We have the ancient Greeks to thank for the modern seven modes of music, although some of their original

modes have been replaced over time. Greek musicians may have been the first to understand the intimate relationship of mathematics and music theory, leading to what we understand as the major and minor scales. A traditional scale may be divided into 8 notes, but the intervals between those notes are not always equal. The Greeks developed scales which began and ended on each note of the original major scale (Ionian) we still hear today. The Greeks named the different scales after cities which reflected the mood of the seven modes of music. Modern music theorists now call these modes Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. Understanding the seven modes of music requires a basic understanding of intervals and musical notation. We can define a musical scale with 8 letters (A-G), so that a "C" scale becomes C D E F G A B C with no flattened or raised notes. But another way to look at this scale is through intervals. This is the musical theory behind the familiar Do Re Mi Fa So La Ti Do exercises in choir or early band practice. Each of those syllables represents an interval in a major (Ionian) scale. These intervals are not evenly spaced, thus giving each one a specific relationship to each other. "Do" sounds very finished and solid, for instance. "Ti", by comparison, sounds very unfinished and unresolved. It is called a leading tone, which means it wants to lead the melody back to the final note "Do". It's the relationship between these intervals which give the modes their musical interest. In the Ionian mode, the intervals are divided into a very familiar pattern of whole and half steps. Most of us would instantly recognize the Ionian mode when played on a piano. The rest of the seven modes of music retain this familiar pattern, but start on different notes. Here's a quick breakdown on each mode and their relationship to the original Ionian intervals: Ionian Mode (W-W-H-W-W-W-H) In this definition, W stands for 'Whole Step' and H stands for 'Half Step'. The Ionian mode defines the familiar major scale pattern we hear as do, re, mi, fa, so, la, ti, do. The half step between Ti and Do gives the scale some tension and release. The majority of popular songs are written in the Ionian mode. Dorian Mode (W-H-W-W-W-H-W) Dorian mode is most commonly heard in Celtic music and early American folk songs derived from Irish melodies. Songs written in Dorian mode sound a little melancholy because the final note (re) doesn't quite resolve itself. The song may be over, but the singer is still unsettled. Phrygian Mode (H-W-W-W-H-W-W) Modern composers and guitarists commonly use Phrygian mode because it works well with the Ionian. Guitarists use modal music to create interesting solo lines which can be played against melodies in other modes. Composers often find the Phrygian mode to be as useful as the traditional minor (Aeolian) scale, but without the inherent sadness. Lydian Mode (W-W-W-H-W-W-H) Lydian mode is the complete opposite of the Ionian, so it feels as solid as a major scale but the intervals are surprising and unexpected. This is a popular mode among jazz musicians who enjoy using a mixture of major and minor chord progression in inventive ways. Mixolydian Mode (W-W-H-W-W-H-W) Mixolydian is similar to Lydian in the sense of a major scale feel with minor intervals. Mixolydian mode is another popular scale for solo musicians looking for a counterpoint to the Ionian key of the song. Aeolian Mode (W-H-W-W-H-W-W) Aeolian mode is still in vogue today, although we tend to refer to it as the minor key. The intervals of Aeolian mode create the same feel as many modern blues songs. Songs composed in Aeolian mode have a strong sense of sadness. The final note of an Aeolian scale feels resolved in a completely different sense than the Ionian. If the Dorian mode reflects melancholy, the Aeolian reflects despair. Locrian Mode (H-W-W-H-W-W-W) Locrian mode is considered to be so unstable and unsatisfying that most composers consider it unworkable. There are few songs written in the Locrian mode, which has lead some music experts to label it a 'theoretical' mode. It exists because all seven notes of the Ionian scale could form modes in a mathematical sense, but the relationship between intervals in the Locrian mode is simply not that interesting musically.

Understanding intervals in the major scale The "magic key" to understanding music well is to think in terms of intervals. Intervals in music theory are used to describe a few different things. We already know intervals are the distance between individual notes ie half step, whole step and used in scale formulas. Next comes the magic. Now once we have a scale established we can number each note starting with the root note. This alows us to identify a notes position within the scale. In the case of the major scale we number one through seven. The eigth note is the same as the first only higher in sound.. Thefore, this note is called the "octave" oct meaning eight. Later in chordal theory we will number past the octave to describe complex chords. But thats later. When playing any scale you should be aware of any notes position within the scale. This position of any note within a scale is also known as its interval but now it is used to define a location within the scale. For example, if we are playing the natural major scale in the key of C the fifth interval(note) is G. C,D,E,F,G,A,B,C

Playing intervals Playing intervals means that we sound two different notes at the same time. We start on any given note and construct the natural major scale. The root is the first interval, then we can choose any other note to play simultaneously with it whether it is related to the scale or not. For example: based on the C natural major scale, to play a thirdwe would play the C note and the E note together because E is third in line. To play a fifth interval we play C/G, fourth C-F and so on. Thirds are very often used in Spanish music and chromatically in polynesian music. Fifths are used to death! (rock, blues, country and middle eastern music.) Sixths are used heavily in country western music and ragtime.

The (#) designation seems to have derived from use of the popular scale of C major throughout history which has no sharps at all. C,D,E,F,G,A,B,C

What is a relative minor scale? The relative minor scale is simply the sequence of notes of the major scale that naturaly satisfies the 1,2,d3,4,5,d6,d7 minor scale formula. Any natural major scale has a relative minor scale and it always starts on the 6th interval. For example, the relative minor scale of C major is A minor. This is also known as the 6th mode called the aeolean. Modes will be discussed later. To better understand this lets look at the C major scale. This scale has notes CDEFGABC. When we build the minor scale we alter the natrl major scale which is our

reference scale. So in building A minor we alter the A major scale. Using the WWHWWWH formula to build from the chromatic twelve tones we have A,B,C#,D,E,F#,G#,A. We can see that this A major scale has three sharped notes and that is exactly how this key is notated on the musical staff. When we now alter the scale with b3,b6,b7 we end up with A,B,C,D,E,F,G. Those are all natural notes in the C major scale! So whenever we start on a major scales sixth interval and play to its octave, we are playing its relative minor scale also known as the Aeolian mode.

Pentatonic scales As mentioned earlier there have been many scales formed throughout time. In western music one scale has been used quite often in blues and rock-n-roll music and country music. It is a pentatonic scale consisting of five notes "penta" meaning five. Based on the major scale the formula for the major pentatonic is 1-2-3-5-6. The minor is 1-d3-4-5d7. When playing over fifth intervals you can play either the major or minor pentatonic whichever you choose since fifths dont dictate either minor or major key. Blues music often uses the minor. Country and rock-n-roll music tends to use both.

Chordal Theory
When we have a scale created we can then build chords from the notes contained within it.. Chords are generally constructed bye linking third intervals of the major scale and this creates harmony. A chord (triad) must have at least three different notes "tri" meaning three. The most important thing to remember in chordal theory is that chords are built from natural or altered notes of the natural major scale and are notated in relation to that scale. The Major Triad The major triad consists of three notes "triad" meaning three. The formula for a major triad is 1-3-5. This is the first, third and fifth intervals(notes) of the major scale. For example from the C major scale we would get C-E-G. This is the C major triad usually notated as just the letter C. The chord gets it name from the scale that it was formed from and the major designation because everything is natural. No alterations. The Minor Triad The minor triad also consists of three notes. The formula for a minor triad is 1-d3-5. Again we always use the major scale as our reference. Just as we altered the major scale to create the minor scale so do we to create chords. We see that we use the natural 1st and 5th intervals of the major scale however we alter the 3rd interval by flatting it. So if we are using the C major scale as reference we have C-Ed-G because E is the 3rd interval of the C major scale. So we have a C minor triad. This chord is notated as Cmin or Cm. Again, it gets its name from the scale of which it was created

and the minor designations because of the flatted third interval. You can think of the flatted third as a "minored" third. Minor meaning lesser or flat. The most important third interval:The King of notes It can now be clearly seen that the third interval of the major scale is very important in chord construction. If its unchanged or "natural" it produces a major chord sound if it is flatted (or minored) it produces a minor chord sound. Two very different sounds. As we saw in scale construction it also dictates whether a scale is minor or major. This is the most important note in all music theory.

Major chords When we add the seventh interval to the major triad we add "maj" and the interval that is added to the chord notation. For example, when we add the B note (seventh interval) to a C major triad we now note it as Cmaj7. So 1-3-5-7 is the formula for any maj7 chord. A 6th chord is major but is notated with merely a 6 extension. Example a C chord with notes 1-3-5-6-9 would be notated as C6/9 When intervals are added above eight (the octave), they are counted 9,10,11,12,13,14 However, we know that the eigth, tenth, and twelth note are merely repeats of the triad notes an octave lower and if its a maj7 chord the fourteenth is a repeat of the seventh so we dont need to count them again. So the only new notes that can be added from the major scale are the 2nd, 4th and 6th intervals respectfully 9,11,13. Most commonly complex chords are voiced using these 9,11,13 intervals to spread the sound out more so they notes dont tonally clash with the the other notes by being all in the same octave. No matter how you decide to voice a maj7 or min7 chord it should be notated with the 9,11,13 extensions. The seven is often dropped because when the "maj" is notated it means the seventh is present. So a C chord with 1-3-5-7-911-13 contains all the notes of the major scale and would be written as Cmaj9/11/13. When the seventh is not present we notate "add" and then the interval. ie 1-3-5-9 is notated Cadd9. We can even add more dissonance to any chord by sharping or flatting any of the extensions. For example 1-3-5-7-#9-#11-#13 based on the C major scale is a Cmaj#9/#11#13. We know its a major chord because the natural third and then we notate it with "maj" because the seventh is also present and finally we notate the sharped extensions. Dominant seven chords A dominant seven chord is a major triad with a flatted seventh interval. The formula for a dominant seven chord is 1-3-5-d7. By flatting the seventh interval we create tension in the chord. Dominant seven chords are notated as merely a 7 added to the root note. If we build on dom 7 chords we merely add the new higher interval to the root note and

drop the 7. Example, a C7 chord with the 9th interval added would be notated as C9. If we also add an 11th we drop the 9th and note it as C11 and so forth. So it is understood in chord notation that all the dom. intervals preceding are present. Any sharped extensions to the 9th and 11th or 13th intervals must be notated. Reminder, if the natural seventh (14th equiv.) is also present it should be notated with "maj" ofcourse. Lastly, if we want to add any interval not consecutive to the flatted seventh we add it on ie. C7/11. Dominant seven chords are still major in sound because the third interval is natural. Minor chords Most notation rules that apply to major chords apply to minor except when noting extensions we never drop the seventh because it is not implied. Remeber a chord is minor when the third interval is flatted. We notate minor chords with "min" or "m". When we add the natural seventh like in the maj7 chord we must note it min/maj7 because the natural seventh interval is present. Therfore, if a C chord has 1-d3-5-7 it would be notated Cmmaj7. This chord is still ultimately minor in sound because of the flatted third but with a slight major sound. If the seventh is flatted it is notated with the 7 extension just as are dominant chords ie. Cmin7. Again, we must use "min" or "m" to show that the third is flatted making the chord minor. Here is an example of a chord that uses all the notes of the minor scale Cmin7/9/11/d13 remember the 7th is flat. The important seventh interval As we can now see, the seventh interval is also very important in chord building. When it is added, depending on it being left natural or flatted, will determine whether a major triad will be major or dominant in sound. In a minor triad it will determine whether it is minor or partially major in sound. In addition to the root note and third, the seventh interval is the most important note in complex chord building. Because the third and seventh intervals dictate the type and sound of a chord they are called "color tones" In major/minor chords the fifth interval doesnt dictate major or minor sound at all and because the other extensions all create tension/dissonance and character the fifth is the least important note and can even be left out. It merely strengthens the existing sound by completing the triad. However, in the last two chords we will discuss the 5th is quite significant.

You can play a mixolydian scale over a dominant 7 chord ie C7 as a mixolydian scale has a flat 7th note. You can play a dorian scale over a min7 chord as a dorian scale has a flat 3 and7.

Dorian Mode
This scale is great for Minor 7th chords.

Phrygian Mode
Useful for its flat ninth and sixth, Phrygian sounds best over minor chords with a b9 or #5.

Lydian Mode
This mode is useful for playing over Major 7th chords, the sharp 4th lends more airiness to the sound

Mixolydian Mode
Popular over dominant seventh chords, Mixolydian has a flat seventh that makes it great for blues and jazz.

Minor Scale or Aeolian Mode

The minor scale works fine over minor chords with and without a sharp fifth.

Locrian Mode
An extremely diminished mode that is best on top of flat fifths and so forth, the locrian mode sounds foreign to most players.

Major 7th (maj7): 1, 3, 5, 7 Diminished (dim or o): 1, b3, b5 Dominant 7th (7): 1, 3, 5, b7 Dominant 7th with 9th (9): 1, 3, 5, b7, 9 or 2 Minor 7th (m7): 1, b3, 5, b7 Minor 7th with flat ninth(m7b9): 1, b3, 5, b7, b9 or b2 Dominant 9th (9): 1, 3, (5), b7, 9 or 2 Diminished (o or dim): 1, b3, b5

Major 7th with sharp eleventh (maj7#11): 1, 3, (5), 7, #11 or #4 Now lets look which intervals make up each mode. 1. Ionian (major): 1, 2, 3, 4, 5, 6, 7 2. Dorian: 1, 2, b3, 4, 5, 6, b7 3. Phrygian: 1, b2, b3, 4, 5, b6, b7 4. Lydian: 1, 2, 3, #4, 5, 6, 7 5. Mixolydian: 1, 2, 3, 4, 5, 6, b7 6. Aeolian: 1, 2, b3, 4, 5, b6, b7 7. Locrian: 1, b2, b3, 4, b5, b6, b7

Some mode-chord examples

I'll list each chord and recommend a mode you might consider using. For this example, all you have to do is line up the chord intervals and the mode intervals. We'll continue to only use the notes from a C major scale. Over each of these chords, you only need to play C, D, E, F, G, A, B. Magical isn't it? Cmaj7 - C ionian Dm7 or m9 - D Dorian Em7 or m7b9 - E phrygian Fmaj7 or maj7#11 or maj9 - F lydian (avoid the 5th!) G7 or 9 - G mixolydian Am7+5 - A aeolian (avoid the 5th!) Bo or dim - B locrian

Chord C Major 7th D Minor 7th E Minor 7th F Major 7th G Dominant 7th A Minor 7th B Half Diminished 7th

Scale C Major C Major C Major C Major C Major C Major C Major

Displacement C-C D-D E-E F-F G-G A-A B-B

Mode Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian