I. Fundamentals
14 Introduction to Diatonic Modes and the Chromatic “Scale”
Chelsey Hamm
Key Takeaways
- The diatonic modes are scale-like collections of notes with patterns of half and whole steps.
- Modes can be described within a continuum of modal brightness: brighter modes sound more like a major scale, while darker modes sound more like a minor scale.
- The three bright modes, which contain mi ([latex]\hat{3}[/latex]) instead of me ([latex]\downarrow\hat{3}[/latex]), are lydian, ionian, and mixolydian.
- The four dark modes, which contain me ([latex]\downarrow\hat{3}[/latex]) instead of mi ([latex]\hat{3}[/latex]) are dorian, aeolian, phrygian, and locrian.
- A chromatic "scale", also known as the chromatic collection, consists of twelve adjacent half steps. Chromatic scales are often (but not always) written with sharps while ascending and with flats while descending.
This book covers modes from many different angles. For more information on modes, check Chord-Scale Theory (jazz), Modal Schemas (pop), Diatonic Modes (20th/21st-c.), and Analyzing with Modes, Scales, and Collections (20th-/21st-c.).
Modes and the Parallel Relationship
The diatonic modes are scale-like collections of notes with different patterns of half and whole steps. As we have learned previously, scales that share a tonic have a parallel relationship. In this chapter, modes are going to be described using the parallel relationship. Modes will also be described within a continuum of modal brightness; modal brightness: brighter modes sound more like a major scale, while darker modes sound more like a minor scale.
ranks the seven diatonic modes in terms of relative brightness and darkness. It also summarizes which scale degrees are altered in relation to the ionian (major) mode, which will be explained in more detail below.
The brightest mode is the lydian mode. The ascending pattern of half and whole steps in this mode is W‑W‑W‑H‑W‑W‑H. Another way to think of this mode is as a major scale but with raised [latex]\hat{4}[/latex], whose solfège is fi [latex](\uparrow\hat{4})[/latex]. shows C lydian with solfège.
https://musescore.com/user/32728834/scores/6824392/embed
The next brightest mode is the ionian mode. This mode consists of an ascending pattern of half and whole steps that is the same as a major scale: W-W-H-W-W-W-H. shows C ionian with solfège.
https://musescore.com/user/32728834/scores/6824424/embed
The next brightest mode is the mixolydian mode, with W-W-H-W-W-H-W as the ascending pattern of half and whole steps. Another way to think of this mode is as a major scale but with lowered [latex]\hat{7}[/latex]. shows C mixolydian with solfège.
https://musescore.com/user/32728834/scores/6824469/embed
The lydian, ionian, and mixolydian modes are usually considered the brighter (or more major) modes because they contain mi instead of me (unaltered [latex]\hat{3}[/latex] instead of lowered [latex]\hat{3}[/latex]). The dorian, aeolian, phrygian, and locrian modes are usual