Learn the Modes with Roy G. Biv!

Music-Theory-Practice.com
Note! This page works best on desktop sized-screens.

Hi!, this article/webpage is a reduction of my Understand Modes with Roy G. Biv article. It features the two main tables/matrices from that article (removing most of the explanations). If you would like to read about the process behind each of the tables and matrices below, please read the article linked above.

I have a few other webapps on modes that you might enjoy:

Want to cite this page?
MLA:

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

Roy G. Biv Convertable "Mode Matrix"

The impetus behind my Understand Modes with Roy G. Biv article was to present a simple and easy to understand illustration of mode construction from relative and parallel perspectives. After brainstroming for some time, I developed an approach that maps scale degrees to the mnemonic for the colors of the rainbow, Roy G. Biv. I then created the two interactive matrices (below). These hopefully provide some insight into mode construction for those who are unfamiliar with the concept (if this page doens't make much sense to you consider reading the full article how modes work).

Step 1: Assign numbers and colors to Roy G. Biv

R
1		 o
2		 y
3		 G.
4		 B
5		 i
6		 v
7
Figure 1. Roy G. Biv color coded with numbers assigned to each letter.

Step 2: Experiment spelling Roy G. Biv from different number-positions

o
2		 y
3		 G.
4		 B
5		 i
6		 v
7		 R
1
Figure 2. "oy G. Biv R," Roy G. Biv spelled starting with letter number 2, "o." Equivelent to dorian.
B
5		 i
6		 v
7		 R
1		 o
2		 y
3		 G.
4
Figure 3: "Biv Roy G.," Roy G. Biv, spelled starting with letter number 5, "B." Equivelent to mixolydian.

Step 3: Create a Roy G. Biv Matrix

Here I've created a relative mode table. Notice the columns and rows spell out the modes in relative order (to ionian): ionian (1), dorian (2), phrygian (3), lydian (4), mixolydian (5), aeolian (6), locrian (7). Use the "Convert the Matrix to..." area to convert the matrix to any key, scales degrees only, and back to Roy G. Biv.

Mode Scale Degrees
Relative to major scales		 Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian
Ionian R
1		 o
2		 y
3		 G.
4		 B
5		 i
6		 v
7
Dorian o
2		 y
3		 G.
4		 B
5		 i
6		 v
7		 R
1
Phrygian y
3		 G.
4		 B
5		 i
6		 v
7		 R
1		 o
2
Lydian G.
4		 B
5		 i
6		 v
7		 R
1		 o
2		 y
3
Mixolydian B
5		 i
6		 v
7		 R
1		 o
2		 y
3		 G.
4
Aeolian i
6		 v
7		 R
1		 o
2		 y
3		 G.
4		 B
5
Locrian v
7		 R
1		 o
2		 y
3		 G.
4		 B
5		 i
6
Table 4. A "convertable" relative mode matrix. Use the buttons to fill in the blocks with the notes from each key.

Convert the Matrix to...

Creating a Convertable Parallel Mode Table

Lastly is a parallel mode table, in which each mode is spelled from the same starting note. The Roy G. Biv analogy breaks down here since you can't really have a "flat-o!" So, I left out Roy G. Biv, but if the table above makes sense, then this one should too!

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
Table 11.
A "convertable" parallel mode table.

Convert the Matrix to...

1. When I made this table I had a realization that sort of shocked me. If you want to read it, click here: reading a parallel mode table vertically.
2. And after experimenting with that, I wrote this: modes, order of sharps and flats, and why the circle of fifths doesn't really exist!