Introduction To Modes

An Introduction To Musical Modes
Written by Stu Last
This weekend I'd hit a bit of a bump. I'd put the whole weekend aside for noo-
dling, composing and upping my theory knowledge. I found myself kinda stuck,
compositionally speaking, and had to figure a way out.
Normally, a go-to approach would be to check out the circle of fifths (check out
Phils amazing Youtube lesson for a perfect introduction to this awesome tool -
https://www.youtube.com/watch?v=k68688-_8To )
Today, though, I reached out for some modes. Modes are keys, just like Major
and Minor keys. In fact, the major and minor keys are 2 of the 7 modes. The
difference is the pattern of tones and semitones.
The simplest way to explore modes is to look at different starting points on the
white piano notes and look at the gaps between the notes. Most of us will be
fairly comfortable with the key of C Major. (C D E F G A B C). Using S for a
semitone, and T for a tone, the pattern of steps between the notes is here is T-
T-S-T-T-T-S.
T T S T T T S
1
We can do the same with A Minor (A B C D E F G A). For a minor key, the pat-
tern of gaps would be T-S-T-T-S-T-T.
T S T T S T T
The great thing about these patterns, is that, once we’ve learned a pattern for a
Major or Minor scale we can move it (transpose it) to have the root (the start) of
the key as any note. So, for example, G Major has exactly the same pattern of
tones and semitones as C Major, but we just have to use some accidentals to
make the pattern of tones and semitones correct.
2
But what if we started on D? How would that work. The notes in the key would be
D E F G A B C D. This is neither a Major nor a Minor key but has a unique sound
of its own. The steps would be T-S-T-T-T-S-T. This pattern of steps is a mode. In
this case, it's called the Dorian mode, but there really is no need to get hung up
on names, it's the pattern of tones and semitones that really matters.
T S T T T S T
Just as with the Major and Minor keys, we can use this pattern of tones and
semitones to start on any note (not just D) and have a Dorian Key. So for
example if you want to have G Dorian, you’d apply the pattern T-S-T-T-T-S-T
starting with the root of G.
3
And this is how the modes came into being. Initially using C as the “root” the pattern of
steps between the notes became a mode (and also what we know as the major key). Then
the root changes to D, E and then F and all the way up.
Just like the Major and Minor keys, We can use this pattern of tones and semitones starting
from any note and get the same "feel" to the music as you would starting on D.
So what about Chords. You can use the same chord theory and progressions as you would
for a Major or Minor Key, but the overall sound of your composition would feel different.
Using D as our starting point again. The chords would be Minor, Minor, Major, Major, Minor,
Diminished, Major (just play them diatonically up the scale and you'll see what I mean). And
yes, you can absolutely use standard chord progressions, but get a very different feel for the
music.
At the end of this article is a "cheat-sheet" for getting started with modes, with the white
notes you can use to derive the pattern, the intervals and the diatonic chords for the mode.
Things to try:
1. Starting on any white note, work up through each white key for one octave, noting the
semitones and tones. Take time to get used to the different feeling of each mode.
2. Take any melody and write it out in a new mode, flattening/sharpening notes as need-
ed. Now play it and get an idea of how the feeling of the music has changed.
3. Switch up the chords in a chord progression to use the diatonically correct chords for a
mode, changing to minor, major or diminished chords where appropriate.
4. Using a common chord progression (1-6-4-5 or 12 bar blues, for example), play that
progression in a different mode, again switching up Major, minor and diminished
chords where needed.
5. Improvise over your chord progression, using all the notes of the scale to get a feel of
how the mode changes the dynamic.
Why is this good for composing.
Exploring different modes and learning how to use them gives a composer access to more
nuanced musical moods than just happy (major) or sad (minor). Changing modes can help
composers get out of writers-block or change the mood in a piece by modulating between
modes.
Not only that, but once you understand modes, how to figure them out, and how to mess
about with them, it can be incredibly good fun to change modes for a piece of music you’re
comfortable with.
4
An Introduction To Musical Modes— Cheat sheet
Written by Stu Last
Derived from Mode Name Steps Diatonic Chords

T = tones
S = semitones
C - D—E– F—G—A—B— C Ionian (Major) T—T –S—T—T—T –S Major - minor – minor,

Major—major—minor—
diminished
D—E– F—G—A—B—C—D Dorian T–S—T—T—T –S—T minor – minor—Major—

Major—minor—
diminished—Major
E– F—G—A—B—C—D—E Phrygian S—T—T—T –S—T—T minor—Major—Major—

minor—diminished—
Major—minor
F—G—A—B—C—D—E—F Lydian T—T—T –S—T—T—S Major—Major—minor—

diminished—Major—
minor—minor
G—A—B—C—D—E—F—G Mixolydian T—T –S—T—T—S—T Major—minor—

diminished—Major—
minor—minor—Major
A—B—C—D—E—F—G– A Aeolian (Minor) T –S—T—T—S—T –T minor—diminished—

Major—minor—minor—
Major—Major
B—C—D—E—F—G– A—B Locrian S—T—T—S—T –T—T diminished—Major—

minor—minor—Major—
Major-minor

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An Introduction To Musical Modes

Written by Stu Last

Why is this good for composing.

Derived from Mode Name Steps Diatonic Chords

C - D—E– F—G—A—B— C Ionian (Major) T—T –S—T—T—T –S Major - minor – minor,

D—E– F—G—A—B—C—D Dorian T–S—T—T—T –S—T minor – minor—Major—

E– F—G—A—B—C—D—E Phrygian S—T—T—T –S—T—T minor—Major—Major—

F—G—A—B—C—D—E—F Lydian T—T—T –S—T—T—S Major—Major—minor—

G—A—B—C—D—E—F—G Mixolydian T—T –S—T—T—S—T Major—minor—

A—B—C—D—E—F—G– A Aeolian (Minor) T –S—T—T—S—T –T minor—diminished—

B—C—D—E—F—G– A—B Locrian S—T—T—S—T –T—T diminished—Major—

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