SCALE DESCRIPTIONS

Ionian Mode
The Ionian Mode is the first of the seven modes. The obvious thing to notice is that the Ionian Mode is exactly the same as the Major Scale. So, C Ionian, for
example, can be seen as the modal name for C Major.

Dorian Mode
The Dorian Scale, or mode, is the second of the seven modes. The Dorian modes are comparable to the Major scales – D Dorian, for example, includes the same
notes as C Major. The difference is that D Dorian starts on another step in the scale, the D note (see picture below). It also has a different interval (1 2 b3 4 5 6 b7),
which results in a Minor sound. What distinguish Dorian from the Minor scale is the major 6th interval.

A famous song in D Dorian mode is “Scarborough Fair”. Modes are common in jazz music and the Miles Davis tune “So What” is partly using the D Dorian
mode. You can use the chord progression Dm7 - G7 - Cmaj7 together with D Dorian and try to improvise in jazz style (Dorian is otherwise used for jazz soloing
over especially minor 7th and 6th chords).

Phrygian Mode
The Phrygian Scale (or mode) is the third of the modal scales. The Phrygian scales are related to the Major scales: E Phrygian corresponds to C Major played from
the E note, A Phrygian corresponds to F Major played from the A note and so on (all relations are listed below). This scale is often used in Spanish, Latin and
flamenco music. See also Phrygian Dominant.

The Phrygian Mode is almost identical to the Aeolian Mode. It is easy to see if you, for example, compare A Phrygian (A, Bb, C, D, E, F, G) with A Aeolian (A,
B, C, D, E, F, G).

Lydian Mode
The Lydian Mode is the fourth of the seven modes. Lydian scales are related to Major: the F Lydian is identical with the C Major played from F. The intervals in
the Lydian Mode are also similar to the Major Scale, only the fourth note deviates. It is the sharpened fourth that characterize the Lydian from major. See also
Lydian Dominant.

The best practice for hearing the scale in action, is playing it over a chord with the same root, for example, F Lydian over an F major chord. Lydian Scale works
especially well over major 7th chords.

Mixolydian Mode
The Mixolydian Scale (or mode) is one of the modal scales. You may recognize the dominant pattern in the intervals (1, 2, 3, 4, 5, 6, b7) if compared to the
dominant 7th chord with the chord steps 1, 3, 5, b7. This scale is sometimes referred to as the Dominant 7th Scale.

The Mixolydian scales are easy to learn as you can see by comparing them with the Major scales. The difference between C Major and C Mixolydian is only one
note, the seventh. You may also notice that G Mixolydian relates to the scale C Major Scale; the notes are the same, only the root has changed place. In the same
manner relates the C Mixolydian to the F Major.

Aeolian Mode
The Aeolian Scale consists of the same notes as the Natural Minor Scale. Songs in Aeolian Mode tend to have a sad feeling and the scale is quite common in
modern blues and jazz compositions. See also Aeolian Dominant.

Even if the notes are exactly the same, there can be some things that separate the Aeolian scales from the Minor scales. This is, however, only true if the Minor
scales (which in reality are three to the number and beside the Natural includes the Harmonic and the Melodic) is treated as a single concept. In songs based on
minor keys, the V chord is often Major (for instance E instead of Em in the A Minor key), and sometimes also the IV chord (for instance D instead of Dm in the A
Minor key).

But otherwise should the Aeolian mode be treated as a duplicate of the Natural Minor Scale (which is the most common of the minor scales). The main role of the
Aeolian mode is as the sixth mode of the Major Scale. The A Aeolian include the same notes as the C Major, for example, only that it starts on the sixth degree (A,
B, C, D, E, F, G instead of C, D, E, F, G, A, B).

Locrian Mode
The Locrian Mode is one of the seven modes. As you can see, the B Locrian has the same notes as in C Major, but the tonic starts at B. The chord built from the
tonic is diminished, such as Bdim that includes the notes B, D and F. It is therefore a good choice to use this scale over half-diminished chords.

The diminished character gives the Locrian Scale a rare sound and it is probably most used in jazz.