Understanding Guitar Modes

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)

Interval Reference Table

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.

Each mode has its own formula, defined by the intervals it takes from the parent scale. Let’s examine them one by one.

Parent-Scale Modes (Rotation Method)

Parent-scale modes all come from one major scale.
Each mode simply starts on a different scale degree.

First, write the scale degrees of the major scale in order:
1 – 2 – 3 – 4 – 5 – 6 – 7

Or, using chord qualities:
I – ii – iii – IV – V – vi – vii°

Now imagine this list arranged in a circle.

Each time you move to the next mode, you rotate the list so a new degree becomes the starting point — but the chord qualities stay the same.

• Ionian (mode 1)
  Starts on the 1st scale degree
  I – ii – iii – IV – V – vi – vii°
• Dorian (mode 2)
  Starts on the 2nd degree:
  ii – iii – IV – V – vi – vii° – I
  Even though the list starts on ii, this chord now feels like “home”.
• Phrygian (mode 3)
  Starts on the 3rd degree:
  iii – IV – V – vi – vii° – I – ii
• Lydian (mode 4)
  Starts on the 4th degree:
  IV – V – vi – vii° – I – ii – iii
• Mixolydian (mode 5)
  Starts on the 5th degree:
  V – vi – vii° – I – ii – iii – IV
• Aeolian (mode 6)
  Starts on the 6th degree:
  vi – vii° – I – ii – iii – IV – V
• Locrian (mode 7)
  Starts on the 7th degree:
  vii° – I – ii – iii – IV – V – vi

Example: Creating Dorian Mode in C Major

We are in the key of C major, but we want a minor smooth feel which is indicative of the Dorian Mode, therefore in this case we want D to feel like home. We do this by:

✔ Repetition: Here are some examples
🔹 Dm – F – Dm
🔹 Dm – G – Dm
🔹 Dm – C – Dm
🔹 Dm – Em – Dm

✔ Placement:
🔹 Start phrases on Dm
🔹 End phrases on Dm

✔ Duration:
🔹 Hold Dm longer than other chords
🔹 Let other chords feel “temporary”

✔ Melody (critical!)
🔹 Land melodies on D
🔹 Emphasize F and A
🔹 Avoid leaning on C melodically (because C is the Ionian tonic)
Melody locks the center more strongly than harmony.

• The music feels minor, but not sad
• It feels open, not resolved
• The ear stops “waiting for something”

That “waiting” feeling disappearing is the moment D becomes home.

• A7 introduces C♯ → destroys Dorian instantly
• C♯ alone is enough to collapse the mode
• G → C cadence is a perfect authentic cadence → pulls everything back to C
• Ending on C resets the tonal center
• Treating Dm like a temporary chord makes the ear wait for C again

One dominant chord and you’re back in tonal land.

|  Dm  | G  | F  | Dm |

• All chords from C major
• Motion exists
• No resolution
• Dm feels central

Now play it for 2–3 minutes.

That’s the moment the mode clicks.

| C | F | G | C |

| Em | F | Dm | Em |

| F | G | Em | F |

| G | F | C | G |

| Am | G | F | Am |

| Bdim | C | Am | Bdim |

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.

• 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.

• 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

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)

• Formula (interval pattern)
• What changes compared to the major scale (Ionian)
• Sound character of each mode

Parallel Modes vs Parent-Scale Modes (Beginner Explanation)

Think of music like cooking.

Parallel Modes = Learning the Ingredients

When you learn parallel modes, you are learning what ingredients are in each recipe.

• C Major
• C Dorian
• C Minor

Each one has slightly different notes — like changing spices in a recipe.

• What makes each mode sound different
• Why some modes sound brighter or darker
• Which notes are raised or lowered

But knowing the ingredients alone doesn’t mean you can cook a meal.

Parent-Scale Modes = Learning How to Cook

Parent-scale modes teach you how to use the same ingredients in different ways.

You can cook different meals using those same ingredients, depending on:

• Which note feels like “home”
• Where the music starts and stops
• Which notes and chords you rest on

When D feels like home instead of C, those same notes suddenly sound like D Dorian.

Nothing new was added — the meaning changed.

That’s learning how to cook.

Many songs don’t change scales at all — they change focus.

If the music keeps coming back to C, it sounds like C major.
If the music keeps coming back to D minor, it starts to sound Dorian.

Same notes.
Different home.

1. Play only the notes of C major Scale (C – D – E – F – G – A – B)
2. Keep returning to D
3. Let D feel like “home”

You are now playing D Dorian — without learning a new scale shape.

You don’t change modes by changing notes.
You change modes by changing what the music revolves around.

That’s the heart of modal playing.

Cadences in Modal Music

What Is a Cadence?

A cadence is a musical “full stop” — a moment where the harmony settles and the ear feels like it has arrived somewhere.

A cadence is how music “lands” on a chord and makes it feel like home. It tells your ear what key or mode you’re in.

In tonal (major/minor) music, cadences tell the ear:
🔹 “This is home.”
🔹 “This is where the phrase ends.”
🔹 “This is the key.”

In modal music, strong tonal cadences (especially V → I) are usually avoided, because they pull the ear back into major/minor gravity and overpower the modal centre.

Instead, modal music uses softer cadences that return to the modal tonic without dominant resolution. Here are some examples:

Modal Plagal Cadence
♭VII → I (modal tonic)
Example in D Dorian: C → Dm
Soft, open, non‑tonal. Very common in modal folk and film music.

Minor Plagal Cadence
iv → i
Example in A Aeolian: Dm → Am
Gentle and dark, without dominant pull.

Repetition Cadence (Modal Centering)
i → i (or tonic → tonic)
Example: Dm → Dm
Not a cadence in the classical sense, but extremely effective in modal music. Repetition itself becomes the “landing.”

Neighbor‑Tone Cadence
i – ♭VII – i
Example in G Mixolydian: G – F – G
Circular, modal, avoids functional harmony entirely.

In tonal harmony, cadences rely on dominant–tonic pull (V → I).
In modal harmony, cadences avoid this pull and instead use gentle returns, repetition, or motion from nearby chords (like ♭VII or iv) to make the modal tonic feel like home without invoking major/minor gravity.

✔️ And finally...