![]() ![]() In other words: Aeolian has the same key signature as its parallel major scale, with 3 notes down a half step. The 6th mode, Aeolian, is also called the minor scale. The 5th mode, Mixolydian, is a major scale, with a flatted 7th. In other words: Lydian has the same key signature as its parallel major scale, with 1 note going up a half step. The 4th mode, Lydian, is a major scale, with a raised 4th. ![]() In other words: Phrygian has the same key signature as its parallel major scale, with 4 notes down a half step. ![]() Therefore, Phrygian is a major scale with b2, b3, b6, and b7. The 3rd mode, Phrygian, is a minor scale, with a flatted 2nd. In other words: Dorian has the same key signature as its parallel major scale, with 2 notes down a half step. Therefore, Dorian is a major scale with b3 and b7. The 2nd mode, Dorian, is a minor scale with a raised 6th.Ī minor scale is a major scale with b3, b6, and b7. The better you have the major scale key signatures memorized, the more following info will make sense. It is essential that you have the key signatures of the major scale in all 12 keys memorized really well. The first mode, called Ionian, is the regular major scale. A Brief Explanation of Modes As Related to Their Parallel Major Scale So it is a matter of having memorized then, what the structure is of every mode. Sharp number 4 in the order of sharps, is D#, which is indeed the 7th note in the key of E major.ĭropping that sharp out of the key signature, lowered D# to D in the scale. ![]() In order to flatten the 7th, so E major scale turns into the E Mixolydian scale, I need to drop my number of #’s from 4 to 3.Ĭonclusion: E Mixo has 3 sharps (F#, C#, and G#). “Flatting a note”, means that it goes down a half step. Mixolydian is a major scale with a flatted 7th. The above explanation probably will really only make sense with an example: I’m aware that all the above is a lot to grasp. This approach is mostly “key signature” driven. Then you make the appropriate alteration to that parallel major scale key signature to reflect the notes in that parallel mode. Instead, you think of the particular mode you are trying to figure out in terms of ITS PARALLEL MAJOR SCALE (the major scale starting from the same note as that mode). The parallel scale approach to figuring out what the notes are in a mode is less tedious than the system of counting scale steps to the relative major scale. Parallel scales are scales that start on the same starting note: E major scale, E minor scale, E Phrygian, E Mixolydian, E Locrian, etc… Phrygian is the 3rd mode (meaning: “it starts on the 3rd note”) of a major scale.Ĭounting back 2 whole steps (a major 3rd down): leads us to C major scale.Ĭonclusion: E Phrygian has the same notes as a C major scale.Į Phrygian consists of all white keys of the piano: no sharps or flats. This approach is mostly “scale degree” driven.Į Phrygian. This tells you what the notes are that you are looking for in the mode relative to that major scale. Then you figure out the key signature to that major scale. When you use this approach, you count back a number of scale degree steps to the relative major scale. This is the system taught in music schools. An Easy System To Memorize The Key Signatures For All Modes There are 2 approaches to figuring out all modes in all 12 keys. ![]()
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