The previous chapter showed how to write songs in the minor mode. This chapter generalizes the ideas in that chapter to the other “modes” of the major scale. Below is a summary of the key concepts that were covered.
Each mode can be thought of as being built from a new scale, distinct from the major scale. However, it’s important to understand that each mode is also just a shifted version of the major scale, beginning on a different scale degree.
There are seven notes in the major scale and thus seven possible modes based on shifted versions of the major scale with a different starting note. The dorian scale begins on scale degree 2 of the major scale; the phrygian scale starts on scale degree 3 of the major scale, etc. This means, for example, that C major, D dorian, and E phrygian all use the white keys of the piano. Below, these scales are shown on the piano with their scale degrees labeled.
C major scale
D dorian scale
E phrygian scale
Each mode has a different set of basic chords and scale degree relationships that are built from its scale. This, in turn, gives each mode a different sound/feel. Click below to see a summary of the scale and basic chords of each mode.
Scale Of Each Mode
C major scale
C dorian scale
C phrygian scale
C lydian scale
C mixolydian scale
C minor scale
C locrian scale
Basic Chords Of Each Mode
Basic chords in C major
Basic chords in C dorian
Basic chords in C phrygian
Basic chords in C lydian
Basic chords in C mixolydian
Basic chords in C minor
Basic chords in C locrian
The dorian mode is similar to the minor mode because the scales differ by only one note. Four of the chords built from the dorian scale are the same as the chords built from the minor scale: i, III, v, and VII. To emphasize that you are in the dorian mode and not the minor mode, use chords that are different in the two modes. For example, the IV from the dorian mode (the minor mode has a iv) is often used to set the dorian feel.
The mixolydian mode is similar to the major mode because the scales also differ by only one note. Four of the chords built from the mixolydian scale are the same as the chords built from the major scale: I, ii, IV, and vi. v and VII from the mixolydian mode (the major mode has a V and a vii°) are often used to set the mixolydian feel.
Most songs are not fully in one mode or another. It’s much more common for a song to be in the major or minor mode and “borrow” a few chords from a different mode to invoke its feel. This is called modal mixture.
Often borrowed chords are used to add color/variety to a song. Other times there is a specific function associated with the borrowed chord. Borrowing minor iv chords from the minor mode while in the major mode is a great way to cadence. Cadencing to a major I chord while in the minor mode is a good way to brighten up a minor song. In minor it is very common to borrow the V from the major mode in order to achieve a stronger cadence.
Check for Understanding
What two modes are most similar to the major mode and how do they differ from it in terms of scale degrees?
What two modes are most similar to the minor mode and how do they differ from it in terms of scale degrees?
Check for Understanding
Use the following chord charts in the major, mixolydian, dorian, and minor modes to answer the following questions.
Major chords
Mixolydian chords
Dorian chords
Minor chords
Which chord in the mixolydian mode corresponds to the vi chord in the major mode?
In the mixolydian, dorian, and minor modes, the "five" chord has a minor quality (v). For each of these iv chords, name the corresponding major mode chord.
Name which of the basic seventh chords has a dominant seventh quality in the major, mixolydian, dorian, and minor modes.
Check for Understanding
The following excerpt from the verse of “The Only Exception” by Paramore is written in the mixolydian mode.
“The Only Exception” by Paramore
Part 1 of 4 What is the inversion of the “three” chords in the third and seventh measures?
Part 2 of 4 What is the quality of these chords?
Part 3 of 4 The chord progression from “The Only Exception” bears similarity to the progression used in “It’s My Life” by No Doubt, shown below, where the iiiø⁶₅ is exchanged for another chord with scale degree 5 in the bass: v⁷.
“It’s My Life” by No Doubt
On the surface, it might seem strange that v⁷, a minor seventh chord, would be a suitable substitute for iiiø⁶₅, a half diminished seventh chord in first inversion. Explain why these chords are more similar than they might seem.
Part 4 of 4 Another difference between these two progressions is that No Doubt resolves the v⁷ with a IV, whereas Paramore resolves the iiiø⁶₅ with a IV⁷. In the latter case, why do you think that a IV⁷ might be a better choice than a basic IV?
Check for Understanding
Look at the chorus of “Almost Is Never Enough” by Ariana Grande below.
“Almost Is Never Enough” by Ariana Grande
For each borrowed chord, identify which scale degree is introduced that is outside of the major scale.
