Piano Modes: A Comprehensive Guide of the 7 Modes

While you may be familiar with the concept of piano modes, you may be struggling to fully understand why and how to use them effectively in your piano playing. That’s exactly what this comprehensive guide aims to address. Through the course of this article, we’ll delve into why learning modes can be the solution to your musical rut by providing a variety of scales that can drastically alter the mood and color of your music.

So, whether you’re a seasoned musician or a passionate learner, this guide will offer valuable insights into the power of modes and how you can harness them to enhance your musical abilities and express a wide range of emotions and atmospheres.

We’ll explore what a mode is and the seven modes derived from the major scale, each with its unique character and mood-altering abilities. It’s worth noting that there are indeed more modes beyond the major scale. But given that the major scale modes are the most commonly used modal family, we will focus on the mainly.

Moreover, we’ll provide practical tips and strategies for incorporating these modes into your own musical performances.

What Is A Mode?

A mode is a scale that has a rotational relationship to another scale. This means that any scale you learn how to play can be transformed into a new mode by simply rotating your starting point to a new scale degree. So you’re playing the same notes but with a different note as your tonic.

Let’s take the C major scale as an example (C, D, E, F, G, A, B). The number of modes a scale has is equivalent to the number of notes the scale has. Because the major scale has seven notes, it’s going to have seven unique modes, one with each note serving as each modes tonic. The first mode of any scale will always just be itself. So the first mode of the C major scale, is just the C major scale. But if we were to call it by its modal name, we would call it C Ionian.

To play the rest of the modes, we just have to rotate our scale around to start and end on a new scale degree. Whatever scale degree you rotate to in order to be your new tonic, that note will be the relative mode of C major you’re now in. Like if we rotate the starting point of the C major scale to start on the sixth degree (A), you will be in the sixth mode of C major. So instead of playing C, D, E, F, G, A, B, we will instead play A, B, C, D, E, F, G as our scale on the piano.

If you didn’t notice, the notes of the sixth mode of the C major scale is the exact same as the notes of the A minor scale. They use the exact same notes and chords, but because they each have a different note as their tonic they give completely different sounds and feels when we play them. So the minor scale is actually a mode of the major scale, and we would call it the Aeolian mode.

A minor is the relative minor of C major. Likewise, C major is the relative major of A minor. They’re relative modes of each other because they share the same scale but start on different notes as their tonic. That’s just two of the seven modes that derive from the major scale, but what are the rest?

From Ionian to Locrian: A Brief Overview (The Seven Relative Modes of the Major Scale)

The seven modes derived from the major scale are:

Ionian Mode – 1st mode which can be played by starting and ending your scale on the first scale degree.
Dorian Mode – 2nd mode which can be played by starting and ending your scale on the second scale degree.
Phrygian Mode – 3rd mode which can be played by starting and ending your scale on the third scale degree.
Lydian Mode – 4th mode which can be played by starting and ending your scale on the fourth scale degree.
Mixolydian Mode – 5th mode which can be played by starting and ending your scale on the fifth scale degree.
Aeolian Mode – 6th mode which can be played by starting and ending your scale on the sixth scale degree.
Locrian Mode – 7th mode which can be played by starting and ending your scale on the seventh scale degree.

Parallel Modes

So far we’ve discussed what a mode is, and how to play the relative modes of the major scale. But that’s where most teaching stop. What people fail to mention is that in order to understand modes fully, we don’t just want to learn how to play the relative modes of the major scale. We also want to be able to play the parallel modes of whatever major scale we’re in.

Parallel modes, are two scales that share the same tonic note but with a different scale pattern built around it. It’s different from a relative modes, and it’s easy to remember the difference as they’re like two sides of the same coin.

Relative modes share the same scale but have a different tonic.
Parallel modes share the same tonic but have a different scale.

The same way we can construct a major or minor scale from any note with a unique pattern of whole steps and half steps, distinguish their unique sounds, and make diatonic chord progressions out of them, we can do the same with the rest of the modes. By making slight alterations to the major or minor scale, we can learn to transform the mode of any key we’re in without leaving our tonal center. Practicing our parallel modes allows us to better hear the differences between the modes, understand what their unique characteristics are, and further understand how the modes relate to one another.

You almost want to treat each of these modes as their own key. While it’s not technically correct to say something like, “I’m in the key of C Dorian” it’s a lot easier than saying “I’m in Bb but in the Dorian mode.” By thinking of each of these modes as their own independent scale without relation to another, it will in turn make playing and switching between these scales a lot easier.

With a firm grasp of the nature of modes and their roots, it’s time to examine each of the seven modes in more detail. Much like an artist values the subtle variations between color shades, appreciating the nuances of each mode will provide a richer palette for your musical canvas.

Ionian Mode: More Than Just Major

The Ionian mode, also known as the major scale, is like the first ray of dawn, bright and promising. It’s the mode that most people are familiar with, the foundation upon which much of Western music is built. It can be used in any wide array of genres like:

classical music
pop music
rock music
jazz music

When someone says a piece of music is in a major key, they are generally referring to the Ionian mode, but they could also use the term “major” as an umbrella term for anything that has a major tonality to it like the Lydian or Mixolydian mode. So whenever you’re discussing modes and their relation to one another, you can use the term Ionian when referring to the first mode of the major scale specifically.

But don’t be fooled – the Ionian mode is more than just bright and happy. It’s a versatile tool that can evoke a range of moods, from joyous and uplifting to melancholi c and reflective. Popular songs that utilize the Ionian mode, span various emotional landscapes. For a bright and happy sound, consider “Happy” by Pharrell Williams, which uses the Ionian mode to create its infectious, upbeat vibe. On the other hand, “Yesterday” by The Beatles, despite primarily being in F major (Ionian mode), manages to evoke a melancholic and poignant mood through its lyrics and melody.

Dorian Mode: The Minor with a Twist

The Dorian mode is similar to the natural minor scale, but with a raised sixth degree to give it a slightly more uplifting and less melancholic sound. So if you’re playing in Minor but feel it sounds too dark, try playing Dorian instead. This minor mode is known for its bluesy and soulful undertones, often associated with feelings of nostalgia, melancholy, or introspection.

It’s important to be able to distinct Dorian from Minor. It’s not as dark as minor, or Aeolian, and it’s because of that raised sixth degree. It adds a touch of optimism, making it a versatile and expressive choice for various musical genres like:

Jazz Music
Funk Music
Rock Music
Flamenco Music

A popular example of a song that uses the Dorian mode is “Oye Como Va” by Tito Puente, famously covered by Santana. This classic Latin rock song is based on a two-chord Dorian mode pattern, known as the Dorian Vamp. It involves alternating between the minor chord built on the first scale degree (i) and the major chord built on the fourth scale degree (IV).

This IV chord is unique because it incorporates the raised sixth degree, a defining characteristic of the Dorian mode that sets it apart from the natural minor scale which features a iv chord. This chord progression is particularly popular in jazz, funk, and Latin music, contributing to the unique flavor and groove of these genres. The song’s infectious groove and catchy melody make it a quintessential example of the Dorian mode’s use in popular music.

Phrygian Mode: Eastern Allure

The Phrygian mode offers a distinctively exotic sound. While the minor scale is known for its somber and melancholic tone, the Phrygian mode is even darker and brings an additional layer of complexity and mystery. This is largely due to the Phrygian mode’s characteristic lowered second note, which gives it a unique, exotic, and somewhat tense sound. So if you want to play a Phrygian scale, play a minor scale but flatten the second scale degree. This deviation lends the Phrygian mode an Eastern flavor, making it stand out among the other modes. So, if you’re looking to infuse some darkness and exoticism into your music, the Phrygian mode is a fantastic choice.

The Phrygian mode is the darkest of all the modes besides the Locrian mode. Its distinctively exotic and somewhat tense sound lends itself well to various styles like:

Flamenco Music
Metal Music
Jazz Music
Hip-Hop

“Wher ever I May Roam” by Metallica is a prime example of the Phrygian mode in action. The opening guitar riff of this iconic heavy metal track features the flattened second degree, a hallmark of the Phrygian mode. The use of the Phrygian here showcases the mode’s ability to create a powerful and intense sound, perfect for the heavy metal genre.

On the other hand, Kendrick Lamar’s “Humble” provides an interesting use of Phrygian in the realm of hip-hop. The piano riff that the entire song is built around features the flattened second degree of Phrygian, giving the song a more intimidating sound than if it just used a natural second from the minor scale. These two examples, while from vastly different genres, both utilize the Phrygian mode to enhance each song.

Lydian Mode: The Dreamy Fourth

The Lydian mode is often described as dreamy and ethereal. To play a Lydian scale, play your major scale but raise the fourth scale degree. This raised fourth creates a tritone interval from the root note, an interval that is uniquely dissonant. It gives the Lydian mode a floating, otherworldly quality that can evoke a sense of wonder, magic, and limitless possibilities. The Lydian mode is also prevalent in film scores, where composers like John Williams and Danny Elfman use it to create a sense of wonder and magic in their compositions. Whether you’re crafting a piece for a fantasy film or designing a dreamy soundscape for your backing tracks, the Lydian mode can assist in creating the perfect ambiance.

The Lydian mode is the brightest of all the modes, even brighter than Ionian. The Lydian mode often finds its use in genres known for their exploratory and innovative harmonies like:

Jazz Music
Progressive Rock Music
Film Music

One notable example of a film score that uses the Lydian mode is John Williams’ theme for “E.T. The Extra-Terrestrial”. The iconic melody is primarily in the Lydian mode, which adds to the sense of wonder and magic that the film embodies. In popular music, the song “Sara” by Fleetwood Mac makes use of the Lydian mode. The progression alternates between the I chord and the II chord, which is a common Lydian chord progression known as the Lydian vamp.

Mixolydian Mode: The Dominant Sound

One of the best descriptions I’ve heard of the Mixolydian Mode is that it’s like major’s rebellious little brother. To build a mixolydian scale, just play a major scale but flatten the seventh note. This unique alteration takes away major’s leading tone. The major seventh degree in the major scale really wants to direct us home, but by taking it away the Mixolydian mode doesn’t yearn to resolve as much as the major scale. There’s less clear tension and release. This gives the Mixolydian mode’s tonality a sound that is both mellow and bold. So if you’re playing in Major but it feel it sounds too happy, try the Mixolydian mode to give your music a little bit more edge.

It’s this dominant, edgy sound that has made the Mixolydian mode a favorite to create driving, powerful melodies and chord progressions in various genres like:

Rock
Blues
Jazz
Funk
Folk

AC/DC, the hard rock band known for their high-energy performances and powerful guitar riffs, frequently uses the Mixolydian mode in their music. So much so that it’s become an integral part of the band’s sound. A prime example is their hit song “Highway to Hell.” The main riff and chord progression of the song are built around the Mixolydian scale which contribute to the bluesy and rock ‘n’ roll feel of the song.

On the other hand, Coldplay’s hit song “Clocks” provides an interesting example of the Mixolydian mode used in a more mellow context. The piano riff that the entire song is built around features the flattened seventh note of the Mixolydian mode. This gives the song a slightly melancholic feel, contrasting with the otherwise upbeat rhythm and major tonality.

Aeolian Mode: The Natural Minor

The Aeolian mode, also known as the natural minor scale, is the shadowy counterpart to the bright Ionian mode. If you already know how to play the minor scale, you know the Aeolian mode. But if you don’t know, just take your major scale but flatten the third, sixth, and seventh degrees. It’s a dark melancholic sound that is perfect for evoking a sense of sorrow or longing. But despite its somber overtones, the Aeolian mode is also capable of great beauty and depth, making it a versatile tool for any composer’s toolbox.

Next to Ionian, the Aeolian mode is easily the most common of all the modes. It’s used in any genre you can imagine, but just to name a few, it’s commonly heard in:

Pop Music
Rock Music
Blues
Hip-Hop
Funk

There’s plenty of popular songs to chose from to provide as an example, but the example I’m going with is “Californication” by the Red Hot Chili Peppers. The verses of the song are in A minor, or A Aeolian, which give the song a melancholic, introspective feel, fitting the song’s lyrics that reflect on the darker side of Hollywood and the American dream.

However, when the chorus arrives, the song shifts to C Major, the relative major of A minor. We call this modal modulation, but we’ll learn more about that later. The chorus, with its major tonality, offers a glimmer of hope and optimism amid the darker themes presented in the verses. This contrast between major and minor, between hope and melancholy, is part of what makes “Californication” such a compelling song.

Songs rarely ever stay solely in the Aeolian mode, but you could totally write a song in just Aeolian. For example, “All Along The Watchtower” by Bob Dylan is solely in the Aeolian mode. When starting out, I’d recommend practicing the natural minor scale, or Aeolian mode, in isolation to get comfortable with both playing and hearing the Aeolian mode. As you progress, you can experiment more with some common techniques to make Aeolian more interesting like borrowing from harmonic minor.

Locrian Mode: The Diminished Rarity

The Locrian mode is the black sheep of the seven modes of the major scale. It’s easily the darkest of the seven modes and is characterized by its diminished tonic triad. It can be constructed by starting with a minor scale and lowering the second and fifth scale degrees.

That flattened fifth is what separates it from all the other modes as it turns Locrian’s home chord into a diminished chord. Due to its dissonant and unstable nature, the Locrian mode is often used to create tension and special effects in music, rather than serving as the foundation for melodies and harmonies. For those adventurous enough to explore it, the Locrian mode offers composers a unique tool for crafting uneasy or strained atmospheres in their music.

You’ll rarely ever hear a song in the Locrian mode. However, it can occasionally be found to create tension and complexity in genres such as:

Jazz
Metal

Perhaps the most popular example you’ll hear of a song that uses the Locrian mode is “Army of Me” by Björk. The song mostly centers around the C Locrian mode with a bassline that utilizes the flat fifth of the Locrian scale. Björk, however, avoids the flat five all together in her singing to create a melody in Locrian that isn’t too dissonant. While the vocal melody in isolation could be classified as Phrygian instead, it being layered over a C Locrian baseline makes it take on the sound of the Locrian mode. Although the chorus shifts us away from Locrian, it’s a great example of a song that uses the Locrian mode to create a hectic and unsettling atmosphere.

Improvisation With Piano Modes

To practice both improvising and hearing the modes, we’re going to need a blank canvas to color over with the different modes we’re going to play. You can start by repeatedly pedaling your tonic note with your left hand. You could also play a power chord, or even play along to a drone backing track. Whichever you decide to do, they will each serve the same purpose. You can now start to improvise with each parallel mode of whatever key you’re in with your right hand to start hearing the differences between the modes.

Whatever mode you’re trying to play in, you should try and highlight the notes that make that scale unique. Like If you’re playing in Dorian, you should try and make it a point to play that raised sixth to remind the listener that we’re in Dorian and not Aeolian.

Start alternating between these scales one after the other. For example, you can start improvising with Ionian for 8 bars, then to Dorian for another 8 bars, and so on and so forth until you play all the modes. This is an example of modal interchange, which I have another page for that goes into more detail.

Making Chord Progressions From The Seven Modes

We also want to be able to make chord progressions out of our modes. It should be pretty easy as it’s the exact same process as making a chord progression from a major or minor scale. Focus on your tonic chord and use different chords that derive from the mode you’re in. So if you want to make a song in C Dorian, emphasize the C minor chord, introduce additional chords from the C Dorian scale, and play the C Dorian scale over that to help lock into the mode of C Dorian.

But sometimes just playing the notes and chords of a mode isn’t enough to hear the mode you’re in. Like if you’re trying to play in the Dorian mode, it’s easy to fall into the trap of having it just sound like minor or Aeolian instead. To further enhance the feeling of the mode you’re in, make it a point to use the unique chords of that mode that differ from its parallel keys.

To give an example, try using the Dorian vamp we discussed earlier. The Dorian vamp consists of the minor chord built on the first scale degree (C) and the major chord built on the fourth scale degree (F). Just by playing those two chords alone, you’ll hear a sound you’re not used to in just minor and you’ll get a really strong feel of the Dorian mode. The reason being is that the minor scale features a minor fourth chord compared to Dorian’s major fourth chord.

Let’s say you instead had the progression of Cm (i) to Eb (III). It’s a progression that works in both C Aeolian and C Dorian. It can be classified as both Aeolian or Dorian depending on the context. That means if you want to give this progression a Dorian feel, you’ll have to put some extra work in to do so as it could easily be interpreted as C Aeolian instead. But by just playing the Dorian vamp, you can’t mistake it for anything other than Dorian.

I encourage you to learn more modal vamps for each of the seven modes to serve as a foundation for whatever mode you want to play in. You can always make your chord progressions for these modes more interesting with things like chord inversions, extended chords, etc. Remember, these techniques are just starting points. The key is to experiment and trust your ears to guide you towards creating interesting and unique chord progressions.

Recognizing Modal Music

As you continue your musical journey, I would encourage you to always be on the listen for modes whenever you tune into your favorite songs. Start by identifying the key of the song. Is it in a major or minor tonality? Pay attention to the melody and harmony. Does the music seem to have a distinct ‘flavor’ that you can’t quite put your finger on? That could be the influence of a mode.

Remember that each mode has a unique mood or character. The more you listen to and practice your modes, the more you’ll start to recognize these modes unique qualities. So, the next time you’re listening to your favorite playlist, be on the listen for modes. It’s a fun and rewarding way to deepen your understanding and appreciation of music.

Just as a seasoned traveler can recognize the landmarks of a familiar city, a musician can learn to recognize the characteristics of modal music. From the driving energy of a Mixolydian rock anthem to the dreamy landscapes of a Lydian film score, recognizing modal music is all about tuning into the distinctive ‘flavor’ of each mode. With practice, you’ll start to recognize these modes in the music you listen to, deepening your appreciation and understanding of different musical styles.

Modes By Brightness

Imagine walking into two rooms, one that’s colored a super bright red and another that’s more of a dark maroon red. Both rooms will give you a different atmosphere and that’s due to the brightness of each shade. Modes are the same way in the sense that each mode is just different shades or brightness of the major scale.

A lot of people think of modes in terms of brightness since it provides you an easy frame of reference for deciding what mode you should play. Like if you’re making a song in the Ionian mode but feel it’s just too happy, you can try using the mixolydian mode instead which is considered to be not as bright. The major modes are on the brighter side while the minor modes on the darker side. Locrian is easily the darkest of them all due to it’s dissonant nature.

Thinking of modes in terms of brightness is just meant to serve as a general guideline. It’s not a concrete rule saying a bright mode like the Ionian can only ever sound bright and happy. Of course you can write sad or dark song in major. It just depends on how you use it. It’s just that the Ionian mode typically lends itself more to brighter sounds.

The rest of the modes are the same, and by challenging what each mode sounds like you will only get you more interesting and unique results. For example, check out these videos from Adam Neely where he challenges different musicians to make the Phrygian scale sound happy. It’s a fun watch and hopefully it motivates you to experiment more with each mode.

Exploring Modes Beyond The Major Scale

As a painter doesn’t restrict themselves to primary colors, a musician shouldn’t confine themselves to the major scale. Investigating modes beyond the major scale uncovers a wealth of harmonic possibilities.

Beyond the seven diatonic modes stemming from the major scale, other scales and modes possess unique traits and musical uses. These include harmonic and melodic minor scales, the blues scale, and exotic scales such as the Hungarian minor. By exploring these parent scales and their modes, you can expand your musical palette and create captivating compositions and performances.

Closing Thoughts

We’ve journeyed through the world of piano modes, exploring their characteristics, and their applications in music. We’ve learned that modes are more than just scales; they’re a way of understanding and categorizing diverse musical sounds. Whether you’re a pianist looking to enhance your improvisation skills, a composer seeking fresh harmonic ideas, or a music lover wanting to deepen your understanding of music theory, incorporating modes into your musical repertoire can open up a whole new world of possibilities. So why not sit down at your piano and start exploring the world of modes? You might be surprised at the beautiful harmonies that await.

Piano Modes: A Comprehensive Guide of the 7 Modes of the major scale