APPENDIX C

Major Modes

When starting a major scale using each of its tones as a new root, we can originate seven
modal scales or modes:
Major Modes: Related Chords and Extensions

These modes are closely related to the major scale diatonic chords and their notes can be
either chord tones or extensions of those chords. The extensions marked with a “*” are
not usable in a functional context (see Appendix A), but all extensions are usable in a
modal context.

Basic chord: I Maj7 Possible extensions: 9, 13

9th 11th * 13th

Basic chord: IIm7 Possible extensions: 9, 11, 13

9th 11th 13th

Basic chord: IIIm7 Possible extensions: 11

b9th * 11th b13th *

Basic chord: IVMaj7 Possible extensions: 9, #11, 13

9th #11th 13th

Basic chord: V7 Possible extensions: 9, 13

9th 11th * 13th

* In order to include the 11th, the basic chord can be changed to V7sus4, substituting the
major third by the fourth (11th). When that happens, the third can then become the
extension (above the sus4) and be called 10th.

Basic chord: VIm7 Possible extensions: 9, 11

9th 11th b13th *

Basic chord: VIIm7b5 Possible extensions: 11, b13

b9th * 11th b13th *

Major Modes: Analysis of Individual Characteristics

It is harder to compare modes and define their individual characteristics when

looking at them as a diatonic part of one major scale. If we transfer the characteristics of
each mode (their intervallic structure or formula) to the same starting note (or same root)
we can connect more clearly with their sound:
 At this point it should be clear that each mode has a characteristic intervallic sound:

* extensions in italic are not available in a tonal context

SCALES CHORD AVAILABLE SCALE TONES

SYMBOL TENSIONS

MAJOR/ IONIAN IΔ7 9, 13 1 2 3 4 5 6 Δ7

Dorian II-7 9, 11, 13 1 2 ♭3 4 5 6 ♭7
Phrygian III-7 ♭9, 11, ♭13 1 ♭2 ♭3 4 5 ♭6 ♭7
Lydian IVΔ7 9, #11, 13 1 2 3 #4 5 6 Δ7
Mixolydian V7 9, 11, 13 1 2 3 4 5 6 ♭7
Aeolian VI-7 9, 11, ♭13 1 2 ♭3 4 5 ♭6 ♭7
Locrian VII-7♭5 ♭9, 11, ♭ 13 1 ♭2 ♭3 4 ♭5 ♭6 ♭7