The seven diatonic modes

from darkest to brightest

using the same tonic

(C D E F G A B C ) (Tonic choice of C is an example only)

Darkest / Saddest 1 Locrian Extremely sad (lacks true 5th) “lowered 2nd & 5th”

Minor
2 Phrygian Sadder “lowered 2nd”

3 Aeolian Natural minor

4 Dorian Brighter or neutral sounding “raised 6th”

5 Mixolydian “Dominant” major (starts on Ionian’s 5th) “lowered 7th”

Major
6 Ionian Major
Brightest / Happiest 7 Lydian Very bright (but lacks true 4th) “raised 4th”

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1st = 8th degree
“The sooner the half steps come,
7th degree: “wants” to be half step below tonic for major / brighter sound
the more minor it sounds.” 6th degree
True 5th
“Tritone”: dim. 4th or aug. 5th in the extreme modes (“forbidden” sounding)
True 4th
3rd degree: minor/major 3rd above tonic determines whether mode is called “major” or “minor”
2nd degree: “wants” to be whole step above tonic; anywhere else sounds very sad
1st degree: “tonic”

Variations on the Aeolian minor

(C D E F G A B C)

Darkest / Saddest 1 Locrian

2 Phrygian
3 Aeolian Natural Minor

Minor
Harmonic (^7 like major, but has very odd 1-1/2-step gap)

3 Aeolian Natural Minor

Melodic Ascending (^6+^7 like major but odd 5 whole steps)

Melodic Descending (back to natural; sounds surprisingly OK)

4 Dorian
5 Mixolydian

Major
6 Ionian Major
Brightest / Happiest 7 Lydian
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1 2 3 4 — 5 6 7 1

The seven diatonic modes

using only white keys on the piano
A B C D E F G A B C D E F G

Aeolian A Natural minor

Locrian B Very sad (low 5th; difficult harmony)

Ionian C Major

Dorian D Dorian minor

Phrygian E Sadder minor

Lydian F Brighter major (raised 4th; difficult)

Mixolydian G Duller major (starts on Ionian’s 5th)

© 2002 Chris Thorman