Hi!, this is an article about learning and understanding modes and the theory behind them. It can be read in conjunction with a few other pages at Music-Theory-Practice.com:
And two other pages that were an outgrowth of this one:
Want to cite this page?
Castaneda, Ramsey.Using Roy G. Biv to understand Modes, 2018, https://music-theory-practice.com/modes/learn-music-modes.html.
APA:Castaneda, Ramsey. (2018). Using Roy G. Biv to understand Modes,. Retrieved from https://music-theory-practice.com
Question: What are modes?
Answer: Modes are simply a variation of the common scales you use and play everyday. The simplest, if incomplete, explanation of modes is that they are major scales that start on any of the major scale's scale degrees. The ionian mode starts on scale degree 1, dorian on 2, phrygian on 3, lydian on 4 mixolydian on 5, aeolian on 6 and locrian on 7. So, a D dorian scale, for example is a C major scale that starts on D. This method of deriving a mode works by referencing the mode's relative major scale.
However, that's not the full story. Modes can be derived through two methods: 1) a relative perspective ( as in the example above) and 2) a parallel perspective. Both methods yield the same set of notes, but an informed musician should be able to derive the proper set of notes from both relative and parallel perspectives. Before we dig into modes, though, let's start off with an analogy to help make sense of a basic propertity of modes:
There are seven colors of the rainbow: red, orange, yellow, green, blue, indigo, and violet. The common nmeunoic for remembering these colors in the correct order is " Roy G. Biv." Roy G. Biv is a fictional name (firstname: Roy, middle initial: G., last name: Biv), in which each letter represents a color. To the right (or, below, if you're reading this on a small-screen device) you will see "Roy G. Biv" spelled out in boxes with each box having the background color of its corresponding letter.
| R | o | y | G. | B | i | v |
Now, let's assign a number to each of the letters of Roy G. Biv. We will start with the number "1," and proceed from left to right, giving each letter the next consecutive number.
Figure 2 shows the results, you'll see that the "R" was assigned "1" (becuase it is the first letter of Roy G. Biv), the "o" "2" (because it is the second letter of Roy G. Biv), and so on through letter "v" with number 7. Look over Figure 2., and keep reading below.
| R 1 |
o 2 |
y 3 |
G. 4 |
B 5 |
i 6 |
v 7 |
Now, we can spell Roy G. Biv using numbers rather than the letters. For example, we can spell Roy G. Biv starting with number 2 (letter "o"), and in doing so, we move the letter R (and number 1) from the beginning to the end. This yields "oy G. Biv R." Or, we can spell Roy G. Biv starting with his last name, Biv, which starts at letter 5, which results in "Biv Roy G." Yes, the numbers are a bit arbitrary at this point, but their purpose will become clear soon.
| o 2 |
y 3 |
G. 4 |
B 5 |
i 6 |
v 7 |
R 1 |
| B 5 |
i 6 |
v 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
Now that we've added numbers to each of the letter of Roy G. Biv, and learned how to respell the name at different starting points, let's spell Roy G. Biv from every possible starting point. We'll call it the "Roy G. Biv Matrix."
| R 1 |
o 2 |
y 3 |
G. 4 |
B 5 |
I 6 |
V 7 |
| o 2 |
y 3 |
G. 4 |
B 5 |
I 6 |
V 7 |
R 1 |
| y 3 |
G. 4 |
B 5 |
I 6 |
V 7 |
R 1 |
o 2 |
| G. 4 |
B 5 |
I 6 |
V 7 |
R 1 |
o 2 |
y 3 |
| B 5 |
I 6 |
V 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
| I 6 |
V 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
B 5 |
| V 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
B 5 |
I 6 |
This may seem a bit nonsensical (it is), but you will soon see that this little exercise illustrates a foundational aspect of modes.
Now we have something very interesting! Look at the list presented here for a few interesting facts about Figure 4 (above, and reproduced here).
| R 1 |
o 2 |
y 3 |
G. 4 |
B 5 |
I 6 |
V 7 |
| o 2 |
y 3 |
G. 4 |
B 5 |
I 6 |
V 7 |
R 1 |
| y 3 |
G. 4 |
B 5 |
I 6 |
V 7 |
R 1 |
o 2 |
| G. 4 |
B 5 |
I 6 |
V 7 |
R 1 |
o 2 |
y 3 |
| B 5 |
I 6 |
V 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
| I 6 |
V 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
B 5 |
| V 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
B 5 |
I 6 |
Look again at the last two points and think about what this means. Looking at Figure 4 again (the Roy G. Biv matrix) Do you see a pattern between columns and rows? *HINT:* Columns correspond with the rows! I.e., column two is the same was row two, column six is the same as row six, and so on!
Look at the table, Table 1., below, and again notice that all the columns and rows correspond with each other. For example, notice that the second column reads "oy G. Biv R" (2345671) and the second row also reads "oy G. Biv" (2345671). Similarily, the 4th column and 4th row both read "G. Biv Roy" (4567123). The headers on the top and left sides of the square indiate the spelling of Roy G. Biv for that row or column.
| Roy G. Biv Matrix | Roy G. Biv | oy G. Biv R | y G. Biv Ro | G. Biv Roy | Biv Roy G. | iv Roy G. B | v Roy G. Bi |
| Roy G. Biv | R 1 |
o 2 |
y 3 |
G. 4 |
B 5 |
i 6 |
v 7 |
|---|---|---|---|---|---|---|---|
| oy G. Biv R | o 2 |
y 3 |
G. 4 |
B 5 |
i 6 |
v 7 |
R 1 |
| y G. Biv Ro | y 3 |
G. 4 |
B 5 |
i 6 |
v 7 |
R 1 |
o 2 |
| G. Biv Roy | G. 4 |
B 5 |
i 6 |
v 7 |
R 1 |
o 2 |
y 3 |
| Biv Roy G. | B 5 |
i 6 |
v 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
| iv Roy G. B | i 6 |
v 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
B 5 |
| v Roy G. Bi | v 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
B 5 |
i 6 |
So -- what does any of this have to do with modes?! Everything!
Catch on yet? The above tables is a thinly veiled example of how muiscal modes work, but instead of a major scale, we used the seven colors of the rainbow (Roy G. Biv)! Roy G. Biv works as a great analogy for three reasons:
Now the fun begins!
To start off, let's replace the Roy G. Biv letters with notes from the C major scale. We'll do this by "mapping" the C major scale onto Roy G. Biv. "R" becomes "C," "o" becomes "D," and on, until Roy G. Biv becomes C D E F G A B. The numbers will now represent the scale degrees (C = 1, D = 2, etc.). Below is a table that demonstrades this transformation. Click the "Convert Roy G. Biv to the C major scale" button to see the transformation.
| Roy G. Biv to C D E F G A B (the C major Scale) | |||||||
| Roy G. Biv | R | o | y | G. | B | i | v |
|---|---|---|---|---|---|---|---|
| Roy G. Biv numbers | 1 | 2 | 3 | 4 | 5 | 6 | 7 |
| Conversion | |||||||
| C major scale | C | D | E | F | G | A | B |
| C major scale degrees | 1 | 2 | 3 | 4 | 5 | 6 | 7 |
Now, let's convert the entire Roy G. Biv matrix into a C major scale matrix:
| Roy G. Biv Variations |
Roy G. Biv | oy G. Biv R | y G. Biv Ro | G. Biv Roy | Biv Roy G. | iv Roy G. B | v Roy G. Bi |
|---|---|---|---|---|---|---|---|
| Roy G. Biv | R 1 |
o 2 |
y 3 |
G. 4 |
B 5 |
i 6 |
v 7 |
| oy G. Biv R | o 2 |
y 3 |
G. 4 |
B 5 |
i 6 |
v 7 |
R 1 |
| y G. Biv Ro | y 3 |
G. 4 |
B 5 |
i 6 |
v 7 |
R 1 |
o 2 |
| G. Biv Roy | G. 4 |
B 5 |
i 6 |
v 7 |
R 1 |
o 2 |
y 3 |
| Biv Roy G. | B 5 |
i 6 |
v 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
| iv Roy G. B | i 6 |
v 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
B 5 |
| v Roy G. i | v 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
B 5 |
i 6 |
| C major modes |
C D E F G A B | D E F G A B C | E F G A B C D | F G A B C D E | G A B C D E F | A B C D E F G | B C D E F G A |
|---|---|---|---|---|---|---|---|
| C D E F G A B | C 1 |
D 2 |
E 3 |
F 4 |
G 5 |
A 6 |
B 7 |
| D E F G A B C | D 2 |
E 3 |
F 4 |
G 5 |
A 6 |
B 7 |
C 1 |
| E F G A B C D | E 3 |
F 4 |
G 5 |
A 6 |
B 7 |
C 1 |
D 2 |
| F G A B C D E | F 4 |
G 5 |
A 6 |
B 7 |
C 1 |
D 2 |
E 3 |
| G A B C D E F | G 5 |
A 6 |
B 7 |
C 1 |
D 2 |
E 3 |
F 4 |
| A B C D E F G | A 6 |
B 7 |
C 1 |
D 2 |
E 3 |
F 4 |
G 5 |
| B C D E F G A | B 7 |
C 1 |
D 2 |
E 3 |
F 4 |
G 5 |
A 6 |
At this point, you may notice something a bit fishy: Spelling out the entire word (or scale) isn't very efficient, and it's ultimately redundant information -- we can already see the spelling in the rows and columns, why need the headers?
"Wouldn't it be better...", you might say, "if we had a group of words whose meaning can be intrepreted to indicate that we are starting a string of letters at a specific point within that string of letters?!" "And...!", you add for emphasis, that this group of words could apply to ALL words?? This is where this analogy breaks down, and where mode names come in to play.
So, we just agreed that spelling out the scale on the top row and left-most column of the "C major scale matrix" is redundant. And we also agreed that this is inefficient because it restricts the matrix to only one scale at a time (the C major scale, in this case). For example, writing out the C-major scale from scale degree 2, D E F G A B C, doesn't tell us anything about the F major scale from scale degree 2, which is G A Bb C D E F. Luckily, modes take care of this problem!
There are seven modes, one for each scale degree of the major scale. Playing a major scale from scale degree two creates a Dorian mode. Playing a major scale from the third scale degree creates a Phrygian mode, and so on, with each scale starting from each scale degree getting it's own unique name. Because there are only seven unique notes in a major scale, there are only seven modes. This holds true for every major scale in every key.
Below is a chart that lists out each of the seven major-scale modes (also known as church modes). The second column lists the scale degree from which that mode is always built (relative to the major scale). The third column contains the entire scale in scale degrees relative to the major scale, and the fourth column shows this mode relative to the C major scale.
| Mode Name | Starting Scale Degree relative to a major scale |
Mode's Scale degrees relative to a major scale |
Modes relative to C major |
|---|---|---|---|
| Ionian | 1 | 1 2 3 4 5 6 7 | C D E F G A B |
| Dorian | 2 | 2 3 4 5 6 7 1 | D E F G A B C |
| Phrygian | 3 | 3 4 5 6 7 1 2 | E F G A B C D |
| Lydian | 4 | 4 5 6 7 1 2 3 | F G A B C D E |
| Mixolydian | 5 | 5 6 7 1 2 3 4 | G A B C D E F |
| Aeolian | 6 | 6 7 1 2 3 4 5 | A B C D E F G |
| Locrian | 7 | 7 1 2 3 4 5 6 | B C D E F G A |
To be extra clear...
This never changes, it's true for every key, so don't hesitate to memorize the charts above.
So, what does this all mean? This means that one way of conceptualizing modes is as indicators that tell us from what major scale the mode is derived. Or, put another way, modes can be interpreted as indicating from what note a mode starts relative to its associated major scale. This way of thinking about modes comes from what I call the relative perspective, which we will dig into next.
We started out learning that we can think of modes from two perspectives: relative and parallel. Thinking of modes from the relative perspective means thinking of all the modes in relation to their associated major scale. For example, the lydian mode has the same notes as a major scale, but starting on the fourth scale degree, and the locrian mode has the same notes as a major scale, but starting on the seventh scale degree.
The thought process for thinking about modes from a relative perspective goes something like this:
Question: What are the notes in an A phrygian scale?
Thought-process: Okay, A phrygian. Well, I memorized the order of modes relative to the major scales, and I know that the phrygian mode begins on the third scale degree of major scales. So, what major scale has "A" as it's third? uh... *insert quick calculation* ...F major! Therefore, an A phrygian scale has the same notes as an F major scale, but starting on the note A.
Answer: The notes in an A phrygian scale are: A Bb C D E F G
Here's another one to try on your own:
Try to figure this out on your own. Once you think you've got it, click the "reveal answer" button below to see if you're correct.
Now that we know the mode names, let's add them to our matrix. First, take another look at Figure 8 and notice again that the top row and left-most column spell out the modes in their entirety. We learned that this is redundent and inefficient. It's redundent because those notes are spelled out in the columns and rows to which they are connected, and it's inefficient because it only applies to a single key. We also learned that modes fix both of these problems since we can treat them as indicators for what scale degree, relative to a major scale, the mode begins on.
So, let's work on making our "C major scale matrix" less redundent and inefficient. We will do this step by step. First, for Table 6., we're going to add the mode names above the spelled out modes:
| C major scale/modes matrix | Ionion C D E F G A B |
Dorian D E F G A B C |
Phrygian E F G A B C D |
Lydian F G A B C D E |
Mixolydian G A B C D E F |
Aeolian A B C D E F G |
Locrian B C D E F G A |
|---|---|---|---|---|---|---|---|
| Ionion C D E F G A B |
C 1 |
D 2 |
E 3 |
F 4 |
G 5 |
A 6 |
B 7 |
| Dorian D E F G A B C |
D 2 |
E 3 |
F 4 |
G 5 |
A 6 |
B 7 |
C 1 |
| Phrygian E F G A B C D |
E 3 |
F 4 |
G 5 |
A 6 |
B 7 |
C 1 |
D 2 |
| Lydian F G A B C D E |
F 4 |
G 5 |
A 6 |
B 7 |
C 1 |
D 2 |
E 3 |
| Mixolydian G A B C D E F |
G 5 |
A 6 |
B 7 |
C 1 |
D 2 |
E 3 |
F 4 |
| Aeolian A B C D E F G |
A 6 |
B 7 |
C 1 |
D 2 |
E 3 |
F 4 |
G 5 |
| Locrian B C D E F G A |
B 7 |
C 1 |
D 2 |
E 3 |
F 4 |
G 5 |
A 6 |
Pretty cool, eh?
Now, let's do a two things at once...
Play around with the buttons below and see the modes of all the major scales. But remember: the scale degrees are relative to their associated major scale.
| Mode Scale Degrees Relative to major scales |
Ionian | Dorian | Phrygian | Lydian | Mixolydian | Aeolian | Locrian |
|---|---|---|---|---|---|---|---|
| Ionian | 1 | 2 | 3 | 4 | 5 | 6 | 7 |
| Dorian | 2 | 3 | 4 | 5 | 6 | 7 | 1 |
| Phrygian | 3 | 4 | 5 | 6 | 7 | 1 | 2 |
| Lydian | 4 | 5 | 6 | 7 | 1 | 2 | 3 |
| Mixolydian | 5 | 6 | 7 | 1 | 2 | 3 | 4 |
| Aeolian | 6 | 7 | 1 | 2 | 3 | 4 | 5 |
| Locrian | 7 | 1 | 2 | 3 | 4 | 5 | 6 |
If you've followed along this far, then congratulations -- you understand modes from a relative perspective! Next, let's finally tackle modes from a parallel perspective.
Okay, so now we know about relative modes, so what about thinking of modes from a parallel perspective?
Rather than start from square one, let's contrast relative modes with parallel modes via our friend Roy G. Biv.
Looking at the left-most row of the Roy G. Biv matrix we see "Roy G. Biv" spelled vertically and horizontally in the left-most column and top row. This implies that each row starts with a different letter-number combination (because Roy G. Biv has no repeated letters). Look again and notice how each letter-color combination never repeats in any row or column; each row and column features every color/letter-number once and only once -- in other words, each row and column shows the full colors in a rainbow, just from different starting points.
Parallel modes will not have this same effect.
Let's look at the definition of "parallel:"
Definition of Parallel
Parallel:
noun
1. (of lines, planes, surfaces, or objects) side by side and having the same distance continuously between them.
So, in adopting the definition above, we can assume that parallel modes will be "side by side" and "have the same distance continously between them." Just what might this mean in terms of scales? Let's dig into this piece-by-piece.
"Side by Side"
This means that each starting position will be the same. For example, notice how the relative mode matrix featured each row starting with a different letter/color-note combination. Well, with parallel modes, each mode will start with the same note. Instead of the left-most column reading C D E F G A B (or Roy G. Biv), a parallel chart would read C C C C C C C (or R R R R R R R for Roy G. Biv).
"Have the same distance continuously between them."
This has a similar sound to "side by side," but with two important words: distance and continuously.
With our mode analogy, "distance" translates to "staff position". In western music notation, staff position refers to a notes location on the staff: either a "line" or a "space." The notes A and G have different staff positions (or, different positions on the staff). This can also be observed in our naming of intervals. A to G is a major second, and even though A to Ax (A double sharp) produces the same pitches it's referred to as an augmented prime or augmented unison because they have the same staff position.
Therefore, parallel modes have 1) the same starting position (i.e. note), and 2) each note occupies the same staff position as the notes in the same scale degree for the other modes. Let's map this out with another chart, Table 8:
| C ionian | C 1 |
D 2 |
E 3 |
F 4 |
G 5 |
A 6 |
B 7 |
|---|---|---|---|---|---|---|---|
| C dorian | C 1 D | 2 Eb | b3 F | 4 G |
5 A |
6 Bb |
b7 |
| C phrygian | C 1 Db | b2 Eb | b3 F | 4 G |
5 A |
6 B |
7 |
| C lydian | C 1 D | 2 E | 3 F# | #4 G |
5 A |
6 B |
7 |
| C mixolydian | C 1 D | 2 E | 3 F | 4 G |
5 A |
6 Bb |
b7 |
| C aeolian | C 1 D | 2 Eb | b3 F | 4 G |
5 Ab |
b6 Bb |
b7 |
| C locrian | C 1 Db | b2 Eb | b3 F | 4 Gb |
b5 Ab |
b6 Bb |
b7 |
Cool, now we have a chart of the parallel modes! Let's look over this chart and make sure it our definition from above acurately describe this table.
Does the definiton of parallel modes above accurately describe this table?
- Does each mode start "side by side," i.e. with the same note?
- Yes! Each mode starts with C!
- Is each mode continously the same distance from each other? Or, put another way, do the modes exhibit continously parallel "staff positions?"
- Yes! Looking at the columns, each note is of the same "staff position!" In the third column, for example, all the notes are a type of "D," and in the fourth column, all the notes are a type of "E." This holds true for each column of notes!
Great! We now have a working definition of modes through a parallel thought process! Next, let's compare each mode to it's relative major scale to learn more about the full meaning of the mode names.
| Modes | Scale Degrees | Note names in C | Alterations from parallel major |
|---|---|---|---|
| Ionion: | 1 2 3 4 5 6 7 | C D E F G A B | none |
| Dorian: | 1 2 b3 4 5 6 b7 | C D Eb F G A Bb | Major to Dorian lower: 7, 3 |
| Phrygian: | 1 b2 b3 4 5 b6 b7 | C Db Eb F G Ab Bb | Major to phrygian lower: 7, 3, 6, 2 |
| Lydian | 1 b2 3 #4 5 6 7 | C D E F# G A B | Major to lydian raise: 4 |
| Mixolydian | 1 2 3 4 5 6 b7 | C D E F G A Bb | Major to Lydian raise: 4 |
| Aeolian | 1 2 b3 4 5 b6 b7 | C D Eb F G Ab Bb | Major to aeolian lower: 7, 3, 6 |
| Locrian | 1 b2 b3 4 b5 b6 b7 | C Db Eb F Gb Ab Bb | Major to locrian Lower: 7, 3, 6, 2 |
Okay, so as we can see from the table above, thinking of modes from a parallel perspective means that we need to be aware of what notes for each mode are different from it's parallel major (or ionian) scale. Mixolydian, for example, is different from parallel major/ionian by one note, a lowered 7th.
Question: Why did you write "lower" rather than "flat" (and raise rather than sharp) in the "Alterations from Parallel major" column?
Answer: The reason is because it is more accurate to write "lower" rather than "flat" because some of those notes might already be flat, and moreover, some of the notes might be naturally sharp. For example, think about a G major scale (G A B C D E F#). If we were to make this mixolydian through parallel thinking, then we know that we need to lower the seventh scale degree. When we lower an F#, it becomes F (F-natural). However, if we thought that we needed to "flat" the F# , we risk getting confused and making it an Fb.
Question: What are the notes in an A phrygian scale?
Thought-process: Okay. A phrygian. Phrygian scales have four lowered notes compared with the parallel ionian/major scale. The first four flats in the order of flats as applied to major scales occur on scale degrees 7, 3, 6, and 2. An A major scale is A B C# D E F# G#. So, I need to lower (i.e. add flats) to scale degrees 7, 3, 6, and 2. In an A major scale the corresponding notes are G#, C#, F#, and B. If I flatten those notes, I'm left with G, C, F, and Bb. Therefore the whole scale is...
Answer: A Bb C D E F G
Though that may look more complicated, it isn't. In fact, it may be a slightly faster way of computing the notes, though if you know your scales well enough both should be near instantaneous.
Therefore, in order to know your modes from a parallel perspective, we need to have the table below memorized:
| Modes | Scale Degrees |
|---|---|
| Ionion: | 1 2 3 4 5 6 7 |
| Dorian: | 1 2 b3 4 5 6 b7 |
| Phrygian: | 1 b2 b3 4 5 b6 b7 |
| Lydian | 1 b2 3 #4 5 6 7 |
| Mixolydian | 1 2 3 4 5 6 b7 |
| Aeolian | 1 2 b3 4 5 b6 b7 |
| Locrian | 1 b2 b3 4 b5 b6 b7 |
Here, as with Table 7, I've removed all the notes except the the scale degrees, and also added buttons that when clicked will insert the correct notes into the matrix.
| Ionion | 1 |
2 |
3 |
4 |
5 |
6 |
7 |
| Dorian | 1 |
2 |
b3 |
4 |
5 |
6 |
b7 |
| Phrygian | 1 |
b2 |
b3 |
4 |
5 |
b6 |
b7 |
| Lydian | 1 |
2 |
3 |
#4 |
5 |
6 |
7 |
| Mixolydian | 1 |
2 |
3 |
4 |
5 |
6 |
b7 |
| Aeolian | 1 |
2 |
b3 |
4 |
5 |
b6 |
b7 |
| Locrian | 1 |
b2 |
b3 |
4 |
b5 |
b6 |
b7 |
That's it! Hopefully this proved to be a fun and educational explanation of the modes! Thanks for reading!