Understanding Guitar Modes
A beginner’s guideWhat are modes?
Simple definition: Modes are scales that start on different degrees of the major scale, giving the tonic a different color. They use the same 7 notes, but because each starts on a different note, the pattern of tensions changes — giving each mode a distinct sound and emotional character.
Two perspectives on modesWhen learning modes, there are two equally valid frameworks:
- Parent-Scale Modes: Modes are derived by starting on different degrees of a parent scale (usually the major scale).
- Parallel Modes: Each mode is treated as its own independent scale, built on the same tonic but with its own altered intervals.
Resources:
Parent-Scale Mode:
- All modes come from the same major scale.
- You simply start on different degrees.
- Trains the ear to hear modal flavor by shifting the “home base.”
Example using the C major scale (C–D–E–F–G–A–B)
| Mode | Starts on | Notes |
|---|---|---|
| Ionian | 1 | C–D–E–F–G–A–B |
| Dorian | 2 | D–E–F–G–A–B–C |
| Phrygian | 3 | E–F–G–A–B–C–D |
| Lydian | 4 | F–G–A–B–C–D–E |
| Mixolydian | 5 | G–A–B–C–D–E–F |
| Aeolian | 6 | A–B–C–D–E–F–G |
| Locrian | 7 | B–C–D–E–F–G–A |
Interval Reference
The following table lists common interval qualities and their semitone counts. This is especially useful when determining modes, since each mode’s formula (e.g., 1 – 2 – ♭3 – 4 – 5 – 6 – ♭7 for Dorian) is built by comparing scale degrees to their major-scale counterparts using these interval measurements.
| Interval | Quality | Semitones |
|---|---|---|
| 2nd | Minor (m2) | 1 |
| 2nd | Major (M2) | 2 |
| 3rd | Minor (m3) | 3 |
| 3rd | Major (M3) | 4 |
| 4th | Perfect (P4) | 5 |
| 4th | Augmented 4th (A4) / Tritone | 6 |
| 5th | Perfect (P5) | 7 |
| 5th | Diminished 5th (d5) / Tritone | 6 |
| 6th | Minor (m6) | 8 |
| 6th | Major (M6) | 9 |
| 7th | Minor (m7) | 10 |
| 7th | Major (M7) | 11 |
Each mode has its own formula, defined by the intervals it takes from the parent scale. Let’s examine them one by one.
1. Ionian Mode (C Ionian)
Parent scale: C–D–E–F–G–A–B
Ionian is the 1st mode → start on C
C Ionian Notes: C – D – E – F – G – A – B
Normalize Intervals Relative to C:
| Note | Interval from C | C Major Relationship | Ionian Formula |
|---|---|---|---|
| C | Unison | C (1) | 1 |
| D | Major 2nd | D (2) | 2 |
| E | Major 3rd | E (3) | 3 |
| F | Perfect 4th | F (4) | 4 |
| G | Perfect 5th | G (5) | 5 |
| A | Major 6th | A (6) | 6 |
| B | Major 7th | B (7) | 7 |
Ionian Diatonic Chords: C, Dm, Em, F, G, Am, Bdim 2. Dorian Mode (D Dorian)
Parent scale: C major
Starts on 2nd degree → D
D Dorian Notes: D – E – F – G – A – B – C
Normalize Intervals Relative to D:
| Note (Root: D) | Interval from D | C Major Relationship | Dorian Formula |
|---|---|---|---|
| D | Unison | D (2) | 1 |
| E | Major 2nd | E (3) | 2 |
| F | Minor 3rd | F (4) | ♭3 |
| G | Perfect 4th | G (5) | 4 |
| A | Perfect 5th | A (6) | 5 |
| B | Major 6th | B (7) | 6 |
| C | Minor 7th | C (1) | ♭7 |
Dorian Diatonic Chords (D): Dm, Em, F, G, Am, B°, C 3. Phrygian Mode (E Phrygian)
Parent scale: C major
Starts on 3rd degree → E
E Phrygian Notes: E – F – G – A – B – C – D
Normalize Intervals Relative to E:
| Note (Root: D) | Interval from D | C Major Relationship | Phrygian Formula |
|---|---|---|---|
| E | Unison | E (3) | 1 |
| F | Minor 2nd | F (4) | ♭2 |
| G | Minor 3rd | G (5) | ♭3 |
| A | Perfect 4th | A (6) | 4 |
| B | Perfect 5th | B (7) | 5 |
| C | Minor 6th | C (1) | ♭6 |
| D | Minor 7th | D (2) | ♭7 |
Phrygian Diatonic Chords (E): Em, F, G, Am, B°, C, Dm 4. Lydian Mode (F Lydian)
Parent scale: C major
Starts on 4th degree → F
F Lydian Notes: F – G – A – B – C – D – E
Normalize Intervals Relative to F:
| Note (Root: E) | Interval from E | C Major Relationship | Lydian Formula |
|---|---|---|---|
| F | Unison | F (4) | 1 |
| G | Major 2nd | G (5) | 2 |
| A | Major 3rd | A (6) | 3 |
| B | Augmented 4th | B (7) | ♯4 |
| C | Perfect 5th | C (1) | 5 |
| D | Major 6th | D (2) | 6 |
| E | Major 7th | E (3) | 7 |
Lydian Diatonic Chords (F): F, G, Am, B°, C, Dm, Em 5. Mixolydian Mode (G Mixolydian)
Parent scale: C major
Starts on 5th degree → G
G Mixolydian Notes: G – A – B – C – D – E - F
Normalize Intervals Relative to G:
| Note (Root: G) | Interval from G | C Major Relationship | Mixolydian Formula |
|---|---|---|---|
| G | Unison | G (5) | 1 |
| A | Major 2nd | A (6) | 2 |
| B | Major 3rd | B (7) | 3 |
| C | Perfect 4th | C (1) | 4 |
| D | Perfect 5th | D (2) | 5 |
| E | Major 6th | E (3) | 6 |
| F | Minor 7th | F (4) | ♭7 |
Mixolydian Diatonic Chords (G): G, Am, Bdim, C, Dm, Em, F 6. Aeolian Mode (A Aeolian / Natural Minor)
Parent scale: C major
Starts on 6th degree → A
A Aeolian Notes: A – B – C – D – E - F - G
Normalize Intervals Relative to A:
| Note (Root: A) | Interval from A | C Major Relationship | Aeolian Formula |
|---|---|---|---|
| A | Unison | A (6) | 1 |
| B | Major 2nd | B (7) | 2 |
| C | Minor 3rd | C (1) | ♭3 |
| D | Perfect 4th | D (2) | 4 |
| E | Perfect 5th | E (3) | 5 |
| F | Minor 6th | F (4) | ♭6 |
| G | Minor 7th | G(5) | ♭7 |
Aeolian Diatonic Chords (A): Am, Bdim, C, Dm, Em, F, G 7. Locrian Mode (B Locrian)
Parent scale: C major
Starts on 7th degree → B
B Locrian Notes: B – C – D – E - F - G - A
Normalize Intervals Relative to B:
| Note (Root: B) | Interval from A | C Major Relationship | Locrian Formula |
|---|---|---|---|
| A | Unison | B (7) | 1 |
| B | Minor 2nd | C (1) | 2 |
| C | Minor 3rd | D (2) | ♭3 |
| D | Perfect 4th | E (3) | 4 |
| E | Diminished 5th | F (4) | 5 |
| F | Minor 6th | G(5) | ♭6 |
| G | Minor 7th | A(6) | ♭7 |
Locrian Diatonic Chords (B): Bdim, C, Dm, Em, F, G, Am
Parent-Scale Modes (Rotation Method) — The Degrees Shift
Parent-scale modes come from one major scale, and each new mode begins on the next scale degree.
If we write the degrees of the major scale in a circle:I – ii – iii – IV – V – vi – vii°
Then every time you move to the next mode, you rotate that list one step to the left:
- Ionian (mode 1)
Starts on the 1st scale degree
I – ii – iii – IV – V – vi – vii° - Dorian (mode 2)
Rotate left once → starts on ii
ii – iii – IV – V – vi – vii° – I - Phrygian (mode 3)
Rotate left again → starts on iii
iii – IV – V – vi – vii° – I – ii - Lydian (mode 4)
Rotate left again → starts on IV
IV – V – vi – vii° – I – ii – iii - Mixolydian (mode 5)
Starts on V
V – vi – vii° – I – ii – iii – IV - Aeolian (mode 6)
Starts on vi
vi – vii° – I – ii – iii – IV – V - Locrian (mode 7)
Starts on vii°
vii° – I – ii – iii – IV – V – vi
Parallel Modes:
Parallel modes are built on the same tonic, but each mode applies its own modal interval formula (the same formula used in the parent-scale version of that mode). This changes certain scale degrees (♭2, ♭3, ♯4, ♭6, ♭7, etc.), giving each mode its distinct sound.
In parallel modes:- The root never changes
- The interval pattern changes according to the mode
- Each mode has a fixed formula:
- Ionian → 1 2 3 4 5 6 7
- Dorian → 1 2 ♭3 4 5 6 ♭7
- Phrygian → 1 ♭2 ♭3 4 5 ♭6 ♭7
- etc.
Example: C Dorian (Parallel Mode)
We use the same Interval formula that defines the D Dorian mode in its parent context:
1 – 2 – ♭3 – 4 – 5 – 6 – ♭7
Apply that to C as the tonic:
C Dorian scale:
C – D – E♭ – F – G – A – B♭
C Dorian core chords are determined by stacking diatonic thirds within the C Dorian scale only:
Cm – Dm – E♭ – F – Gm – A° – B♭
We can apply the same method to any mode in any key to find its correct notes and chords.
Please Note:The interval formulas for each mode are identical whether you're using parent-scale modes or parallel modes.
- Parent-scale modes come from rearranging the major scale.
- Parallel modes apply the same modal interval formula to a new tonic.
These modal formulas (e.g., Dorian = 1–2–♭3–4–5–6–♭7) are universal—they define the structure of the mode no matter how it is constructed.
The Seven Parallel Modes in C
Ionian (major scale)| Component | Value |
|---|---|
| Ionian Formula: | 1–2–3–4–5–6–7 |
| Ionian Notes: | C–D–E–F–G–A–B |
| Ionian Core chords: | C, Dm, Em, F, G, Am, Bdim |
| Ionian Scale Degrees | I–ii-iii-IV-V-vi-vii° |
| Component | Value |
|---|---|
| Dorian Formula | 1–2–♭3–4–5–6–♭7 |
| Dorian Notes | C–D–E♭–F–G–A–B♭ |
| Dorian Core chords | Cm, Dm, E♭, F, Gm, Adim, B♭ |
| Dorian Scale Degrees | i-ii-♭III-IV-v-vi°-♭VII |
| Component | Value |
|---|---|
| Phrygian Formula | 1–♭2–♭3–4–5–♭6–♭7 |
| Phrygian Notes | C–D♭–E♭–F–G–A♭–B♭ |
| Phrygian Core chords | Cm, D♭, E♭, Fm, Gdim, A♭, B♭m |
| Phrygian Scale Degrees | i-♭II-♭III-iv-v°-♭VI-♭vii |
| Component | Value |
|---|---|
| Lydian Formula | 1–2–3–♯4–5–6–7 |
| Lydian Notes | C–D–E–F♯–G–A–B |
| Lydian Core chords | C, D, Em, F♯dim, G, Am, Bm |
| Lydian Scale Degrees | I-II-III-#iv°-V-vi-vii |
| Component | Value |
|---|---|
| Mixolydian Formula | 1–2–3–4–5–6–♭7 |
| Mixolydian Notes | C–D–E–F–G–A–B♭ |
| Mixolydian Core chords | C, Dm, Edim, F, Gm, Am, B♭ |
| Mixolydian Scale Degrees | I-ii-iii°-IV-v-vi-♭VII |
| Component | Value |
|---|---|
| Aeolian Formula | 1–2–♭3–4–5–♭6–♭7 |
| Aeolian Notes | C–D–E♭–F–G–A♭–B♭ |
| Aeolian Core chords | Cm, Ddim, E♭, Fm, Gm, A♭, B♭ |
| Aeolian Scale Degrees | i-ii°-♭III-iv-v-♭VI-♭VII |
| Component | Value |
|---|---|
| Locrian Formula | 1–♭2–♭3–4–♭5–♭6–♭7 |
| Locrian Notes | C–D♭–E♭–F–G♭–A♭–B♭ |
| Locrian Core chords | Cdim, D♭, E♭m, Fm, G♭, A♭, B♭m |
| Locrian Scale Degrees | i°-♭II-♭iii-iv-♭V-♭VI-♭vii |
Parallel Modes & Borrowed Chords
So far, we have looked at the seven derivative modes of the C major scale — modes created by starting the C major scale on different degrees.
We can also compare the parallel modes — the seven modes that all share the same tonic note (C Ionian, C Dorian, C Phrygian, C Lydian, C Mixolydian, C Aeolian, C Locrian). These modes each have a different color because their interval structures differ.
When composers take chords from these parallel modes and use them in a major or minor key, we call this modal interchange or borrowed chords.
Common examples in the key of C major include:
- C minor (i) from C Aeolian or C Dorian
- E♭ (♭III) from C Aeolian or C Phrygian
- A♭ (♭VI) from C Aeolian
- B♭ (♭VII) from C Mixolydian
- F♯° (iv° of Lydian) from C Lydian
Using parallel modes lets you “borrow” chords from other versions of the same scale. This adds new flavors to your music — major keys can sound more minor, minor keys can sound more mysterious or bright, and progressions can sound more interesting.
🎸 Guitar-Friendly Parallel Modes (Interval Patterns From the Tonic)
Each mode below shows:- Formula (interval pattern)
- What changes compared to the major scale (Ionian)
- Sound character of each mode
| Mode | Interval Formula | Alterations vs Major | Character |
|---|---|---|---|
| Ionian | 1–2–3–4–5–6–7 | None | Bright, stable |
| Dorian | 1–2–♭3–4–5–6–♭7 | ♭3, ♭7 | Minor, smooth |
| Phrygian | 1–♭2–♭3–4–5–♭6–♭7 | ♭2, ♭3, ♭6, ♭7 | Dark, exotic |
| Lydian | 1–2–3–♯4–5–6–7 | ♯4 | Dreamy, bright |
| Mixolydian | 1–2–3–4–5–6–♭7 | ♭7 | Major/bluesy |
| Aeolian | 1–2–♭3–4–5–♭6–♭7 | ♭3, ♭6, ♭7 | Sad, minor |
| Locrian | 1–♭2–♭3–4–♭5–♭6–♭7 | ♭2, ♭3, ♭5, ♭6, ♭7 | Dark, unstable |
Parallel Mode Charts — All Keys
C PARALLEL MODES
| Mode | Formula | Notes | Chords |
|---|---|---|---|
| Ionian | 1–2–3–4–5–6–7 | C D E F G A B | C, Dm, Em, F, G, Am, Bdim |
| Dorian | 1–2–♭3–4–5–6–♭7 | C D E♭ F G A B♭ | Cm, Dm, E♭, F, Gm, Adim, B♭ |
| Phrygian | 1–♭2–♭3–4–5–♭6–♭7 | C D♭ E♭ F G A♭ B♭ | Cm, D♭, E♭, Fm, Gdim, A♭, B♭m |
| Lydian | 1–2–3–♯4–5–6–7 | C D E F♯ G A B | C, D, Em, F♯dim, G, Am, Bm |
| Mixolydian | 1–2–3–4–5–6–♭7 | C D E F G A B♭ | C, Dm, Em, F, Gm, Adim, B♭ |
| Aeolian | 1–2–♭3–4–5–♭6–♭7 | C D E♭ F G A♭ B♭ | Cm, Ddim, E♭, Fm, Gm, A♭, B♭ |
| Locrian | 1–♭2–♭3–4–♭5–♭6–♭7 | C D♭ E♭ F G♭ A♭ B♭ | Cdim, D♭, E♭, Fm, G♭, A♭, B♭m |
C♯ / D♭ PARALLEL MODES
| Mode | Formula | Notes | Chords |
|---|---|---|---|
| Ionian | 1–2–3–4–5–6–7 | D♭ E♭ F G♭ A♭ B♭ C | D♭, E♭m, Fm, G♭, A♭, B♭m, Cdim |
| Dorian | 1–2–♭3–4–5–6–♭7 | D♭ E♭ E G♭ A♭ B♭ C♭ | D♭m, E♭m, E, G♭, A♭m, B♭dim, C♭ |
| Phrygian | 1–♭2–♭3–4–5–♭6–♭7 | D♭ D E G♭ A♭ A C♭ | D♭m, D, E, G♭m, A♭dim, A, C♭m |
| Lydian | 1–2–3–♯4–5–6–7 | D♭ E♭ F G A♭ B♭ C | D♭, E♭, Fm, Gdim, A♭, B♭m, Cm |
| Mixolydian | 1–2–3–4–5–6–♭7 | D♭ E♭ F G♭ A♭ B♭ C♭ | D♭, E♭m, Fm, G♭, A♭m, B♭dim, C♭ |
| Aeolian | 1–2–♭3–4–5–♭6–♭7 | D♭ E♭ E G♭ A♭ A C♭ | D♭m, E♭dim, E, G♭m, A♭m, A, C♭ |
| Locrian | 1–♭2–♭3–4–♭5–♭6–♭7 | D♭ D E G♭ G A C♭ | D♭dim, D, E, G♭m, G, A, C♭m |
D PARALLEL MODES
| Mode | Formula | Notes | Chords |
|---|---|---|---|
| Ionian | 1–2–3–4–5–6–7 | D E F♯ G A B C♯ | D, Em, F♯m, G, A, Bm, C♯dim |
| Dorian | 1–2–♭3–4–5–6–♭7 | D E F G A B C | Dm, Em, F, G, Am, Bdim, C |
| Phrygian | 1–♭2–♭3–4–5–♭6–♭7 | D E♭ F G A B♭ C | Dm, E♭, F, Gm, Adim, B♭, Cm |
| Lydian | 1–2–3–♯4–5–6–7 | D E F♯ G♯ A B C♯ | D, E, F♯m, G♯dim, A, Bm, C♯m |
| Mixolydian | 1–2–3–4–5–6–♭7 | D E F♯ G A B C | D, Em, F♯m, G, Am, Bdim, C |
| Aeolian | 1–2–♭3–4–5–♭6–♭7 | D E F G A B♭ C | Dm, Edim, F, Gm, Am, B♭, C |
| Locrian | 1–♭2–♭3–4–♭5–♭6–♭7 | D E♭ F G A♭ B♭ C | Ddim, E♭, F, Gm, A♭, B♭, Cm |
E♭ PARALLEL MODES
| Mode | Formula | Notes | Chords |
|---|---|---|---|
| Ionian | 1–2–3–4–5–6–7 | E♭ F G A♭ B♭ C D | E♭, Fm, Gm, A♭, B♭, Cm, Ddim |
| Dorian | 1–2–♭3–4–5–6–♭7 | E♭ F G♭ A♭ B♭ C♭ D♭ | E♭m, Fm, G♭, A♭, B♭m, C♭dim, D♭ |
| Phrygian | 1–♭2–♭3–4–5–♭6–♭7 | E♭ E G♭ A♭ B♭ B D♭ | E♭m, E, G♭, A♭m, B♭dim, B, D♭m |
| Lydian | 1–2–3–♯4–5–6–7 | E♭ F G A B♭ C D | E♭, F, Gm, A dim, B♭, Cm, Dm |
| Mixolydian | 1–2–3–4–5–6–♭7 | E♭ F G A♭ B♭ C D♭ | E♭, Fm, Gm, A♭, B♭m, Cdim, D♭ |
| Aeolian | 1–2–♭3–4–5–♭6–♭7 | E♭ F G♭ A♭ B♭ B D♭ | E♭m, Fdim, G♭, A♭m, B♭m, B, D♭ |
| Locrian | 1–♭2–♭3–4–♭5–♭6–♭7 | E♭ E G♭ A♭ A B D♭ | E♭dim, E, G♭, A♭m, A, B, D♭m |
E PARALLEL MODES
| Mode | Formula | Notes | Chords |
|---|---|---|---|
| Ionian | 1–2–3–4–5–6–7 | E F♯ G♯ A B C♯ D♯ | E, F♯m, G♯m, A, B, C♯m, D♯dim |
| Dorian | 1–2–♭3–4–5–6–♭7 | E F♯ G A B C♯ D | Em, F♯m, G, A, Bm, C♯dim, D |
| Phrygian | 1–♭2–♭3–4–5–♭6–♭7 | E F G A B C D | Em, F, G, Am, Bdim, C, Dm |
| Lydian | 1–2–3–♯4–5–6–7 | E F♯ G♯ A♯ B C♯ D♯ | E, F♯, G♯m, A♯dim, B, C♯m, D♯m |
| Mixolydian | 1–2–3–4–5–6–♭7 | E F♯ G♯ A B C♯ D | E, F♯m, G♯m, A, Bm, C♯dim, D |
| Aeolian | 1–2–♭3–4–5–♭6–♭7 | E F♯ G A B C D | Em, F♯dim, G, Am, Bm, C, D |
| Locrian | 1–♭2–♭3–4–♭5–♭6–♭7 | E F G A B♭ C D | Edim, F, G, Am, B♭, C, Dm |
F PARALLEL MODES
| Mode | Formula | Notes | Chords |
|---|---|---|---|
| Ionian | 1–2–3–4–5–6–7 | F G A B♭ C D E | F, Gm, Am, B♭, C, Dm, Edim |
| Dorian | 1–2–♭3–4–5–6–♭7 | F G A♭ B♭ C D E♭ | Fm, Gm, A♭, B♭, Cm, Ddim, E♭ |
| Phrygian | 1–♭2–♭3–4–5–♭6–♭7 | F G♭ A♭ B♭ C D♭ E♭ | Fm, G♭, A♭, B♭m, Cdim, D♭, E♭m |
| Lydian | 1–2–3–♯4–5–6–7 | F G A B C D E | F, G, Am, Bdim, C, Dm, Em |
| Mixolydian | 1–2–3–4–5–6–♭7 | F G A B♭ C D E♭ | F, Gm, Am, B♭, Cm, Ddim, E♭ |
| Aeolian | 1–2–♭3–4–5–♭6–♭7 | F G A♭ B♭ C D♭ E♭ | Fm, Gdim, A♭, B♭m, Cm, D♭, E♭ |
| Locrian | 1–♭2–♭3–4–♭5–♭6–♭7 | F G♭ A♭ B♭♭ Cflat;♭ Dflat;♭ E♭♭ | Fdim, Gflat;♭, Aflat;♭, Bflat;♭(A), C♭, D♭, E♭m |
F♯ / G♭ PARALLEL MODES
| Mode | Formula | Notes | Chords |
|---|---|---|---|
| Ionian | 1–2–3–4–5–6–7 | F♯ G♯ A♯ B C♯ D♯ E♯ | F♯, G♯m, A♯m, B, C♯, D♯m, E♯dim |
| Dorian | 1–2–♭3–4–5–6–♭7 | F♯ G♯ A B C♯ D♯ E | F♯m, G♯m, A, B, C♯m, D♯dim, E |
| Phrygian | 1–♭2–♭3–4–5–♭6–♭7 | F♯ G A B C♯ D E | F♯m, G, A, Bm, C♯dim, D, Em |
| Lydian | 1–2–3–♯4–5–6–7 | F♯ G♯ A♯ B♯ C♯ D♯ E♯ | F♯, G♯, A♯m, B♯dim, C♯, D♯m, E♯m |
| Mixolydian | 1–2–3–4–5–6–♭7 | F♯ G♯ A♯ B C♯ D♯ E | F♯, G♯m, A♯m, B, C♯m, D♯dim, E |
| Aeolian | 1–2–♭3–4–5–♭6–♭7 | F♯ G♯ A B C♯ D E | F♯m, G♯dim, A, Bm, C♯m, D, E |
| Locrian | 1–♭2–♭3–4–♭5–♭6–♭7 | F♯ G A B♭ C♯ D E | F♯dim, G, A, B♭m, C♯, D, Em |
G PARALLEL MODES
| Mode | Formula | Notes | Chords |
|---|---|---|---|
| Ionian | 1–2–3–4–5–6–7 | G A B C D E F♯ | G, Am, Bm, C, D, Em, F♯dim |
| Dorian | 1–2–♭3–4–5–6–♭7 | G A B♭ C D E F | Gm, Am, B♭, C, Dm, Edim, F |
| Phrygian | 1–♭2–♭3–4–5–♭6–♭7 | G A♭ B♭ C D E♭ F | Gm, A♭, B♭, Cm, Ddim, E♭, Fm |
| Lydian | 1–2–3–♯4–5–6–7 | G A B C♯ D E F♯ | G, A, Bm, C♯dim, D, Em, F♯m |
| Mixolydian | 1–2–3–4–5–6–♭7 | G A B C D E F | G, Am, Bm, C, Dm, Edim, F |
| Aeolian | 1–2–♭3–4–5–♭6–♭7 | G A B♭ C D E♭ F | Gm, Adim, B♭, Cm, Dm, E♭, F |
| Locrian | 1–♭2–♭3–4–♭5–♭6–♭7 | G A♭ B♭ C♭ D♭ E♭ F | Gdim, A♭, B♭, C♭, D♭, E♭, Fm |
A♭ PARALLEL MODES
| Mode | Formula | Notes | Chords |
|---|---|---|---|
| Ionian | 1–2–3–4–5–6–7 | A♭ B♭ C D♭ E♭ F G | A♭, B♭m, Cm, D♭, E♭, Fm, Gdim |
| Dorian | 1–2–♭3–4–5–6–♭7 | A♭ B♭ C♭ D♭ E♭ F G♭ | A♭m, B♭m, C♭, D♭, E♭m, Fdim, G♭ |
| Phrygian | 1–♭2–♭3–4–5–♭6–♭7 | A♭ A B D♭ E♭ E G♭ | A♭m, A, B, D♭m, E♭dim, E, G♭m |
| Lydian | 1–2–3–♯4–5–6–7 | A♭ B♭ C D E♭ F G | A♭, B♭, Cm, Ddim, E♭, Fm, Gm |
| Mixolydian | 1–2–3–4–5–6–♭7 | A♭ B♭ C D♭ E♭ F G♭ | A♭, B♭m, Cm, D♭, E♭m, Fdim, G♭ |
| Aeolian | 1–2–♭3–4–5–♭6–♭7 | A♭ B♭ C♭ D♭ E♭ E G♭ | A♭m, B♭dim, C♭, D♭m, E♭m, E, G♭ |
| Locrian | 1–♭2–♭3–4–♭5–♭6–♭7 | A♭ A B♭ B D♭ E♭ F | A♭dim, A, B♭, B, D♭m, E♭, Fm |
A PARALLEL MODES
| Mode | Formula | Notes | Chords |
|---|---|---|---|
| Ionian | 1–2–3–4–5–6–7 | A B C♯ D E F♯ G♯ | A, Bm, C♯m, D, E, F♯m, G♯dim |
| Dorian | 1–2–♭3–4–5–6–♭7 | A B C D E F♯ G | Am, Bm, C, D, Em, F♯dim, G |
| Phrygian | 1–♭2–♭3–4–5–♭6–♭7 | A B♭ C D E F G | Am, B♭, C, Dm, Edim, F, Gm |
| Lydian | 1–2–3–♯4–5–6–7 | A B C♯ D♯ E F♯ G♯ | A, B, C♯m, D♯dim, E, F♯m, G♯m |
| Mixolydian | 1–2–3–4–5–6–♭7 | A B C♯ D E F♯ G | A, Bm, C♯m, D, Em, F♯dim, G |
| Aeolian | 1–2–♭3–4–5–♭6–♭7 | A B C D E F G | Am, Bdim, C, Dm, Em, F, G |
| Locrian | 1–♭2–♭3–4–♭5–♭6–♭7 | A B♭ C D♭ E♭ F G | Adim, B♭, C, D♭, E♭, F, Gm |
B♭ PARALLEL MODES
| Mode | Formula | Notes | Chords |
|---|---|---|---|
| Ionian | 1–2–3–4–5–6–7 | B♭ C D E♭ F G A | B♭, Cm, Dm, E♭, F, Gm, Adim |
| Dorian | 1–2–♭3–4–5–6–♭7 | B♭ C D♭ E♭ F G A♭ | B♭m, Cm, D♭, E♭, Fm, Gdim, A♭ |
| Phrygian | 1–♭2–♭3–4–5–♭6–♭7 | B♭ B D♭ E♭ F G♭ A♭ | B♭m, B, D♭, E♭m, Fdim, G♭, A♭m |
| Lydian | 1–2–3–♯4–5–6–7 | B♭ C D E F G A | B♭, C, Dm, Edim, F, Gm, Am |
| Mixolydian | 1–2–3–4–5–6–♭7 | B♭ C D E♭ F G A♭ | B♭, Cm, Dm, E♭, Fm, Gdim, A♭ |
| Aeolian | 1–2–♭3–4–5–♭6–♭7 | B♭ C D♭ E♭ F G♭ A♭ | B♭m, Cdim, D♭, E♭m, Fm, G♭, A♭ |
| Locrian | 1–♭2–♭3–4–♭5–♭6–♭7 | B♭ B C♯ D♭ E F G♭ | B♭dim, B, C♯, D♭m, E, F, G♭m |
B PARALLEL MODES
| Mode | Formula | Notes | Chords |
|---|---|---|---|
| Ionian | 1–2–3–4–5–6–7 | B C♯ D♯ E F♯ G♯ A♯ | B, C♯m, D♯m, E, F♯, G♯m, A♯dim |
| Dorian | 1–2–♭3–4–5–6–♭7 | B C♯ D E F♯ G♯ A | Bm, C♯m, D, E, F♯m, G♯dim, A |
| Phrygian | 1–♭2–♭3–4–5–♭6–♭7 | B C D E F♯ G A | Bm, C, D, Em, F♯dim, G, Am |
| Lydian | 1–2–3–♯4–5–6–7 | B C♯ D♯ E♯ F♯ G♯ A♯ | B, C♯, D♯m, E♯dim, F♯, G♯m, A♯m |
| Mixolydian | 1–2–3–4–5–6–♭7 | B C♯ D♯ E F♯ G♯ A | B, C♯m, D♯m, E, F♯m, G♯dim, A |
| Aeolian | 1–2–♭3–4–5–♭6–♭7 | B C♯ D E F♯ G A | Bm, C♯dim, D, Em, F♯m, G, A |
| Locrian | 1–♭2–♭3–4–♭5–♭6–♭7 | B C D E♭ F G A | Bdim, C, D, E♭m, F, G, Am |
Modes FAQ
What's the point of Parent Scale Modes if I'm playing the same chords in a different order?
Parent‑scale modes rotate the major scale so the tonic feels different. The chords are the same, but the sense of “home” shifts.
Example:
C Major (Ionian): C → F → G → C (I–IV–V–I) feels like home in C.
D Dorian: Dm → G → C → Dm (i–IV–♭VII–i) feels like home in Dm.
Example:
C Major (Ionian): C → F → G → C (I–IV–V–I) feels like home in C.
D Dorian: Dm → G → C → Dm (i–IV–♭VII–i) feels like home in Dm.
How do mode notes become mode chords?
Stack diatonic thirds using only notes in that mode.
Example (C Major / Ionian):
Notes: C – D – E – F – G – A – B
Chords: C, Dm, Em, F, G, Am, Bdim
Example (C Major / Ionian):
Notes: C – D – E – F – G – A – B
Chords: C, Dm, Em, F, G, Am, Bdim
Are interval formulas the same in parent-scale and parallel modes?
Yes. Each mode has a fixed interval formula (e.g., Dorian = 1–2–♭3–4–5–6–♭7), which applies in both frameworks.
What's the difference between parent-scale and parallel modes?
Parent-Scale Modes: Rotate the major scale; the tonic shifts.
Parallel Modes: Keep the tonic the same but alter scale degrees according to the mode's interval formula.
Parallel Modes: Keep the tonic the same but alter scale degrees according to the mode's interval formula.
Why are parallel modes useful in composition?
They allow modal interchange, borrowing chords from modes with the same tonic to create new harmonic colors and moods without changing the key.
Can you give examples of modal interchange in C Major?
C minor (i) from C Dorian or C Aeolian
E♭ (♭III) from C Phrygian or C Aeolian
A♭ (♭VI) from C Aeolian
B♭ (♭VII) from C Mixolydian
F♯° (iv° of Lydian) from C Lydian
E♭ (♭III) from C Phrygian or C Aeolian
A♭ (♭VI) from C Aeolian
B♭ (♭VII) from C Mixolydian
F♯° (iv° of Lydian) from C Lydian
Do I need to learn parallel modes right away?
No. Parent-scale modes are enough for beginners to start composing interesting music. Parallel modes add extra colors later.
How does each mode feel differently?
Each mode has a unique mood:
Ionian: happy, stable
Dorian: minor but bright
Phrygian: dark, exotic
Lydian: dreamy
Mixolydian: bluesy
Aeolian: natural minor
Locrian: tense, unstable
Ionian: happy, stable
Dorian: minor but bright
Phrygian: dark, exotic
Lydian: dreamy
Mixolydian: bluesy
Aeolian: natural minor
Locrian: tense, unstable
How do I construct chords in any mode?
Stack diatonic thirds using only notes in the mode. This defines the harmony of the mode.
Can I mix parent-scale and parallel modes?
Yes! You can start in a parent-scale mode and borrow chords from its parallel modes for new harmonic flavors.
How do I quickly find a parallel mode scale?
Take the tonic of your key and apply the interval formula of the mode you want.
Example:
C Dorian Formula → 1–2–♭3–4–5–6–♭7
C Dorian notes → C–D–E♭–F–G–A–B♭
Example:
C Dorian Formula → 1–2–♭3–4–5–6–♭7
C Dorian notes → C–D–E♭–F–G–A–B♭
How do I know which chords belong to a mode?
Chords are formed by stacking thirds on each note of the mode’s scale. Only notes from that scale are used.
Can modes help with melody writing?
Yes! Modes define the allowed notes and suggest melodic contours. For example, Dorian highlights the 6th to create a brighter minor feel.
Are modes only useful for classical music?
No. Modes appear in jazz, rock, pop, folk, metal, and film music. They help with improvisation and composition across genres.
How should I practice modes as a beginner?
1. Learn one key and its modes.
2. Play scales up and down.
3. Build triads on each scale degree.
4. Experiment with chord progressions using both parent-scale and parallel modes.
2. Play scales up and down.
3. Build triads on each scale degree.
4. Experiment with chord progressions using both parent-scale and parallel modes.
✔️ And finally...
If you have managed to get to the bottom of the page, you have done very well. Modes can be confusing, especially for beginners, so give yourself credit for sticking with it.
Parent‑Scale Modes are all you really need to focus on at first. They require a bit of theory knowledge, but the major and minor modes alone are enough to start creating interesting music without feeling overwhelmed.
As you continue exploring music theory, parallel modes will begin to make sense. They introduce new harmonic colors by changing the mood without moving the tonal center, making your music creations even more interesting. 🎶🎸💕
Parent‑Scale Modes are all you really need to focus on at first. They require a bit of theory knowledge, but the major and minor modes alone are enough to start creating interesting music without feeling overwhelmed.
As you continue exploring music theory, parallel modes will begin to make sense. They introduce new harmonic colors by changing the mood without moving the tonal center, making your music creations even more interesting. 🎶🎸💕
