# Modes of the Major Scale ## What are Modes? Every source scale (major, harmonic minor, and melodic minor to name the most common) has modes. Modes are versions of these source scales that start with different root notes (the first note in the scale). For example, in the key of F major, if I started playing the scale at C, I would get the notes $$C, D, E, F, G, A, B\flat$$. This sequence of notes would be a mode of F major because it uses the same notes from the source F major scale but starts at a different root from F, namely C (C mixolydian mode). For more on this subject and to learn these modes quickly, check out this video from Rick Beato, a fantastic YouTube teacher. {% embed url="" %} ### Why Modes? Modes allow you to unlock harmonic and melodic textures that are inaccessible from just playing major and natural minor scales. For example, the tune "[So What](/learn-tunes/modal-tunes-1/so-what.md)" by Miles Davis opens on a D minor vamp, perhaps implying that the D natural minor scale (Aeolian) would be used. However, to achieve the particular sound of the song, the D Dorian mode is played in the melody and implied in the harmony. D Dorian differs from D natural minor (Aeolian) and thus gives a different texture. The more modes you know and can apply, the more emotional and purposeful you can be in your playing. ## The Modes In the video above, Rick Beato talks about how the sound of each mode is defined by where the half steps are. The bolded scale degrees in the "notes" column below indicate where the half steps are. | Mode | Notes (Compared to Major Scale) | Example (Key of C Major) | | ------------------------------------ | ---------------------------------------------------------------------------- | ------------------------------------- | | Ionian | $$\textbf1, 2, \textbf3, \textbf4, 5, 6, \textbf7$$ | C Ionian: $$C, D, E, F, G, A, B$$ | |

Dorian

(Jazz Minor)

| $$1, \textbf2, \flat\textbf3, 4, 5, \textbf6, \flat\textbf7$$ | D Dorian: $$D, E, F, G, A, B, C$$ | | Phrygian | $$\textbf1, \flat\textbf2, \flat3, 4, \textbf5, \flat\textbf6, \flat7$$ | E Phrygian: $$E, F, G, A, B, C, D$$ | | Lydian | $$\textbf1, 2, 3, \sharp\textbf4, \textbf5, 6, \textbf7$$ | F Lydian: $$F, G, A, B, C, D, E$$ | | Mixolydian | $$1, 2, \textbf3, \textbf4, 5, \textbf6, \flat\textbf7$$ | G Mixolydian: $$G, A, B, C, D, E, F$$ | |

Aeolian

(Natural Minor)

| $$1, \textbf2, \flat\textbf3, 4, \textbf5, \flat\textbf6, \flat7$$ | A Aeolian: $$A, B, C, D, E, F, G$$ | | Locrian | $$\textbf1, \flat\textbf2, \flat3, \textbf4, \flat\textbf5, \flat6, \flat7$$ | B Locrian: $$B, C, D, E, F, G, A$$ | These modes can be grouped together based on the types of chords that they are paired with (major 7, minor 7, dominant 7, and half-diminished 7). In the following table, the "Characteristic Note" is what makes the mode different from the others that share the same quality. The "Example Chords" are chords with extensions that really give the chord its modal sound. | Mode | Chord Quality | Characteristic Note | Example Chords and Extensions | | ---------- | ------------------------------------ | ------------------------------ | ------------------------------------- | | Lydian | Major $$(3, 7)$$ | $$\sharp4$$ (aka $$\sharp11$$) | $$C\Delta7; 9, \sharp11, 13$$ | | Ionian | Major | $$4$$ | $$C\Delta add4; 7, 9, 13$$ | | Mixolydian | Dominant $$(3, \flat7)$$ | | $$C7; 9, 13$$ | | Dorian | Minor $$(\flat3, \flat7)$$ | $$\natural6$$ (aka $$13$$) | $$C^-7; 9, 11, 13$$ | | Aeolian | Minor | $$\flat6$$ (aka $$\flat13$$) | $$C^-7; 9, 11, \flat13$$ | | Phrygian | Minor | $$\flat2$$ (aka $$\flat9$$) | $$C^-7; \flat9, 11, \flat13$$ | | Locrian | Half-Dim$$(\flat3, \flat5, \flat7)$$ | | $$C^-7(\flat5); \flat9, 11, \flat13$$ | ### Scale Charts Here are the major modes in all twelve keys in printable charts. Tips for practicing scales: * Learn the scale ascending and descending over the full range of your instrument (two octaves for guitar, bass, and piano). * Learn to play groups of three, four, and five. A group of four: \[C, D, E, F], \[E, F, G, A], \[G, A... etc.] * Learn the scale in alternating thirds ascending and descending. \[C, E], \[D, F], \[E, G], etc. * Learn to play triads in the scale ascending and descending. Try alternating playing the triad ascending and descending \[C, E, G], \[A, F, D], \[E, G, B], \[C, A, F] etc. * For more tips, visit these links: * [More ways to approach scales - jazzadvice.com](https://www.jazzadvice.com/practice-everything-in-all-four-directions/) * [How practicing scales and patterns can improve your sight reading](/scales-1/why-scales.md#scales-can-help-you-improve-your-sight-reading) {% hint style="info" %} The more variations you can apply to scales, the more versatile of a musician and improviser you can be! {% endhint %} #### For Guitarists Visit for an explanation of modes for the guitar and accompanying charts for each mode. {% tabs %} {% tab title="Todo: Chart 1" %} {% endtab %} {% tab title="Chart 2" %} {% endtab %} {% endtabs %} --- # Agent Instructions: Querying This Documentation If you need additional information that is not directly available in this page, you can query the documentation dynamically by asking a question. Perform an HTTP GET request on the current page URL with the `ask` query parameter: ``` GET https://music.davidjaybuckley.com/scales-1/major-scale.md?ask= ``` The question should be specific, self-contained, and written in natural language. The response will contain a direct answer to the question and relevant excerpts and sources from the documentation. Use this mechanism when the answer is not explicitly present in the current page, you need clarification or additional context, or you want to retrieve related documentation sections.