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:
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
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).
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 |
B 5 |
i 6 |
v 7 |
R 1 |
o 2 |
y 3 |
G. 4 |
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 |
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 |