Major and Minor Scales and The Seven Modes Explained

The music that we learn or listen to is usually built on a specific scale or key. Normally it will be in a major or a minor key.

Most beginner students will be familiar with the major scale and also the minor scale.

In the western culture our ears are naturally tuned to the major scale sound or the well known Do-Re-Me-Fa system or Tonic solfa system, as it’s called.

This was popularised by the song called ‘Doe a dear a female dear’ from the classic movie ‘The Sound of Music’.

The major scale has a set series of wholetones and halftones following one another. This gives us the well known major sound.

The Major Scale

The major scale is easy to hear for most students.

The interval set is always the following:

W = whole step, which consists of two semitones and the H = half step or a semitone (the smallest distance between two notes on the piano).

Here is the major scale layout: W-W-H-W-W-W-H

The Minor Scale

As a beginner in piano lessons we soon learn of the minor scale as well, with its few different variations available:

• The natural minor scale
• The harmonic minor scale
• The melodic minor scale

These three scales have a minor sound but they differ from one another with either having a raised 7th note or sometimes the 6th as well.

They each have their own set interval sequence making the sound unique.

We will treat these at another time.

What Gives Different Scales Their Specific Sound?

It’s important to know that every different scale you hear has its very own set of tones or semitones (wholesteps and halfsteps). This is what gives it that specific character.

Each scale or mode has its very own unique pattern or sequence of wholesteps and halfsteps.

The greatest challenge is for the student to learn to be able to hear the difference in the different scales.

I always try to visualise or link the sound to something I can relate to.

For instance, the melodic minor scale feels like a roller coaster where the sound is first raised going up high and then coming down.

For now I will not go into the details of the minor scale sets but let us look at the major scale and learn about the modes which are derived from the major scale, using all the major scale notes.

We will work from the C major scale as most students know the C major scale well.

Let’s Discuss the Modes Derived from the Major Scale:

What Are Modes and Why Do We Use Them?

Modes are created by playing a different scale than the normal major scale even though you are using exactly the same notes as the major scale.

This is done by starting on another note than the C.

This means that the homebase has moved. It creates a less predictable sound than the usual major sound.

There are 7 different major scale modes formed on the major scale:

1. Ionian – starting on C or the Do (the normal major scale)
2. Dorian – starting on the D or re
3. Frygian – starting on the E note or the me
4. Lydian – starting on the F note or the fa
5. Mixolydian – starting on the G note or the so
6. Aeolian – starting the the A note or the la
7. Locrian – starting on the B note or the ti

How Are the Seven Modes Created?

These 7 modes (or scales) are created by shifting the tonal center away from the C or the C major and starting on a different note as the new tonic.

So you are moving your homebase or ‘tonic’.

It means that your music will be less westernly classical and more modal moving from chord to chord without the pull of the usual major key homebase.

It will feel a bit like being in space and not settling at one place.

Why Are Modes Used and Why Do I Need to Know Them?

Modes are used to create a specific sound which is not the usual classical sound.

Each mode starts on a different note of the normal major scale and creates its own specific sound.

It depends on what the composer wants to achieve or if you are improvising.

The modes are used when playing jazz chords and giving the improvising player a better idea of which notes are available for improvisation and which are important to create an atmosphere.

Why Are These Modes Important?

It creates atmosphere and a new expectancy and development for the creating pianist to be able to flow outside of the box.

For example: not thinking of major and minor but rather of mode. This already loosens the improviser or composer to think away from the primary triads and the common major scale.

It enables the player to create a distinct musical mood.

Maybe the main purpose of thinking in a modal way is the creating of a very distinct musical mood.

It takes quite a lot of ear practise to be able to clearly differentiate between the different modes.

There are also very definite chords in the jazz genre that go together with specific modes, like the minor triad which usually uses the dorian mode.

The dominant 7th chord uses the mixolydian scale etc.

Here is a short layout of the formula and sound created by each mode as well as what is the key difference from other modes or the major scale:

Mode One: Ionian (Major Scale)

Formula: W-W-H-W-W-W-H
(Whole-whole-half-whole-whole-whole-half)

Start to play the normal C major scale from the C note.

Sound: The sound is bright, happy and familiar

Mode Two: Dorian

Formula:
W-H-W-W-W-H-W

Start to play this scale from the D note of the C major scale.

This creates the second mode.

You still use the notes of the C scale but start and end on the D note.

Sound: It has a minor sound yet still has a bright sound because of the raised 6th.

The sound is often seen as soulful, bluesy with the minor 3rd.

Mode 3: Phrygian

Formula: H-W-W-W-H-W-W

This is the 3rd mode on the major scale, starting from the E note and ending on the E note.

The sound is a tense-sounding minor mode. It sounds dark, exotic.

Known for its flat 2nd. The flat 2nd helps specifically to create this sound.

It is distinguished by the flattened second degree of the scale.

This creates a very distinct sound.

You can call it Spanish or Middle-eastern flavor.

Mode 4: Lydian

Formula: W-W-W-H-W-W-H

Start playing from the 4th scale degree or note. So from F to F in the C major scale.

Sound: There is the raised 4th note which creates a feel of expectancy. The raised 4th(B) creates a tritone with the tonic note (F) – which creates this unique sound.

It is the brightest of all the modes, with a dreamy, ethereal quality.

Mode 5: Mixolydian

Formula: W-W-H-W-W-H-W

Start the mode playing from the 5th or the scale – from the G and end on the G. Listen to the sound.

Sound: Major-quality sound, bluesy, dominant feel created by the flat 7

This mode is good for blues and rock music with its clear dominant 7th and major feel.

Mode 6: Aeolian (Natural Minor Scale)

Formula: W-H-W-W-H-W-W

Start from the 6th note of the scale A and end on A.

Sound: Melancholic minor mode, sad and somber

Equivalent to the natural minor scale which was mentioned at the start.

This mode is defined by its Minor 3rd, Minor 6th, Minor 7th

Mode 7: Locrian

Formula: H-W-W-H-W-W-W

Start to play from B to B using the notes of the C scale.

Sound: The darkest of the modes. Most dissonant because of the diminished 5th interval and/or the flattened 5th, the sound is rather unstable and a strange quality.

Enjoy listening and playing the above.

Strive to hear the sounds formed by each of these modes.

Music is so wonderful!

So many different moods and sounds can be created by a single halfstep change!

It’s one thing to know the modes by understanding them intellectually but it’s quite another thing to be able to distinguish these by ear and improvise.

Do take out some time to work through the above, listen to the different sounds created and start to practise or teach your ear!

Soon you will enjoy playing these modes and using them on appropriate chords.

Related Article:

• Understanding Major and Minor Scales and Modes

Enjoy!