I
• Dorian: II
• Phrygian: III
• Lydian: IV
• Mixolydian: V
• Aeolian: VI
• Locrian: VII

The patterns of tones (T) and semitones (s) are as follows:

 TTsTTTs Ionian (modern major) TsTTTsT Dorian sTTTsTT Phrygian TTTsTTs Lydian TTsTTsT Mixolydian TsTTsTT Aeolian (modern minor) sTTsTTT Locrian 

Note the shifts of alternate semitones from row to row.

Each of these modes has a unique scale without any sharps or flats. They are as follows:

 Ionian C major Dorian D Phrygian E Lydian F Mixolydian G Aeolian A minor Locrian B 

Using Tonic Sol-fa

As introduced in the Tonic Sol-fa system, the Do scale can be manipulated to form modes. The following relationships hold between the sol-fa syllables used in major key (i.e. Ionian mode) music: Tonic Sol-fa is a system of musical notation based on relationships between tones in a key. ...

• The distance between Do and Re is a whole step
• Re - Mi = whole step
• Mi - Fa = half step
• Fa - Sol = whole step
• Sol - La = whole step
• La - Ti = whole step
• Ti - Do = half step

For example if we were in the key of D Major, or D Ionian, we would exactly follow the chart above. In this case D is the Do, so the scale would go as follows:

• Ionian: do re mi fa sol la ti do (D E F# G A B C# D)

Beginning from this scale, we can modify various notes by a half-step each to arrive at the different modal scales. Different syllables are used for the "in-between" notes, as mentioned below and explained in more detail in the article on Tonic Sol-fa. Tonic Sol-fa is a system of musical notation based on relationships between tones in a key. ...

To manipulate the Ionian scale to become Lydian, we raise the Fa to Fi. In this case the Fa is G and when raised a half step it will become G#.

• Lydian: do re mi fi sol la ti do (D E F# G# A B C# D)

To form the Mixolydian from Ionian we would lower the Ti to Te, So C# will become C.

• Mixolydian: do re mi fa sol la te do (D E F# G A B C D)

Dorian, the first of the minor modes, has a flatted third, so we lower Mi to Me, making F# into F. We also still have the minor seventh (te) of Mixolydian.

• Dorian: do re me fa sol la te do (D E F G A B C D)

Aeolian is the most common minor mode, lowering the sixth (in addition to the third and the seventh). Thus we lower La to Le, lowering B to Bb.

• Aeolian: do re me fa sol le te do (D E F G A Bb C D)

The Phrygian mode has all these plus a flatted second, so we lower Re to Ra (E to Eb):

• Phrygian: do ra me fa sol le te do (D Eb F G A Bb C D)

Finally, the Locrian mode, compared to the major scale, has every note flatted other than fa. The new flat is the fifth, lowering Sol to Se (A to Ab).

• Locrian: do ra me fa se le te do (D Eb F G Ab Bb C D)

Other types of modes

In modern music theory, scales other than the major scale sometimes have the term "modes" applied to the scales which begin with their degrees. This is seen, for example, in "Melodic Minor" scale harmony (see Minor scale for a brief description of the melodic minor), which is based on the seven modes of the melodic minor scale, yielding some interesting scales as shown below. The "Chord" row lists chords that can be built from the given mode. A minor scale in musical theory is a diatonic scale whose third scale degree is an interval of a minor third above the tonic. ...

Most of these chords and modes are commonly used in jazz; the min/maj chord, 7#11 and alt were in common use in the bebop era (indeed, the Lydian dominant scale and 7#11 chord practically defined the bebop sound), while Coltrane-era and later jazz made extensive use of susb9 chords. maj#5 is less common, but appears in Wayne Shorter's compositions. The b6b7 is rarely seen as such. Wayne Shorter(right) jamming with Miles Davis Wayne Shorter (born August 25, 1933 in Newark, New Jersey) is an American jazz composer and saxophonist. ...

Though the term "mode" is still used in this case (and is useful in recognizing that these scales all have a common root, that is the melodic minor scale); it is more common for musicians to understand the term "mode" to refer to Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, or Locrian scales. In everyday speech, this is the most common understanding.

Analogues in different musical traditions

• Echos
• Makam
• Maqam
• Pentatonic scale
• Raga

In the theory of byzantine music echos is the concept most akin to that of mode or maqam. ... In music, a maqam [sic] (plural maqamat) is a technique of improvisation that defines the pitches, patterns, and development of a piece of music. ... In Arab music a maqam [sic] (plural maqamat) is, a technique of improvisation that defines the pitches, patterns, and development of a piece of music and which is unique to Arabian art music. ... In music, a pentatonic scale is a scale with five notes per octave. ... Raga (rāg /राग (Hindi), raga (Anglicised from rāgaḥ/रागः (Sanskrit)) or rāgam /ராகம் (Tamil)) are the melodic modes used in Indian classical music. ...

References

• Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990). Studies in the Origin of Harmonic Tonality. Princeton University Press. ISBN 0691091358.
• Hoppin, Richard H. (1978). Medieval Music. New York: W.W. Norton & Co. ISBN 0393090906.
• Judd, Cristle Collins (ed.) (1998). Tonal Structures of Early Music. New York: Garland Publishing. ISBN 0815323883.
  • Liane Curtis. "Mode".

Further reading

• New Grove Dictionary of Music and Musicians
• Grout, Donald and Palisca, Claude: A History of Western Music. ISBN 0393975274.
• Levine, Mark (1989): The Jazz Piano Book. Sher Music Co. ISBN 0961470151.
• Apel, Willi: Harvard Dictionary of Music. Belknap Press; 2nd edition (January, 1968)