Finally, Back to Those Scales and Modes
The past few posts have deviated from the technical aspects of song-writing, but I intend to fully make up for that lack with this post. So strap yourselves in, because we’re gonna talk about modes.
The very idea of modes (or diatonic scales) has long been foreign to me. I was never really sure, for the longest time, what exactly a mode WAS, much less how to use one in playing or writing music. But I’ve been able to simplify the idea enough to understand it personally, so the following is the idea broken down a little further than most references present it:
To understand modes, we must first understand scales. Or, to break things down even further, we must first understand steps. As covered previously, the musical alphabet consists of 7 letters, representing 7 basic tones: A, B, C, D, E, F, and G. In between these notes are various sharps and flats. From each tone to the next, including the sharps and flats, is a “half step.” Two half steps equal (what else?) a “whole step.” Let’s get a quick visual of this:
(The corresponding notes on the guitar fretboard are included for a basic frame of reference.)
Generally speaking, traveling from each whole note to the next (C to D, D to E) is traveling one whole step. However, there are two exceptions: B to C and E to F are always half steps. (Look at a piano keyboard, and this will become more clear.) With this information in the back of our minds, let’s take a look at the above musical staff.
Notice that, since this scale is in the key of C, there are no sharps or flats (reference the previous post on the circle of fifths). This scale is diatonic. “Diatonic” refers to a scale that contains all the letters of the musical alphabet, but no sharps or flats.
Isn’t that just another way of saying “the key of C,” you may ask? Not quite always.
Here is where modes come into play. Modes are diatonic, meaning they contain the tones A through G, all in their natural form. However, each of the seven modes differs in that each one is based around a different keynote, typically the note the scale starts on. This being the case, those two half steps (B to C and E to F) will occur in a different place in each of the different modes, since they each start on a different keynote. The modes are as follows:
- Ionian
- Dorian
- Phrygian
- Lydian
- Mixolydian
- Aeolian
- Locrian
Two of these modes we know very well, although by different names. The Ionian mode is commonly called the major scale, while the Aeolian mode is referred to as the minor scale. Using the example of the C scale, the Ionian mode runs from C to C, and sounds like, well, the C major scale. Because it is the C major scale. Simple enough. However, looking at the Aeolian mode, we see that this scale runs from A to A. It contains all the same notes as the C major scale, but in a different order. This scale is commonly knows as the A minor scale.
Confusing, yes. But let’s review to clear things up.
Modes are, essentially, diatonic scales. They contain no sharps or flats, but all 7 of the primary tones: A through G. The modes can be used to build all manner of other scales, useful for every aspect of song-writing.
To avoid creating too long-winded of a post, we shall reserve the next step in forming new scales for a future post. Until then, keep looking at those modes. They’re not as scary as they seem.
My dad says nice article. However, he says that this statement, “Modes are diatonic, meaning they contain the tones A through G, all in their natural form” is only true of modes based on the C major scale. You can prove it by playing E Dorian, which is based on the D major scale and notice that it contains F# and C#. Keep up the good work. ;D