Scales/modes/tonality

[WattsUrizen]

Ok, with the amount of people who ask questions like ""What is the Dorian mode?", "Should I play the Lydian or Mixolydian over this progression?", etc. I'm going to try to answer a lot of these questions in one fell swoop.

 

First, the preliminaries. I hope everybody is aware that the major is constructed as 1 2 3 4 5 6 7 8 (respective intervals above the tonic). Now, the natural minor scale is constructed by 1 2 b3 4 5 b6 b7 8. What I will talk about here in regard to the minor scale is important, as it forms the basis for the discussion on modes.

 

Let's look at C major and A natural minor. C major is C D E F G A B C. A natural minor is A B C D E F G A. The same notes are used, but the order has changed (in fact, just the starting position has changed). Why do they sound so different? A scale is an abstraction of a key, it is the most important notes of a key played in order, an order which also suggests their functionality. The tonic is the note around which all other notes draw their relationships (and hence, their functionality). So if C major has C as a tonic, and A natural minor has A as a tonic, then it follows that even though they contain the same notes, the fact that the tonic is different explains their difference in sound. Each note in C major sounds different from the same note in A natural minor because of that different relationship: The G in C major has a vastly different effect than the G in A natural minor. For some of you this may seem trivial, but it is not entirely, since this forms the foundation of functional tonality.

 

One of things you will note about the C major scale is the way in which the B has a very strong tendency to resolve to the C due it being only a half step away. In general, the seventh note in the major scale behaves in this way, so we call it the leading tone. In A natural minor, the G does not behave this way, because it is a full whole step away from A. In this case, we call the G the subtonic. The terminology is a little irrelevant for our discussion (though useful to remember for other purposes). But say that we wanted the sound of the natural minor scale, but with that tendency of the seventh note to resolve to the tonic. Easily solved, we just raise the seventh note a half step, so that it is now only one half step away from the tonic. This results in the harmonic minor scale: 1 2 b3 4 5 b6 7 8. Compare this with the natural minor above, they are the same apart from the seventh tone. Most significantly, it still sounds minor. Play both the natural minor and harmonic minor. Note how they sound extremely similar.

 

The problem with the harmonic minor is that now we have an interval of a whole-step-and-a-half between the sixth and seventh tones. This interval sounds 'unmelodic' and awkward. To solve this problem we raise the sixth tone one half step. Now we have a whole step between the sixth and seventh notes, and a whole step between the fifth and sixth notes (so in raising the sixth note we haven't created an 'unmelodic' interval elsewhere). This results in the melodic minor scale: 1 2 b3 4 5 6 7 8. Compare this with the harmonic and natural minor scales above. The melodic minor differs from the harmonic minor at the sixth tone; The melodic minor differs from the natural minor at the sixth and seventh tone. Again, the significance is that they both sound minor. Play the three minor scales, and note how they all sound quite similar.

 

Look at the major scale and the melodic minor scale. The major scale is 1 2 3 4 5 6 7 8, the melodic minor scale is 1 2 b3 4 5 6 7 8. So there is only one difference between them, at the third tone. Yet the melodic minor scale sounds much more like the natural minor (where there are two differences in their notes) than the major scale. This points to the third tone of the scale being the most significant one. And indeed, when we recall that the tonic triad of a key is constructed by the scale tones 1 3 5 (in minor, it is 1 b3 5) then we can see that it is the third tone which is largely responsible for whether the key sounds major or minor: Remember that all relationships are referenced to the tonic.

 

So now let's move on to modes. There are seven modes that most people generally talk about, these are the ones constructed from the major scale. If we play through the major scale starting on each of the seven tones we get seven scales. These are:

When we start on the first note, we get the Ionian: 1 2 3 4 5 6 7 8. Obviously, this is the same as the major scale.

Starting on the second note, we have the Dorian: 1 2 b3 4 5 6 b7 8.

On the third note, Phrygian: 1 b2 b3 4 5 b6 b7 8

Fourth note, Lydian: 1 2 3 #4 5 6 7 8

Fifth note, Mixolydian: 1 2 3 4 5 6 b7 8

Sixth note, Aeolian: 1 2 b3 4 5 b6 b7 8 (the same as the natural minor)

Seventh note: Locrian: 1 b2 b3 4 b5 b6 b7 8

 

We can also construct modes from the melodic minor and harmonic minor scales by the same process, but these do not occur nearly as often as the ones above, so we can safely omit them.

 

Now, a test for your ears. Play the major scale, and then play the Ionian (obviously they will sound the same. Repeat, but instead of the Ionian, play the Lydian. Repeat, but instead of the Lydian play the Mixolydian. Listen carefully to all three comparisons. Note how they all sound very familiar.

 

Another test. Play the natural minor scale, and then play the Dorian. Repeat, but play the Phrygian. Repeat, but play the Aeolian (they are the same scale, so will sound identical). Listen carefully to all three comparisons. Note how they all sound very familiar. Don't worry about the Locrian, it's a special case, I'll mention it later.

 

If you want to go one step further, play the major scale, and compare it with the Dorian, Phrygian, and Aeolian modes. Similarly, play the natural minor scale and compare it with the Ionian, Lydian, and Mixolydian modes. Obviously, they will sound quite different.

 

If you've been paying attention (surely not ) then you'll already know the explanation of this phenomenon. The reason why the Dorian, Phrygian, and Aeolian (natural minor) all sound very similar is because they all have the same third degree, and the same tonic triad. Similarly, the reason why the Ionian (major scale), Lydian and Mixolydian all sound very similar is because they all have the same third degree, and the same tonic triad. The slight differences between them in other places (The b2 in the Phrygian, the #4 in the Lydian) don't cause enough difference to be heard as remarkably different scales.

 

My point? You don't really have to learn the modes, since in tonal music they aren't heard as such. They are heard as variants as the major or minor scales. The Lydian and Mixolydian scales are heard as variants of the major scale. The Dorian and Phrygian scales are heard as variants of the natural minor scale. So it's much more important to learn the major scale, and the three variants on the minor scale (and to understand why they are varied). After you have a firm grip on that, then you might want to learn the names of the modes, but it's important to remember that you don't really have to learn anything other than their names, since they don't sound remarkably different to the major or minor scales.

 

Now, the Locrian scale. Why is this different? Because of the b5. The major characteristic of tonal music is the dominant to tonic cadence, and since the fifth scale tone in the Locrian is not a perfect fifth above the tonic, but a diminished fifth (or tritone) then this relationship is disturbed. That's why the Locrian scale does not sound as a variant as either a major or minor scale, because its tonic triad is not a major or minor triad, but a diminished triad.

[Breakit23]

Excellant post!

[c_fosco]

It's always nice to see someone take the time to explain things well.

 

Great job, mate.

[Janglin_Jack]

Awesome post. Over the last few months I have really started to grasp the modes. This was a very good post to understand the differeces between each mode and that they are just variants on the Major and Minor scales.

 

In trying to learn the "patterns" (if I have this correct) if I was to play something in E Dorian, I would just play the D major scale from E note to E note.

 

Or if I was to play something in G Mixolydian, I would just play the C major scale from G note to G note.

 

That way you really just learn the Major scale pattern and then adjust for what ever key/mode you want to play in.

 

If I already know the C major scale, by default I already know the A natural minor scale notes, (I just have to adjust my starting point for the tonic of A) same notes.

 

Am I on the right track with using the major scale pattern and adjusting for mode/key?

 

Jack

[WattsUrizen]

You are spot on, Jack.

[Janglin_Jack]

Bump...This is such a great post I didn't want to see it fall onto page 2

 

Jack

[motherlode]

Ok for basics, might you have any advance thoughts on the subject?

[djmd14]

Try mixing chromatic notes, quartal harmonies, triplet and quintuplet rhythmic ideas, etc.

[January_Embers]

A little thing I noticed: Dorian, Phrygian, and Aeolian all sound minor. They are based of starting on the 2nd note of the major scale, the 3rd note, and the 6th note. Now if you look at the basic triadic chords of the major scale, the II, III, and VI chords are all minor. Comparatively, Ionian, Lydian, and Mixolydian sound major. They start one the 1st note of the major scale, the 4th note, and the 5th note. If you look at the I, IV, and V chords in the major scale, they are all major chords. And finally, the Locrian doesn't sound like either, its diminshed. It starts from the 7th note of the major scale, and suprise, the VII chord is also diminished.

 

Sorry if all that was too obvious and unnecesary. But when I read the first post, it set off a light bulb in my head and I finally understood the whole mode thing.

[WattsUrizen]

Originally posted by January_Embers A little thing I noticed: Dorian, Phrygian, and Aeolian all sound minor. They are based of starting on the 2nd note of the major scale, the 3rd note, and the 6th note. Now if you look at the basic triadic chords of the major scale, the II, III, and VI chords are all minor. Comparatively, Ionian, Lydian, and Mixolydian sound major. They start one the 1st note of the major scale, the 4th note, and the 5th note. If you look at the I, IV, and V chords in the major scale, they are all major chords. And finally, the Locrian doesn't sound like either, its diminshed. It starts from the 7th note of the major scale, and suprise, the VII chord is also diminished. Sorry if all that was too obvious and unnecesary. But when I read the first post, it set off a light bulb in my head and I finally understood the whole mode thing.

 

I think I mentioned that in my post, but it is worth repeating, and it always helps when you work these things out for yourself.

 

[thliu]

 

Originally posted by Singingax What happens when I'm asked to play a Gb9 chord? Is it a G chord with a b9 or a Gb chord with a 9?

 

 

That's a Gb chord with a 9. A G chord with a b9 would be notated by G7b9, not Gb9.

 

The 7 is put there to clear up any confusion with a b or # after the chord name. So you use the 7 to separate the chord name from the extensions.

 

Now, I can't tell you the history behind the system of sharps and flats, but I don't think it's all that confusing.

[WattsUrizen]

 

Originally posted by thliu That's a Gb chord with a 9. A G chord with a b9 would be notated by G7b9, not Gb9. The 7 is put there to clear up any confusion with a b or # after the chord name. So you use the 7 to separate the chord name from the extensions. Now, I can't tell you the history behind the system of sharps and flats, but I don't think it's all that confusing.

 

 

The system for naming ninth chords is not standardised, but the most common practice is:

 

A ninth chord requires the seventh. If the seventh is not present, the ninth is notated as add9. This tone does not function as a ninth.

 

When the seventh is present:

 

The quality of the seventh is denoted first, and is major unless otherwise specified. The quality of the ninth is denoted second, and is major unless otherwise specified. If only the ninth is denoted, the chord is a dominant seventh with a ninth. The quality of the triad is always explicitly stated when there may be an ambiguity.

 

Examples:

Cm7M9 is a C minor seventh-major ninth chord.

CM7m9 is a C major seventh-minor ninth chord.

C9 is a C dominant seventh-major ninth chord.

Cm9 is a C dominant seventh-minor ninth chord.

 

You may wonder about a chord such as Cm7M9, and why that isn't a C minor triad-major seventh-major ninth. A C minor triad-major seventh-major ninth would be notated as Cm3M7M9. (Or CmM9).

 

These are based on figured bass.

[peppers32]

jack -

 

you are correct, but what i have been trying to do is memorize the circle of fifths for the keys major and minor, so when i am playing all i have to think about is intervals. I learned the basic patterns last summer, and realized that i really should have been concentrating on the actual notes and intervals in the scales rather than just the patterns. It seems to me if what i'm trying to do works, all i will have to do is play enough to hear the difference between intervals (which would be modes, the variations of major and minor). I dont know if this helped you, but thats just what im trying to do.

[WattsUrizen]

Thanks to Scott for sticky-ing this.

[Bluemusic]

OMG!!!

I think you guys are making this way more complicated than what it is.

 

Cmajor scale:

C maj

D min

E min

F maj

G dom

H errr A Min (hahah)

B Dim

 

If you play a Cmajor scale starting and ending on D you have a D Dorian scale. This has a minor flavor

Play a Cmajor scale starting and ending on E and you have E phrigian

and so on

F Lydian

G Mixolidian

A Aolean

B Locrian

 

When to use them?

 

Experiment!

You have a minor tone center than try Dorian instead of the usual Aolean.

 

A great example of Aolean is Led Zeps Since I've been Loving You.

 

It's A aolean so check out the C major scale with the ROOT (main anchor note) as an A.

 

Have a freind play an A minor blues and play a Cmajor scale against it. Your main anchor note is the A.

 

Want to try Dorian then A Dorian is G Major starting and ending on A.

[shmulli]

thanks for that post, Anomandaris. It was really clear and easy to understand.

[Notorious B U G]

The problem with the harmonic minor is that now we have an interval of a whole-step-and-a-half between the sixth and seventh tones. This interval sounds 'unmelodic' and awkward.

 

You just pissed off most of the Eastern hemisphere (& Yngwie)

[vote4dicktaid]

Originally posted by Anomandaris The quality of the seventh is denoted first, and is major unless otherwise specified.

 

Of course you mean minor - right?

[vote4dicktaid]

Oh yeah, and great post!

[WattsUrizen]

Originally posted by vote4dicktaid Of course you mean minor - right?

 

No, it's major.

 

It's like when say that a chord is C, or a key is G. By convention, we the major is implied. We really mean a C major triad, or the key of G major.

 

We take major as the starting point, and when we don't have major, we notate it accordingly.

 

That's why we notate the minor scale as 1 2 b3 4 5 b6 b7 8, since the 3, 6, and 7 are one half step lower than they are in the major scale.

[WattsUrizen]

Originally posted by vote4dicktaid Of course you mean minor - right?

 

Actually, after thinking about it, I realised you are (half) correct.

 

In a ninth chord, if the quality of the seventh chord isn't mentioned, it's assumed to be a dominant seventh chord (major triad with minor seventh). So Cm9 is a C dominant seventh-minor ninth: C E G Bb Db.

 

I'll have to rewrite that post on naming ninth chords.

 

Thanks for bring that to my attention.

[vote4dicktaid]

Originally posted by Anomandaris Actually, after thinking about it, I realised you are (half) correct. In a ninth chord, if the quality of the seventh chord isn't mentioned, it's assumed to be a dominant seventh chord (major triad with minor seventh). So Cm9 is a C dominant seventh-minor ninth: C E G Bb Db. I'll have to rewrite that post on naming ninth chords. Thanks for bring that to my attention.

 

You're welcome - and yes, I was only thinking of that specific example, not questioning the fact that a G chord means G major.

[bassmantele]

Originally posted by Anomandaris Actually, after thinking about it, I realised you are (half) correct. In a ninth chord, if the quality of the seventh chord isn't mentioned, it's assumed to be a dominant seventh chord (major triad with minor seventh). So Cm9 is a C dominant seventh-minor ninth: C E G Bb Db. I'll have to rewrite that post on naming ninth chords. Thanks for bring that to my attention.

 

 

For some reason, chord nomenclature is *way* too painful

 

 

C9 is a dominant seventh chord with a ninth added.

It is called a "C nineth" chord

 

If a flat nine is added:C b9

It is called a "C, flat nine".

 

If a nine is added to a minor seventh chord: Cm9

It is called C minor ninth.

 

This is standard stuff.

[WattsUrizen]

 

Originally posted by bassmantele For some reason, chord nomenclature is *way* too painful C9 is a dominant seventh chord with a ninth added. It is called a "C nineth" chord If a flat nine is added:C b9 It is called a "C, flat nine". If a nine is added to a minor seventh chord: Cm9 It is called C minor ninth. This is standard stuff.

 

 

Yeah I agree. The problem is when you get into more complex chords with lots of alterations. To avoid any ambiguity the nomenclature becomes a mouthful.

[show_no_mercy]

Originally posted by Anomandaris Actually, after thinking about it, I realised you are (half) correct. In a ninth chord, if the quality of the seventh chord isn't mentioned, it's assumed to be a dominant seventh chord (major triad with minor seventh). So Cm9 is a C dominant seventh-minor ninth: C E G Bb Db. I'll have to rewrite that post on naming ninth chords. Thanks for bring that to my attention.

 

Actually, a Cm9 chord has a D in it, not a Db. A Cmb9 chord has a Db in it.