MUSC&141 Creative Music Fundamentals
Diatonic Modes
Chelsey Hamm
Key Takeaways
- The diatonic modes are scale-like collections of notes with patterns of half and whole steps.
- Modes can be described within a continuum of modal brightness: brighter modes sound more like a major scale, while darker modes sound more like a minor scale.
- The three bright modes, which contain mi (
) (a major third above the tonic) are lydian, ionian, and mixolydian. - The four dark modes, which contain me (
) (a minor third above the tonic) are dorian, aeolian, phrygian, and locrian.
This book covers modes from many different angles. For more information on modes, check Chord-Scale Theory (jazz), Modal Schemas (pop), Diatonic Modes (20th/21st-c.), and Analyzing with Modes, Scales, and Collections (20th–/21st-c.). This book also covers the pentatonic collection in more depth in Collections.
Modes and the Parallel Relationship
The diatonic modes are scale-like collections of notes with different patterns of half and whole steps. As we have learned previously, scales that share a tonic have a parallel relationship. In this chapter, modes are going to be described using the parallel relationship. Modes will also be described within a continuum of modal brightness; modal brightness: brighter modes sound more like a major scale, while darker modes sound more like a minor scale.
Example 1 ranks the seven diatonic modes in terms of relative brightness and darkness. It also summarizes which scale degrees are altered in relation to the ionian (major) mode, which will be explained in more detail below.
The brightest mode is the lydian mode. The ascending pattern of half and whole steps in this mode is W‑W‑W‑H‑W‑W‑H. Another way to think of this mode is as a major scale but with raised 
, whose solfège is fi 
. Example 2 shows C lydian with solfège.
The next brightest mode is the ionian mode. This mode consists of an ascending pattern of half and whole steps that is the same as a major scale: W–W–H–W–W–W–H. Example 3 shows C ionian with solfège.
The next brightest mode is the mixolydian mode, with W–W–H–W–W–H–W as the ascending pattern of half and whole steps. Another way to think of this mode is as a major scale but with lowered 
. Example 4 shows C mixolydian with solfège.
The lydian, ionian, and mixolydian modes are usually considered the brighter (or more major) modes because they contain mi instead of me (unaltered instead of lowered ). The dorian, aeolian, phrygian, and locrian modes are usually considered darker (or more minor) modes because they contain me instead of mi ( instead of unaltered ).
The dorian mode is the first darker (or more minor) mode. This mode’s ascending pattern of half and whole steps is W–H–W–W–W–H–W. Another way to think of this mode is as a minor scale but with raised 
(la). Example 5 shows C dorian with solfège:
The next darkest mode is the aeolian mode. The aeolian mode’s ascending pattern of half and whole steps is the same as a natural minor scale: W–H–W–W–H–W–W. Example 6 shows C aeolian with solfège.
The next darkest mode is the phrygian mode. The ascending pattern of half and whole steps in the phrygian mode is H–W–W–W–H–W–W. This is the same pattern as a natural minor scale, but with lowered 
, whose solfège is ra. Example 7 shows C phrygian with solfège:
The darkest mode is the locrian mode. The locrian mode’s ascending pattern of half and whole steps is H–W–W–H–W–W–W. This is the same pattern as a natural minor scale, but with lowered (ra) and lowered 
, whose solfège is se. Example 8 shows C locrian with solfège:
Each mode can start on any note. For example, one could build a mixolydian collection starting on D♭, an aeolian collection starting on G♭, or a lydian collection starting on F♯. When writing modal collections, be sure to think about your accidentals carefully.
Example 9 shows all of the different modes with scale degrees and solfège, ordered from brightest to darkest (lydian to locrian):
Listen to Example 9 carefully, observing the difference between the modes.
"Bright" refers to a more major sound, while "dark" refers to a more minor sound.
A diatonic mode that follows the pattern W–W–W–H–W–W–H. This is like the major scale, but with a raised scale degree 4. This scale can also be found by playing the white notes of the piano starting on F.
A diatonic mode that follows the pattern W–W–H–W–W–W–H. This is equivalent to a major scale.
A diatonic mode that follows the pattern W–W–H–W–W–H–W. This is like the major scale, but with a lowered scale degree 7. This scale can also be found by playing the white notes of the piano starting on G.
A diatonic mode that follows the pattern W–H–W–W–W–H–W. This is like the natural minor scale, but with a raised scale degree 6. This scale can also be found by playing the white notes of the piano starting on D.
A diatonic mode that follows the pattern W–H–W–W–H–W–W. This is like the natural minor scale. This scale can also be found by playing the white notes of the piano starting on A.
A diatonic mode that follows the pattern H–W–W–W–H–W–W. This is like the natural minor scale, but with a lowered scale degree 2. This scale can also be found by playing the white notes of the piano starting on E.
A diatonic mode that follows the pattern H–W–W–H–W–W–W. This is like the natural minor scale, but with a lowered scale degree 2 and lowered scale degree 5. This scale can also be found by playing the white notes of the piano starting on B.
