Modes

Tony R. A Spectrum of Modes

Kuphaldt

Modes

Why Theory?
#
Purpose
1 2 3 4 5 6 7 Lydian
Assumptions

Major and "Brighter" 1 2 3 4 5 6 7 Ionian (Major)

Minor Keys
b
Relative and 1 2 3 4 5 6 7 Mixolydian
Parallel Keys

A Problem b b
1 2 3 4 5 6 7 Dorian
More
Possibilities!
b b
Relative 1 2 3 4 5 6 b7 Aeolian (Minor)
Modes

Parallel Modes
"Darker" 1 2 b3 4
b
5 6 b7 Phrygian
b
Modes on the
Circle b
Practice Ideas
1 2 b3 4 5 b6 b7 Locrian
b

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt

Modes

Why Theory? Why Study Music Theory?

Purpose

Assumptions
Many extremely proficient musicians play quite well with little
Major and
or no knowledge of music theory, so why study it?
Minor Keys

Relative and The answer is very practical and very simple: music theory
Parallel Keys

A Problem
gives you “shortcuts” to finding tones that sound good
More
together, so you don’t have to learn by trial and error.
Possibilities!

Relative This tutorial will teach you some foundational concepts of

Modes
music theory, including intervals, scales, and keys.
Parallel Modes

Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt The Purpose of This Tutorial
Modes This tutorial will teach you what modes are and how to play
Why Theory?
them. Mastering these concepts will enable you to:
Purpose

Assumptions • Switch between different modes within a given key

Major and signature
Minor Keys

Relative and
• Switch between different modes for a given tonic
Parallel Keys
• Alter the “feeling” of a tune by modifying its mode
A Problem

More
• Determine the mode of a tune by its key signature and
Possibilities! tonic
Relative
Modes

Parallel Modes You will maximize your learning by experimenting with all these
Modes on the concepts on your instrument(s) while you read the tutorial.
Circle

Practice Ideas
Any text set in italicized red denotes an exercise recommended
SUMMARY
for immediate application or a question for you to answer.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt

Modes
Starting Assumptions
Why Theory?

Purpose This tutorial assumes prior knowledge of certain music theory

Assumptions topics, including intervals, scales, and keys. In particular, you
Major and
Minor Keys
should be familiar with major keys and major scales: how to
Relative and play them on your instrument and how to easily identify their
Parallel Keys
constituent tones. A brief refresher on these topics is included
A Problem
in this section.
More
Possibilities!

Relative
This tutorial also assumes a context of Western music,
Modes
particularly the common genres of folk and classical. In other
Parallel Modes
words, nothing too crazy . . .
Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Intervals
Modes

Why Theory?
A musical interval is the difference1 in pitch between two
Purpose
tones. The basic unit of measurement for intervals is the step.
Assumptions

Major and
Minor Keys
One half-step is the difference in pitch between two successive
Relative and
frets on a guitar, or between two immediately adjacent keys on
Parallel Keys
a piano. When we modify a natural tone to make it either
A Problem
“sharp” or “flat” we are applying a half-step interval.
More
Possibilities!

Relative
One whole-step is equal to two half-steps: a distance of two
Modes frets on a guitar, or two keys on a piano with one key in
Parallel Modes between.
Modes on the
Circle
Whole- and half-steps are alternatively referred to as
Practice Ideas

SUMMARY
whole-tone and semi-tone intervals.
Glossary

Copyright 1
Mathematically, an interval is a ratio of pitch frequencies.
 Modes

Tony R.
Kuphaldt Half- and Whole-Step Examples
Modes

Why Theory?

Purpose Whole
Piano step
Whole
Assumptions
keyboard step

Major and Guitar fretboard

Minor Keys

Relative and
Parallel Keys

A Problem
Half Half Whole
More Half Half Whole
step step step
Possibilities! step step step

Relative
Modes

Parallel Modes
Try playing half-step and whole-step intervals on your
Modes on the
instrument to explore what they sound like!
Circle

Practice Ideas How many steps are in one octave (i.e. the point at which the
SUMMARY tone-letters repeat)? Prove it by playing a one-octave interval
Glossary on your instrument!
Copyright
 Modes

Tony R.
Kuphaldt Scales
Modes

Why Theory?

Purpose

Assumptions A scale is a particular sequence of tones played in either

Major and
Minor Keys
ascending or descending order of pitch. Any such sequence is
Relative and
fair to call a “scale,” but some scales are more common than
Parallel Keys others.
A Problem

More Examples of common scale types include major and minor.

Possibilities!

Relative
Modes The pattern of intervals between scale-tones defines the quality
Parallel Modes (major, minor) of that scale. Every major scale, for example,
Modes on the exhibits the exact same interval pattern between its tones.
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Major Scales
Modes

Why Theory? Major scales follow the interval2 sequence W-W-H-W-W-W-H.

Purpose C major and F-sharp major are shown as examples:
Assumptions

Major and C major scale:

Minor Keys

Relative and C D E F G A B C
Parallel Keys

A Problem
Whole Whole Half Whole Whole Whole Half
More step step step step step step step
Possibilities!

Relative
Modes F# major scale:
Parallel Modes

Modes on the
F# G# A# B C# D# E# F#
Circle

Practice Ideas Whole Whole Half Whole Whole Whole Half

step step step step step step step
SUMMARY

Glossary

Copyright 2
W = Whole step ; H = Half step
 Modes

Tony R.
Kuphaldt Minor Scales
Modes
Natural minor scales follow the interval3 sequence
Why Theory?
W-H-W-W-H-W-W. Again, C and F-sharp are shown as scale
Purpose
examples:
Assumptions

Major and
Minor Keys C natural minor scale:
Relative and
Parallel Keys C D Eb F G Ab Bb C
A Problem

More Whole Half Whole Whole Half Whole Whole

step step step step step step step
Possibilities!

Relative
Modes

Parallel Modes
F# natural minor scale:
Modes on the F# G# A B C# D E F#
Circle

Practice Ideas
Whole Half Whole Whole Half Whole Whole
SUMMARY step step step step step step step

Glossary

Copyright 3
W = Whole step ; H = Half step
 Modes

Tony R.
Kuphaldt Scale Degrees
Modes

Why Theory?
A common way to describe tones within a scale is by their
Purpose
numerical order in the sequence. The beginning tone of any
Assumptions
scale is called the tonic and is numbered as degree 1.
Major and Successive ascending tones are numbered accordingly.
Minor Keys

Relative and For example, the scale of C major (C-D-E-F-G-A-B-C) would

Parallel Keys

A Problem
have its tones labeled 1-2-3-4-5-6-7-8 respectively. Notice that
More
the last tone in this scale (C) is the eighth degree, which is why
Possibilities! it is called the octave.
Relative
Modes
Since we know that intervals really define the tonal
Parallel Modes

Modes on the
characteristic of any musical piece, we may describe a melody
Circle by its degree number rather than by tone letters. For example,
Practice Ideas the opening tones of “Mary Had A Little Lamb” could be
SUMMARY
described as 3-2-1-2-3-3-3 regardless of the starting tone (e.g.
Glossary
E-D-C-D-E-E-E, B-A-G-A-B-B-B, etc.):
Copyright
 Modes

Tony R.
Kuphaldt Tension and Resolution
Modes

Why Theory?
Two important concepts in music are tension and resolution.
Purpose
These are subjective terms, referring to sensations experienced
Assumptions

Major and
by the listener when hearing different intervals within a scale or
Minor Keys tune.
Relative and
Parallel Keys
Resolution may be easily illustrated by playing a major scale.
A Problem
For example, try playing the D major scale shown here:
More
Possibilities!

Relative D-E-F# -G-A-B-C# -D

Modes

Parallel Modes That sense of completion or satisfaction upon returning to the

Modes on the
Circle
octave D tone is the musical phenomenon of the scale resolving
Practice Ideas
to its tonic. The scale begins on D, then increases pitch in
SUMMARY whole- and half-steps, and finally “returns home” to D.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt Tension and Resolution
Modes

Why Theory?

Purpose Tension may be illustrated just as easily by playing a partial

Assumptions scale. Try playing the D major scale again, but this time stop
Major and
Minor Keys
short of playing the entirety. Some examples are shown here:
Relative and
Parallel Keys D-E-F# -G-A-B-C# . . .
A Problem

More
D-E-F# -G-A-B . . .
Possibilities!

Relative That sense of incompleteness or irresolution created by the

Modes

Parallel Modes
partial scale is the musical phenomenon of tension.
Modes on the
Circle In playing partial D major scales, which ending degrees of the
Practice Ideas scale result in the greatest tension?
SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Tension and Resolution
Modes
Tension and resolution make tunes interesting, much like
Why Theory?

Purpose
storytelling: tension in a story builds to a climax, after which
Assumptions
there is resolution.
Major and
Minor Keys Not all melodies end in perfect resolution, although many do.
Relative and A compositional technique used in many folk tunes is to end
Parallel Keys

A Problem
the tune on a non-resolving note (i.e. end with a feeling of
More
tension) but begin again either on the resolving tone or on one
Possibilities! with less tension than the last. This makes everyone want to
Relative
Modes
repeat the tune in order to make it seem “complete”.
Parallel Modes

Modes on the
An example of this is the traditional Irish slip jig Drops Of
Circle Brandy which ends on an E note although the tune is clearly
Practice Ideas centered around D. Another example is the traditional Irish reel
SUMMARY The Wind That Shakes The Barley which is also centered
Glossary
around D but ends on a B note.
Copyright
 Modes

Tony R.
Kuphaldt
Major and Minor Keys
Modes

Why Theory? A key is a collection of tones covering all seven letter-names

Purpose with one tone (called the tonic) providing a focal point for any
Assumptions tune composed in that key.
Major and
Minor Keys
The overall “feel” of a key is determined by the intervals
Relative and
Parallel Keys between its tones. Two common types of keys used in Western
A Problem music are the major and minor keys. As we will see, these two
More types of keys are really just two out of seven possible modes,
Possibilities!

Relative
each one having a different “quality” or “mood”.
Modes

Parallel Modes We will explore keys and modes primarily through scales, which
Modes on the are sequences of key-tones arranged in simple ascending or
Circle
descending pitch.
Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Major Keys
Modes Major keys are defined by the interval sequence
Why Theory?
W-W-H-W-W-W-H as shown in the following scale examples:
Purpose

Assumptions Bb major scale:

Major and
Minor Keys
Bb C D Eb F G A Bb
Relative and
Parallel Keys Whole Whole Half Whole Whole Whole Half
step step step step step step step
A Problem

More
Possibilities! C major scale:
Relative C D E F G A B C
Modes

Parallel Modes Whole Whole Half Whole Whole Whole Half

step step step step step step step
Modes on the
Circle
A major scale:
Practice Ideas

SUMMARY
A B C# D E F# G# A
Glossary Whole Whole Half Whole Whole Whole Half
step step step step step step step
Copyright
 Modes

Tony R.
Kuphaldt Major Keys
Modes

Why Theory?

Purpose
Any key is “major” if its tones adhere to the
Assumptions
W-W-H-W-W-W-H interval sequence. When played as a scale,
Major and
Minor Keys the tonic of the key will be the first and last tones.
Relative and
Parallel Keys Try playing some major scales right now! Pay attention to the
A Problem
common “mood” of each scale: regardless of the chosen tonic,
More
Possibilities! every major scale seems to instill the same subjective sensation
Relative and is immediately recognizable as a “major” scale because of
Modes
this.
Parallel Modes

Modes on the
Circle
Major scales are conventionally associated in Western culture
Practice Ideas with “happy” feelings.
SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Minor Keys
Modes Minor keys are defined by the interval sequence
Why Theory?
W-H-W-W-H-W-W as shown in the following scale examples:
Purpose

Assumptions Bb minor scale:

Major and
Minor Keys
Bb C Db Eb F Gb Ab Bb
Relative and
Parallel Keys Whole Half Whole Whole Half Whole Whole
step step step step step step step
A Problem

More
Possibilities! C minor scale:
Relative C D Eb F G Ab Bb C
Modes

Parallel Modes Whole Half Whole Whole Half Whole Whole

step step step step step step step
Modes on the
Circle
A minor scale:
Practice Ideas

SUMMARY
A B C D E F G A
Glossary Whole Half Whole Whole Half Whole Whole
step step step step step step step
Copyright
 Modes

Tony R.
Kuphaldt Minor Keys
Modes

Why Theory? Any key is “minor” if its tones adhere to the

Purpose W-H-W-W-H-W-W interval sequence. When played as a scale,
Assumptions
the tonic of the minor key will be the first and last tones.
Major and
Minor Keys
Try playing some minor scales right now! Pay attention to the
Relative and
Parallel Keys common “mood” of each scale: regardless of the chosen tonic,
A Problem every minor scale seems to instill the same subjective sensation
More
Possibilities!
and is immediately recognizable as a “minor” scale because of
Relative
this.
Modes

Parallel Modes Minor scales are conventionally associated in Western culture

Modes on the
Circle
with “sad” feelings. Note that there exist multiple types of
Practice Ideas
minor scales (e.g. natural minor, harmonic minor, melodic
SUMMARY
minor), but in this tutorial the term “minor” is assumed to
Glossary mean this natural minor scale.
Copyright
 Modes

Tony R.
Kuphaldt Relative and Parallel Keys
Modes Sometimes a major key and a minor key share common
Why Theory?
features. When they do, we refer to those major-minor key
Purpose
pairs as either “relative” or “parallel” keys.
Assumptions

Major and
Minor Keys
Relative keys share the exact same tones, but have different
Relative and
tonics. An example of relative keys are C major and A minor:
Parallel Keys they both share the same set of tones but have different tonics.
A Problem
The C major scale is C-D-E-F-G-A-B-C and the A minor scale
More
Possibilities! is A-B-C-D-E-F-G-A.
Relative
Modes Parallel keys share the exact same tonic, but have some
Parallel Modes different tones. An example of relative keys are A major and A
Modes on the
Circle
minor: the both share the same tonic, but differ in some of
Practice Ideas their other tones. The A major scale is A-B-C# -D-E-F# -G# -A
SUMMARY and the A minor scale is A-B-C-D-E-F-G-A.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt Relative Key Examples
Modes

Why Theory? The keys of C major and A minor are relative because they
Purpose share all the same tones but have different tonics:
Assumptions

Major and
Minor Keys C# D# F# G# A# C# D# F# G# A#
Db Eb Gb Ab Bb Db Eb Gb Ab Bb
Relative and
Parallel Keys

A Problem

More A minor = A-B-C-D-E-F-G-A . . .

Possibilities! C major = C-D-E-F-G-A-B-C . . .
C D E F G A B C D E F G A B
Relative
Modes

Parallel Modes Both C major and A minor consist of all the “white-key” piano
Modes on the
Circle
tones, but C major resolves to C while A minor resolves to A.
Practice Ideas
Try playing both of these scales to hear the difference between
SUMMARY

Glossary
these two relative keys!
Copyright
 Modes

Tony R.
Kuphaldt Relative Key Examples
Modes

Why Theory? The keys of G major and E minor are relative because they
Purpose share all the same tones but have different tonics:
Assumptions

Major and
Minor Keys C# D# F# G# A# C# D# F# G# A#
Db Eb Gb Ab Bb Db Eb Gb Ab Bb
Relative and
Parallel Keys

A Problem

More E minor = E-F#-G-A-B-C-D-E . . .

Possibilities! G major = G-A-B-C-D-E-F#-G . . .
C D E F G A B C D E F G A B
Relative
Modes

Parallel Modes Both keys consist of the exact same tones, but G major
Modes on the
Circle
resolves to G while E minor resolves to E.
Practice Ideas
Try playing both of these scales to hear the difference between
SUMMARY
these two relative keys!
Glossary

Copyright
 Modes

Tony R.
Kuphaldt Parallel Key Examples
Modes

Why Theory?

Purpose
The keys of G major and G minor are parallel because they
Assumptions
share the same tonic but not all the same tones:
Major and
Minor Keys
C# D# F# G# A# C# D# F# G# A#
Relative and Db Eb Gb Ab Bb Db Eb Gb Ab Bb
Parallel Keys

A Problem

More
Possibilities!
G minor = G-A-Bb-C-D-Eb-F-G . . .
G major = G-A-B-C-D-E-F#-G . . .
Relative C D E F G A B C D E F G A B
Modes

Parallel Modes
Both keys resolve to G, but differ in three of their tones.
Modes on the
Circle

Practice Ideas Try playing both of these scales to hear the difference between
SUMMARY these two relative keys!
Glossary

Copyright
 Modes

Tony R.
Kuphaldt Parallel Key Examples
Modes

Why Theory?

Purpose
The keys of A major and A minor are parallel because they
Assumptions
share the same tonic but not all the same tones:
Major and
Minor Keys
C# D# F# G# A# C# D# F# G# A#
Relative and Db Eb Gb Ab Bb Db Eb Gb Ab Bb
Parallel Keys

A Problem

More
Possibilities!
A minor = A-B-C-D-E-F-G-A . . .
A major = A-B-C#-D-E-F#-G#-A . . .
Relative C D E F G A B C D E F G A B

Modes

Parallel Modes
Both keys resolve to A, but differ in three of their tones.
Modes on the
Circle

Practice Ideas Try playing both of these scales to hear the difference between
SUMMARY these two relative keys!
Glossary

Copyright
 Modes

Tony R. A Problem . . .
Kuphaldt

Modes
Many modern instruments are chromatic, which means they are
Why Theory? capable of producing all twelve tones in the Western music
Purpose system. A fair number of folk instruments, however, are called
Assumptions diatonic because they only play one tone per letter (i.e. seven
Major and tones per octave). In other words, diatonic instruments are
Minor Keys
“missing” some of the tones available on chromatic
Relative and
Parallel Keys instruments.
A Problem

More Examples of diatonic instruments include African marimbas,

Possibilities!
Irish whistles, most harmonicas, most dulcimers (both lap and
Relative
Modes hammered types), and some accordions.
Parallel Modes

Modes on the This limitation means some musical keys are just not playable
Circle
on diatonic instruments. The advantage of diatonic
Practice Ideas
instruments, of course, is that they are easier to learn because
SUMMARY
there are fewer tones to master.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt G Major Diatonic Harmonica
Modes

Why Theory?

Purpose
Take a “G major” harmonica, for example. Whether blowing or
Assumptions
drawing air through each hole, the only playable4 tones are
Major and those belonging to the key of G major:
Minor Keys

Relative and
Parallel Keys
(Blow) G B D G B D G B D G
A Problem

More
Possibilities!

Relative
Modes
(Draw) A D F# A C E F# A C E
Parallel Modes

Modes on the
Identify which holes you would have to blow and draw through
Circle
to play a G major scale!
Practice Ideas

SUMMARY

Glossary 4
We will ignore the “bending” of certain notes possible with
Copyright harmonicas.
 Modes

Tony R.
Kuphaldt How To Make a Harmonica Minor?
Modes

Why Theory?
A “G major” harmonica is perfectly capable of playing tunes
Purpose
written in the key of G major. But what if you want to play a
Assumptions
minor key on that same harmonica? Certainly G minor is
Major and
Minor Keys impossible because three of the tones are different from G
Relative and major and therefore unavailable on that instrument.
Parallel Keys

A Problem

More C# D# F# G# A# C# D# F# G# A#
Possibilities! Db Eb Gb Ab Bb Db Eb Gb Ab Bb

Relative
Modes

Parallel Modes G minor = G-A-Bb-C-D-Eb-F-G . . .

Modes on the G major = G-A-B-C-D-E-F#-G . . .
C D E F G A B C D E F G A B
Circle

Practice Ideas

SUMMARY A “G major” diatonic harmonica lacks Bb , Eb , and F tones!

Glossary

Copyright
 Modes

Tony R.
Kuphaldt G Major Diatonic Harmonica
Modes

Why Theory?

Purpose
However, every major key has a relative minor using the same
Assumptions
tones, just with a different tonic. In the case of G major, the
Major and
Minor Keys relative minor key is E minor (E-F# -G-A-B-C-D-E).
Relative and
Parallel Keys
(Blow) G B D G B D G B D G
A Problem

More
Possibilities!

Relative
Modes
(Draw) A D F# A C E F# A C E
Parallel Modes

Modes on the
Circle Identify which holes you would have to blow and draw through
Practice Ideas to play an E minor scale!
SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt G Major / E Minor Compared
Modes

Why Theory?

Purpose
Examine the relative keys of G major and E minor, written as
Assumptions
scales to the right of the piano:
Major and
Minor Keys

Relative and
Parallel Keys C# D# F# G# A# C# D# F# G# A#
Db Eb Gb Ab Bb Db Eb Gb Ab Bb
A Problem

More
Possibilities!
E minor = E-F#-G-A-B-C-D-E . . .
Relative
Modes
G major = G-A-B-C-D-E-F#-G . . .
C D E F G A B C D E F G A B

Parallel Modes

Modes on the
Circle
Can you determine how to pick the new tonic to turn G major
Practice Ideas into a minor key? i.e. Where is E in relation to G in this key?
SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Shifting The Tonic
Modes
The secret to converting a major key into its relative minor key
Why Theory?
is to shift the tonic two degrees back. Instead of starting on G,
Purpose
you start on the 6th degree (two degrees to the left) which
Assumptions
places the new tonic at E and creates a minor key from the
Major and
Minor Keys tones of a major key:
Relative and
Parallel Keys
E minor
A Problem tonic
More
Possibilities!
E minor scale
Relative #
Modes C D E F G A B C D E F# G A B
Parallel Modes

Modes on the
Circle
C D E F# G A B C D E F# G A B
G major scale
Practice Ideas

SUMMARY
G major
Glossary tonic
Copyright
 Modes

Tony R.
Kuphaldt Shifting The Tonic
Modes This “trick” of shifting the tonic two degrees back works to
Why Theory?
convert any major key into its relative minor. Consider these
Purpose
examples:
Assumptions

Major and
A minor scale
Minor Keys
F G A B C D E F G A B C D E
Relative and
Shift!
Parallel Keys
F G A B C D E F G A B C D E
A Problem C major scale

More
Possibilities! B minor scale

Relative G A B C# D E F# G A B C# D E F#
Modes Shift!
G A B C# D E F# G A B C# D E F#
Parallel Modes D major scale

Modes on the
Circle
F# minor scale
Practice Ideas D E F# G# A B C# D E F# G# A B C#
SUMMARY Shift!
D E F# G# A B C# D E F# G# A B C#
Glossary A major scale

Copyright
 Modes

Tony R.
Kuphaldt Folk Music
Modes

Why Theory?

Purpose
The simplicity of creating a minor key using an instrument
Assumptions
designed to play a major key – by shifting the tonic – explains
Major and why certain major and minor keys are so common in folk music
Minor Keys
genres. These are the only major and minor keys playable on
Relative and
Parallel Keys certain folk instruments!
A Problem

More
This same simplicity helps musicians playing chromatic folk
Possibilities! instruments as well (e.g. fiddle): if you are accustomed to
Relative
Modes
playing a limited set of major keys, the relative minors of those
Parallel Modes keys will use the exact same finger positions! For example, the
Modes on the relative keys of A major and F# minor use the same tones, and
Circle
so tunes set in F# minor will be easy to play for any musician
Practice Ideas
accustomed to playing tunes in A major.
SUMMARY

Glossary

Copyright
 Modes
There’s More Than Just Major and Minor!
Tony R.
Kuphaldt
If we can alter the “mood” of a key from major to minor just
Modes
by shifting the tonic two degrees down and retaining all of the
Why Theory?
original key’s tones, what other possibilities exist? If there are
Purpose
seven tones in a diatonic scale, then there ought to be seven
Assumptions

Major and
different tonic-shifts possible, each one having its own unique
Minor Keys mood or “feel”!
Relative and
Parallel Keys
For example, if we take the tones in a G major scale
A Problem
(G-A-B-C-D-E-F# -G) and make new scales by shifting the
More
Possibilities! tonic, we should have seven scales in total: the major scale
Relative starting on G, a different scale starting on A, another scale
Modes

Parallel Modes
starting on B, etc. The term used to describe each of these
Modes on the
variants is mode.
Circle

Practice Ideas In the modern Western system of music, each mode is given a
SUMMARY Greek name. The conventional “major” mode is called Ionian
Glossary while the natural “minor” mode is called Aeolian.
Copyright
 Modes

Tony R.
Kuphaldt The Modes of G
Modes
Here are the seven modes made from the tones of G major
Why Theory?

Purpose
spanning two octaves:
Assumptions
G A B C D E F# G A B C D E F# G G Ionian (G Major)
Major and
Minor Keys G A B C D #
E F G A B C D #
E F G A Dorian
Relative and # #
Parallel Keys G A B C D E F G A B C D E F G B Phrygian
# #
A Problem G A B C D E F G A B C D E F G C Lydian
More G A B C D E F# G A B C D E F# G D Mixolydian
Possibilities!

Relative G A B C D E F# G A B C D E F# G E Aeolian (E Minor)

Modes
G A B C D #
E F G A B C D #
E F G F# Locrian
Parallel Modes

Modes on the
Circle Try playing each of these modes to experience the unique
Practice Ideas quality or “feel” imparted by them! Which of them seems most
SUMMARY commonplace? Which of them seems most exotic? Which of
Glossary them most cheerful? Which of them most melancholy?
Copyright
 Modes

Tony R.
Kuphaldt G Major Harmonica
Modes

Why Theory?
Returning to our diatonic harmonica example, the existence of
Purpose
seven modes means this instrument is not limited to playing
Assumptions
only tunes in G major!
Major and
Minor Keys

Relative and (Blow) G B D G B D G B D G

Parallel Keys

A Problem

More
Possibilities!

Relative (Draw) A D F# A C E F# A C E
Modes

Parallel Modes
Our G major harmonica is actually capable of playing six other
Modes on the
Circle modes, and therefore seven different qualities or “feels” of
Practice Ideas melodies in total. The limitation is in the tonic: only one tonic
SUMMARY per mode is possible with a diatonic instrument.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt G Major Harmonica
Modes

Why Theory?

Purpose (Blow) G B D G B D G B D G
Assumptions

Major and
Minor Keys

Relative and
Parallel Keys (Draw) A D F# A C E F# A C E
A Problem

More
Possibilities!
Identify which holes you would have to blow and draw through
Relative
to play an A dorian scale!
Modes

Parallel Modes Identify which holes you would have to blow and draw through
Modes on the to play a D mixolydian scale!
Circle

Practice Ideas
Identify which holes you would have to blow and draw through
SUMMARY
to play an F# locrian scale!
Glossary

Copyright
 Modes

Tony R.
Kuphaldt “Modal” Music?
Modes

Why Theory?

Purpose

Assumptions Sometimes you will hear musicians refer to some tunes as being
Major and “modal,” by which they mean tunes that are neither in the
Minor Keys

Relative and
standard major key (Ionian mode) nor the natural minor key
Parallel Keys (Aeolian mode).
A Problem

More In reality, though, major and minor are just two out of seven
Possibilities!
possible modes! This means that all Western music may be
Relative
Modes properly considered “modal”. It’s just that the Ionian and
Parallel Modes Aeolian modes happen to be more common in modern Western
Modes on the
Circle
music than the other five modes.
Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Commonly Used Modes
Modes

Why Theory?

Purpose

Assumptions
The existence of seven modes for every diatonic tone-set may
Major and
Minor Keys seem daunting, especially if you are in the process of
Relative and committing all the major keys to memory. However, there is
Parallel Keys

A Problem
good news for you here: the most common of the seven modes
More
are Ionian (Major), Aeolian (Minor), Mixolydian, and Dorian.
Possibilities!

Relative Unless you’re playing jazz, though, you are unlikely to

Modes
encounter any of the other three modes (Lydian, Phrygian, or
Parallel Modes

Modes on the
Locrian).
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R. Relative Modes

Kuphaldt

Modes
To find any mode of any major key, the pattern is the same:
Why Theory?
shift the tonic to a specific degree. As we previously saw with
Purpose the key of G major, we could find its relative minor key by
Assumptions shifting the tonic to the 6th degree tone (E). As it so happens,
Major and shifting to the 2nd degree tone yields the Dorian mode, and
Minor Keys
shifting to the 5th degree tone yields the Mixolydian mode.
Relative and
Parallel Keys

A Problem First, list all the tones of the major scale, in order from 1st to
More 7th and then returning to the tonic one octave up (8th). Then
Possibilities!
find the 2nd degree for the tonic of the dorian mode, the 5th
Relative
Modes degree for the tonic of the mixolydian mode, and the 6th
Parallel Modes degree for the tonic of the aeolian (minor) mode.
Modes on the
Circle
The concept of relative modes is useful for players of diatonic
Practice Ideas
instruments, to know which modes are available to them to
SUMMARY
play.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt Practice: some modes of C major
Modes

Why Theory?

Purpose

Assumptions Here are the tones comprising the key of C major:

Major and
Minor Keys
C-D-E-F-G-A-B-C
Relative and
Parallel Keys

A Problem Identify the dorian mode relative to C major!

More
Possibilities!

Relative Identify the mixolydian mode relative to C major!

Modes

Parallel Modes

Modes on the Identify the minor mode relative to C major!

Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Answers: some modes of C major
Modes

Why Theory?

Purpose

Assumptions

Major and
Minor Keys D Dorian = D-E-F-G-A-B-C-D
Relative and
Parallel Keys

A Problem
G Mixolydian = G-A-B-C-D-E-F-G
More
Possibilities!

Relative
Modes A Minor = A-B-C-D-E-F-G-A
Parallel Modes

Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Practice: some modes of G major
Modes

Why Theory?

Purpose

Assumptions Here are the tones comprising the key of G major:

Major and
Minor Keys
G-A-B-C-D-E-F# -G
Relative and
Parallel Keys

A Problem Identify the mixolydian mode relative to G major!

More
Possibilities!

Relative Identify the dorian mode relative to G major!

Modes

Parallel Modes

Modes on the Identify the minor mode relative to G major!

Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Answers: some modes of G major
Modes

Why Theory?

Purpose

Assumptions

Major and
Minor Keys D Mixolydian = D-E-F# -G-A-B-C-D
Relative and
Parallel Keys

A Problem
A Dorian = A-B-C-D-E-F# -G-A
More
Possibilities!

Relative
Modes E Minor = E-F# -G-A-B-C-D-E
Parallel Modes

Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Practice: some modes of D major
Modes

Why Theory?

Purpose

Assumptions Here are the tones comprising the key of D major:

Major and
Minor Keys
D-E-F# -G-A-B-C# -D
Relative and
Parallel Keys

A Problem Identify the minor mode relative to D major!

More
Possibilities!

Relative Identify the mixolydian mode relative to D major!

Modes

Parallel Modes

Modes on the Identify the dorian mode relative to D major!

Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Answers: some modes of D major
Modes

Why Theory?

Purpose

Assumptions

Major and
Minor Keys B Minor = B-C# -D-E-F# -G-A-B
Relative and
Parallel Keys

A Problem
A Mixolydian = A-B-C# -D-E-F# -G-A
More
Possibilities!

Relative
Modes E Dorian = E-F# -G-A-B-C# -D-E
Parallel Modes

Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Practice: some modes of A major
Modes

Why Theory?

Purpose

Assumptions Here are the tones comprising the key of A major:

Major and
Minor Keys
A-B-C# -D-E-F# -G# -A
Relative and
Parallel Keys

A Problem Identify the mixolydian mode relative to A major!

More
Possibilities!

Relative Identify the minor mode relative to A major!

Modes

Parallel Modes

Modes on the Identify the dorian mode relative to A major!

Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Answers: some modes of A major
Modes

Why Theory?

Purpose

Assumptions

Major and
Minor Keys E Mixolydian = E-F# -G# -A-B-C# -D-E
Relative and
Parallel Keys

A Problem
F# Minor = F# -G# -A-B-C# -D-E-F#
More
Possibilities!

Relative
Modes B Dorian = B-C# -D-E-F# -G# -A-B
Parallel Modes

Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R. Parallel Modes

Kuphaldt

Modes
Applying the principle of relative keys (shifted tonic) to find
Why Theory?
modes is useful when you wish to find the modes playable on a
Purpose diatonic instrument. For players of chromatic instruments
Assumptions (possessing all 12 tones per octave), the problem of modes
Major and comes in a different form: which tones comprise a given mode?
Minor Keys

Relative and
Parallel Keys
For example, suppose you are in a musical session with no
A Problem sheetmusic and someone calls out a tune in the key of D
More Dorian. Which tones will you be playing on your instrument for
Possibilities!
D Dorian? You know the tones of the D major scale because
Relative
Modes you’ve been practicing all the major scales, but how does that
Parallel Modes help you now?
Modes on the
Circle
What you need is a scheme to shift between parallel modes:
Practice Ideas
where the tonic remains the same but some of the other tones
SUMMARY
are altered in pitch.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt Comparing Modes with their
Modes Parallel Major Keys
Why Theory?

Purpose

Assumptions
In order to learn how to find parallel modes, we will need to
Major and
Minor Keys identify some patterns based on major and “modal” scales we
Relative and already know. The previous section (Relative Modes) listed
Parallel Keys

A Problem
Dorian, Mixolydian, and Minor modes for four different major
More
keys, and so we will build on these examples to identify general
Possibilities! patterns.
Relative
Modes
For example, we will take some of the modes previously shown
Parallel Modes

Modes on the
and compare them side-by-side with their corresponding major
Circle scales to see what is different. We will examine multiple
Practice Ideas examples for each mode in order to identify universal patterns.
SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Major versus Mixolydian
Modes

Why Theory?

Purpose Which tones differ between each of these parallel modes?

Assumptions

Major and G Maj = G-A-B-C-D-E-F# -G

Minor Keys

Relative and
G Mix = G-A-B-C-D-E-F--G
Parallel Keys

A Problem D Maj = D-E-F# -G-A-B-C# -D

More D Mix = D-E-F# -G-A-B-C--D
Possibilities!

Relative
Modes
A Maj = A-B-C# -D-E-F# -G# -A
Parallel Modes A Mix = A-B-C# -D-E-F# -G--A
Modes on the
Circle E Maj = E-F# -G# -A-B-C# -D# -E
Practice Ideas E Mix = E-F# -G# -A-B-C# -D--E
SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Major versus Mixolydian
Modes

Why Theory?

Purpose

Assumptions

Major and
Minor Keys Did you notice how each of the Mixolydian scales had one less
Relative and sharp than their parallel Major scales? Specifically, degree 7
Parallel Keys
was lowered in the Mixolydian scale compared to the parallel
A Problem
Major scale.
More
Possibilities!

Relative This is the rule of the Mixolydian mode: lower the 7th degree
Modes
tone of a Major scale to create its parallel Mixolydian scale.
Parallel Modes

Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Major versus Dorian
Modes

Why Theory?

Purpose Which tones differ between each of these parallel modes?

Assumptions

Major and D Maj = D-E-F# -G-A-B-C# -D

Minor Keys

Relative and
D Dor = D-E-F--G-A-B-C--D
Parallel Keys

A Problem A Maj = A-B-C# -D-E-F# -G# -A

More A Dor = A-B-C--D-E-F# -G--A
Possibilities!

Relative
Modes
E Maj = E-F# -G# -A-B-C# -D# -E
Parallel Modes E Dor = E-F# -G--A-B-C# -D--E
Modes on the
Circle B Maj = B-C# -D# -E-F# -G# -A# -B
Practice Ideas B Dor = B-C# -D--E-F# -G# -A--B
SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Major versus Dorian
Modes

Why Theory?

Purpose

Assumptions

Major and
Minor Keys Did you notice how each of the Dorian scales had two fewer
Relative and sharps than their parallel Major scales? Specifically, degrees 3
Parallel Keys
and 7 were lowered in the Dorian scale compared to the parallel
A Problem
Major scale.
More
Possibilities!

Relative This is the rule of the Dorian mode: lower the 3rd and 7th
Modes
degree tones of a Major scale to create its parallel Dorian scale.
Parallel Modes

Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Major versus Minor
Modes

Why Theory?

Purpose Which tones differ between each of these parallel modes?

Assumptions

Major and A Maj = A-B-C# -D-E-F# -G# -A

Minor Keys

Relative and
A Min = A-B-C--D-E-F--G--A
Parallel Keys

A Problem E Maj = E-F# -G# -A-B-C# -D# -E

More E Min = E-F# -G--A-B-C--D--E
Possibilities!

Relative
Modes
B Maj = B-C# -D# -E-F# -G# -A# -B
Parallel Modes B Min = B-C# -D--E-F# -G--A--B
Modes on the
Circle F# Maj = F# -G# -A# -B-C# -D# -E# -F#
Practice Ideas F# Min = F# -G# -A--B-C# -D--E--F#
SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Major versus Minor
Modes

Why Theory?

Purpose

Assumptions

Major and Did you notice how each of the Natural Minor scales had three
Minor Keys
fewer sharps than their parallel Major scales? Specifically,
Relative and
Parallel Keys degrees 3, 6, and 7 were lowered in the Minor scale compared
A Problem to the parallel Major scale.
More
Possibilities!
This is the rule of the Aeolian (Natural Minor) mode: lower the
Relative
Modes 3rd, 6th, and 7th degree tones of a Major scale to create its
Parallel Modes parallel Minor scale.
Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Major versus any other Mode
Modes

Why Theory?

Purpose
When converting Major into Mixolydian, we lower one scale
Assumptions
tone: the 7th degree.
Major and
Minor Keys When converting Major into Dorian, we lower two scale tones:
Relative and the 3rd and 7th degrees.
Parallel Keys

A Problem
When converting Major into Minor, we lower three scale tones:
More
Possibilities! the 3rd, 6th, and 7th degrees.
Relative
Modes Based on this accumulation of lowered tones we could say that
Parallel Modes
Mixolydian is one shade “darker” than Major, Dorian is two
Modes on the
Circle shades “darker” than Major, and Minor is three shades
Practice Ideas “darker” than Major. In fact, it is possible to express all seven
SUMMARY modes on a spectrum of “brightest” to “darkest”.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt A Spectrum of Modes
Modes

Why Theory?
When you compare each mode to its relative major, you end up
Purpose
with a pattern of raised (sharp) and lowered (flat) scale-tones.
Assumptions

Major and
#
Minor Keys 1 2 3 4 5 6 7 Lydian
Relative and Ionian (Major)
Parallel Keys "Brighter" 1 2 3 4 5 6 7
b
A Problem 1 2 3 4 5 6 7 Mixolydian
More b b
1 2 3 4 5 6 7 Dorian
Possibilities!
b b b
Relative
1 2 3 4 5 6 7 Aeolian (Minor)
Modes "Darker" b b b b
1 2 3 4 5 6 7 Phrygian
Parallel Modes
b b b
1 2 3 4 5 b6 b7 Locrian
Modes on the
Circle

Practice Ideas Once committed to memory, this pattern makes it easy to

SUMMARY
change the mode of any key without altering its tonic.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt Major/Minor Modes
Modes
Chord-playing musicians often refer to the major versus minor
Why Theory?

Purpose
quality of each mode by the quality of the first (I) chord.
Assumptions
Recall that a major chord consists of degrees 1, 3, and 5 of the
Major and major scale; a minor chord differs by a flat 3, and a diminished
Minor Keys
chord differs further by a flat 5:
Relative and
Parallel Keys
#
A Problem 1 2 3 4 5 6 7 Lydian
More "Major" 1 2 3 4 5 6 7 Ionian (Major)
Possibilities! (1-3-5) modes
b
Relative 1 2 3 4 5 6 7 Mixolydian
Modes
b b
1 2 3 4 5 6 7 Dorian
Parallel Modes
b
Modes on the
(1- 3-5) "Minor" 1 2 b
3 4 5 b b
6 7 Aeolian (Minor)
modes
Circle
b b b
1 2 3 4 5 6 b7 Phrygian
Practice Ideas
"Diminished" 1 b
2 b3 4 b
5 b6 b7 Locrian
SUMMARY mode
Glossary (1-b3-b5)
Copyright
 Modes

Tony R.
Kuphaldt Practice: some modes of C
Modes

Why Theory?

Purpose

Assumptions
Here are the tones comprising the key of C major:
Major and
Minor Keys C-D-E-F-G-A-B-C
Relative and
Parallel Keys

A Problem Identify the tones of C dorian!

More
Possibilities!

Relative
Modes
Identify the tones of C mixolydian!
Parallel Modes

Modes on the
Circle Identify the tones of C minor!
Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Answers: some modes of C
Modes

Why Theory?

Purpose C Major = C-D-E-F-G-A-B-C

Assumptions (our “baseline”)
Major and
Minor Keys

Relative and C Dorian = C-D-Eb -F-G-A-Bb -C

Parallel Keys
(flat 3 and 7)
A Problem

More
Possibilities!
C Mixolydian = C-D-E-F-G-A-Bb -C
Relative
Modes (flat 7)
Parallel Modes

Modes on the
Circle C Minor = C-D-Eb -F-G-Ab -Bb -C
Practice Ideas
(flat 3, 6, and 7)
SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Practice: some modes of A
Modes

Why Theory?

Purpose

Assumptions
Here are the tones comprising the key of A major:
Major and
Minor Keys A-B-C# -D-E-F# -G# -A
Relative and
Parallel Keys

A Problem Identify the tones of A mixolydian!

More
Possibilities!

Relative
Modes
Identify the tones of A minor!
Parallel Modes

Modes on the
Circle Identify the tones of A lydian!
Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Answers: some modes of A
Modes

Why Theory?

Purpose A Major = A-B-C# -D-E-F# -G# -A

Assumptions (our “baseline”)
Major and
Minor Keys

Relative and A Mixolydian = A-B-C# -D-E-F# -G-A

Parallel Keys
(flat 7)
A Problem

More
Possibilities!
A Minor = A-B-C-D-E-F-G-A
Relative
Modes (flat 3, 6, and 7)
Parallel Modes

Modes on the
Circle A Lydian = A-B-C# -D# -E-F# -G# -A
Practice Ideas
(sharp 4)
SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Practice: some modes of D
Modes

Why Theory?

Purpose

Assumptions
Here are the tones comprising the key of D major:
Major and
Minor Keys D-E-F# -G-A-B-C# -D
Relative and
Parallel Keys

A Problem Identify the tones of D dorian!

More
Possibilities!

Relative
Modes
Identify the tones of D minor!
Parallel Modes

Modes on the
Circle Identify the tones of D mixolydian!
Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Answers: some modes of D
Modes

Why Theory?

Purpose D Major = D-E-F# -G-A-B-C# -D

Assumptions (our “baseline”)
Major and
Minor Keys

Relative and D Dorian = D-E-F-G-A-B-C-D

Parallel Keys
(flat 3 and 7)
A Problem

More
Possibilities!
D Minor = D-E-F-G-A-Bb -C-D
Relative
Modes (flat 3, 6, and 7)
Parallel Modes

Modes on the
Circle D Mixolydian = D-E-F# -G-A-B-C-D
Practice Ideas
(flat 7)
SUMMARY

Glossary

Copyright
 Modes
A pattern of fifths!
Tony R.
Kuphaldt
You may have noticed the ordering of Major versus modal
Modes
(Mixolydian, Dorian, Minor) scales in the Relative Modes
Why Theory?
section, and how they progressed in fifths. This is no
Purpose
coincidence, as the order of eliminated sharps (or added flats if
Assumptions
you will) follows the exact same order as the Circle of Fifths!
Major and
Minor Keys

Relative and If you begin with any major key shown in the Circle and take
Parallel Keys
one step counter-clockwise, the resulting key signature will
A Problem
have one less sharp (or one more flat) and will be the parallel
More
Possibilities! Mixolydian mode (i.e. one shade “darker”) to the original
Relative major key.
Modes

Parallel Modes
If you begin with any major key shown in the Circle and take
Modes on the
Circle two steps counter-clockwise, the resulting key signature will
Practice Ideas have two fewer sharps (or two more flats, or one more flat and
SUMMARY one less sharp) and will be the parallel Dorian mode (i.e. two
Glossary shades “darker”) to the original major key.
Copyright
 Modes

Tony R.
Kuphaldt A Brighter/Darker Circle
Modes A few of the major keys common to folk music are shown with
Why Theory?
their relative modes:
Purpose

Assumptions Darker (CCW) Brighter (CW)

Major and
Minor Keys

Relative and C maj

Parallel Keys F maj G mix G maj
C mix D dor D mix
A Problem G dor A min A dor Brighter (CW)
Bb D min E min D maj Lydian
More A mix
E dor Major (Ionian)
Possibilities! B min Mixolydian
A maj B dor Dorian
Relative Eb E mix F#b min Minor (Aeolian)
Modes G min Phrygian
Locrian
Parallel Modes
Ab E Darker (CCW)
Modes on the
Circle
C#/Db B/Cb
Practice Ideas F#/Gb

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt A Brighter/Darker Circle
Modes
This mode-shifting strategy works for those familiar with the
Why Theory?
Circle of Fifths, specifically with the order of major keys and
Purpose
their respective key signatures (the cluster of sharps or flats
Assumptions

Major and
near the clef symbol).
Minor Keys
A
G
F
E
D

Relative and G
A
F
C
A
F
B
G
E
G
A
F#
E D E

Parallel Keys
D C D
C C
Bb B
A A
G G
F F#
E E

C
D D
C C

major
A Problem F G
A
major major A
G G
F F#
Eb E
D D
C C#
Bb B

More
A A
G G
F F#

Bb D
Eb E
D D
C C#

major
Possibilities! major

Relative G
Ab
G#
A

Eb
F F#

A
Eb E
D D
C C#

Modes Ab
F
D
Bb
G
Eb
C
major major A
F#
D
B
G#
E
C#

Parallel Modes
Ab E
G
Ab
F major major G#
A
F#

Modes on the Eb
C
Ab
F
Db
Bb
G
E
C#
A
F#
D#
B
G#

Circle
Eb E
Db D#
C
# b b C#

C /D B/C
major major
F#/Gb
Practice Ideas Gb
Eb
C
Ab
F
Db
Bb
major G#
E
C#
A#
F#
D#
B
Ab A#
Gb A# G#
F G# F#
Eb F# E
Db E# D#
C D# C#

SUMMARY
C#
A# B Ab
G# A# Gb
F# G# Fb
E# F# Eb
D# E# Db
C# D# Cb
B# C# Bb
A# Ab
G# Ab Gb
F# Gb Fb
E# F Eb
D# Eb Db
C# Db

Glossary Cb
Ab
F
Db
Bb
Gb
Eb
Cb

Copyright
 Modes

Tony R.
Kuphaldt Practice: modes on the Circle
Modes

Why Theory?

Purpose

Assumptions
Identify the major-key signature used to play each of these
Major and
Minor Keys modes:
Relative and
Parallel Keys Find the key signature used to play F dorian!
A Problem

More
Possibilities!
Find the key signature used to play E mixolydian!
Relative
Modes

Parallel Modes
Find the key signature used to play B minor!
Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Answers: modes on the Circle
Modes

Why Theory?

Purpose

Assumptions
F Dorian = Eb major key signature (F-G-Ab -Bb -C-D-Eb -F)
Major and
Minor Keys (two steps CCW from F major, adding two flats)
Relative and
Parallel Keys

A Problem E Mixolydian = A major key signature (A-B-C# -D-E-F# -G# -A)

More (one step CCW from E major, eliminating one sharp)
Possibilities!

Relative
Modes
B Minor = D major key signature (D-E-F# -G-A-B-C# -D)
Parallel Modes

Modes on the
(three steps CCW from B major, eliminating three sharps)
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Practice: modes on the Circle
Modes

Why Theory?

Purpose

Assumptions
Identify the major-key signature used to play each of these
Major and
Minor Keys modes:
Relative and
Parallel Keys Find the key signature used to play G lydian!
A Problem

More
Possibilities!
Find the key signature used to play C# dorian!
Relative
Modes

Parallel Modes
Find the key signature used to play D mixolydian!
Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Answers: modes on the Circle
Modes

Why Theory?

Purpose

Assumptions G Lydian = D major key signature (G-A-B-C# -D-E-F# -G)

Major and (one step CW from G major, adding one sharp)
Minor Keys

Relative and
Parallel Keys
C# Dorian = B major key signature
A Problem
(C# -D# -E-F# -G# -A# -B-C# )
More
Possibilities! (two steps CCW from C# major, eliminating two sharps)
Relative
Modes

Parallel Modes D Mixolydian = G major key signature (D-E-F# -G-A-B-C-D)

Modes on the
Circle
(one step CCW from D major, eliminating one sharp)
Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Modes in Sheetmusic
Modes

Why Theory? It is often useful to interpret the mode of a tune from its
Purpose sheetmusic (score). Identifying the key signature – that cluster
Assumptions of sharps or flats near the clef symbol – is not enough unless
Major and we happen to know the tune is in Ionian (Major) mode.
Minor Keys
Otherwise, that same key signature could represent some
Relative and
Parallel Keys relative mode of that major key.
A Problem

More To properly identify any key, we need to know the tones

Possibilities!
comprising it and the tonic that key “resolves” to. The key
Relative
Modes signature shown in sheetmusic tells us the tones (which are
Parallel Modes natural, which are sharp, which are flat). The tonic is trickier
Modes on the to discern. While often the last note of the piece, this not true
Circle

Practice Ideas
if the tune happens to be unresolved at the end. Often,
SUMMARY
listening for the resolving tone in the melody is a good way to
Glossary identify the tonic.
Copyright
 Modes

Tony R.
Kuphaldt Sheetmusic Example
Modes

Why Theory?
Shown here are the beginning and ending lines of Jay Ungar’s
Purpose
beautiful waltz “Ashokan Farewell”:
Assumptions

Major and
Minor Keys

Relative and
Parallel Keys

A Problem

More
Possibilities!

Relative
Modes

Parallel Modes

Modes on the Upon listening to this tune, it is clear that it resolves on the
Circle
final note.
Practice Ideas

SUMMARY
Which key/mode is this tune written in?
Glossary

Copyright
 Modes

Tony R.
Kuphaldt Sheetmusic Answer
Modes

Why Theory?

Purpose

Assumptions

Major and
Minor Keys

Relative and The key signature shows two sharps (C# and F# ) which
Parallel Keys
corresponds to D major, and since we know the tonic is D
A Problem
(because the tune resolves on D), this tune must be set in the
More
Possibilities! key of D major.
Relative
Modes

Parallel Modes

Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Sheetmusic Example
Modes

Why Theory?
Shown here are the beginning and ending lines of Turlough
Purpose
O’Carolan’s haunting aire “Ramble To Cashel”:
Assumptions

Major and
Minor Keys
3
Relative and
Parallel Keys

A Problem

More
Possibilities!

Relative
Modes

Parallel Modes

Modes on the Upon listening to this tune, it is clear that it resolves on the
Circle
final note.
Practice Ideas

SUMMARY
Which key/mode is this tune written in?
Glossary

Copyright
 Modes

Tony R.
Kuphaldt Sheetmusic Answer
Modes

Why Theory?

Purpose

Assumptions

Major and
Minor Keys
The key signature shows a single sharp (F# ) which corresponds
Relative and
Parallel Keys to G major, but it resolves on E so it cannot be G major – it
A Problem must be a mode with E as the tonic. The key of E major has
More four sharps, and this has only one, so it’s three shades “darker”
Possibilities!

Relative
than E major, which puts it at E minor.
Modes

Parallel Modes

Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Sheetmusic Example
Modes

Why Theory? Shown here are the beginning and ending lines of the “B” part
Purpose to the traditional Scottish aire “Hector The Hero” arranged for
Assumptions bagpipe:
Major and
Minor Keys

Relative and
Parallel Keys

A Problem

More
Possibilities!

Relative
Modes

Parallel Modes

Modes on the
Circle Upon listening to this tune, it is clear that it resolves on the
Practice Ideas final note.
SUMMARY

Glossary Which key/mode is this tune written in?

Copyright
 Modes

Tony R.
Kuphaldt Sheetmusic Answer
Modes

Why Theory? The key signature shows three sharps (C# , F# , and G# ) which
Purpose
corresponds to A major, and we know it resolves on A so at
Assumptions
first it would seem to be set in the key of A major. However,
Major and
Minor Keys pay close attention to the accidental symbols (natural) used
Relative and before each G note. This means the tune must be in the key of
Parallel Keys
A mixolydian, being one shade “darker” than A major.
A Problem

More
Possibilities! Sometimes “modal” sheetmusic is written like this: the key
Relative signature chosen to be the major of that tonic, but with
Modes
accidentals sprinkled through the piece to make it either
Parallel Modes
“lighter” or “darker” than the major mode. The typesetter of
Modes on the
Circle “Hector The Hero” wanted you to know it was in the key of A
Practice Ideas by using the A major key signature with three sharps, but made
SUMMARY the necessary modal shift using accidental (natural) symbols.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt
Practice Ideas

Modes Just like memorizing multiplication tables, committing modes

Why Theory? to memory requires much practice. Simply knowing the
Purpose shift-patterns necessary to switch from one mode to another
Assumptions isn’t truly useful to you as a musician unless and until these
Major and
Minor Keys
patterns are available to you on demand, just like knowing that
Relative and 3 × 4 means 4 + 4 + 4 doesn’t help you multiply quickly
Parallel Keys
unless and until you’ve memorized 3 × 4 = 12. Understanding
A Problem
the mechanics of how modes work is important, but by itself is
More
Possibilities! incomplete until these principles and techniques become
Relative automatic for you.
Modes

Parallel Modes
This section outlines multiple ways to internalize these
Modes on the
Circle concepts. Commit to incorporating these concepts into every
Practice Ideas practice session, and you will soon find them becoming more
SUMMARY and more comfortable to you.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt Playing Major Scales
Modes

Why Theory?

Purpose

Assumptions
Mastery of all the major scales is the foundation for building
Major and
modes, and playing each major key’s scale in linear order is a
Minor Keys time-honored way of committing each key’s tones to memory.
Relative and
Parallel Keys
Whenever possible, do this over multiple octaves so as to cover
A Problem the broadest range on your instrument. This helps familiarize
More you with all the positions used for playing tones.
Possibilities!

Relative
Modes
One disadvantage of linear scales is that they tend to be
Parallel Modes
boring. When you hear musicians lament the practice of scales,
Modes on the this is what they’re complaining about. Fortunately, there are
Circle
more interesting ways to practice key-tones! (Read on . . .)
Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Playing Relative Modes
Modes

Why Theory?

Purpose

Assumptions

Major and
Minor Keys

Relative and
Parallel Keys Begin by playing any major scale from tonic to octave,
A Problem preferably spanning more than one octave. Then, switch the
More tonic but play the same order of tones to make a relative mode.
Possibilities!

Relative
Modes

Parallel Modes

Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Playing Parallel Modes
Modes

Why Theory?

Purpose

Assumptions

Major and
Minor Keys Begin by playing any major scale from tonic to octave,
Relative and preferably spanning more than one octave. Then, switch the
Parallel Keys
mode by raising or lowering the pitch of the correct degree tone
A Problem
to achieve a different mode.
More
Possibilities!

Relative Do this multiple times in order from Lydian to Locrian, each

Modes
scale being “darker” than the one before.
Parallel Modes

Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Playing Parallel Modes
Modes

Why Theory?

Purpose

Assumptions

Major and Begin by playing any major scale from tonic to octave,
Minor Keys
preferably spanning more than one octave. Then, switch the
Relative and
Parallel Keys mode by playing the next key signature from the Circle of Fifths
A Problem yet keeping the original tonic (one step clockwise for the Lydian
More mode, and steps counter-clockwise for all the other modes).
Possibilities!

Relative
Modes Do this multiple times in order from Lydian to Locrian, each
Parallel Modes scale being “darker” than the one before.
Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Transposing familiar tunes
Modes

Why Theory?

Purpose
A fun way to learn modes is to take a familiar tune in a key you
Assumptions
know well, and transpose that tune to a parallel mode of that
Major and key. Using “Mary Had A Little Lamb” as an example:
Minor Keys

Relative and In the key of C major: E-D-C-D-E-E-E

Parallel Keys

A Problem
In the key of C dorian or C minor: Eb -D-C-D-Eb -Eb -Eb
More
Possibilities!

Relative
Note: in order to perceive a difference between each mode,
Modes
practice on tunes using all the tones of the key. As we see here
Parallel Modes
with “Mary...” we cannot perceive a difference between C
Modes on the
Circle dorian and C minor because the melody never reaches the
Practice Ideas 6th-degree tone where these two parallel modes differ from one
SUMMARY another.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt

Modes

Why Theory?

Purpose

Assumptions

Major and
Summary of Mode-Shifts
Minor Keys

Relative and This section gives one-page references for each of the
Parallel Keys
mode-finding techniques explored in this tutorial.
A Problem

More
Possibilities!

Relative
Modes

Parallel Modes

Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Relative Mode Shifts
Modes

Why Theory? The numbers 1-7 refer to the degrees of any major scale.
Purpose

Assumptions

Major and 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 Ionian (1 Major)

Minor Keys

Relative and 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 Dorian

Parallel Keys

A Problem 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 3 Phrygian
More
Possibilities!
1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 4 Lydian

Relative 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 5 Mixolydian
Modes

Parallel Modes 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 6 Aeolian (6 Minor)

Modes on the
Circle 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 7 Locrian
Practice Ideas

SUMMARY
Useful on diatonic instruments: same tones, different tonic.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt Parallel Mode Shifts
Modes

Why Theory? The numbers 1-7 refer to the degrees of any major scale.
Purpose

Assumptions #
1 2 3 4 5 6 7 Lydian
Major and
Minor Keys
"Brighter" 1 2 3 4 5 6 7 Ionian (Major)
Relative and
b
Parallel Keys 1 2 3 4 5 6 7 Mixolydian
A Problem b b
1 2 3 4 5 6 7 Dorian
More
Possibilities! b b b
1 2 3 4 5 6 7 Aeolian (Minor)
Relative
Modes "Darker" 1 b
2 b
3 4 5 b
6 b
7 Phrygian
Parallel Modes b b b
1 2 3 4 5 b6 b
7 Locrian
Modes on the
Circle

Practice Ideas Useful on chromatic instruments: same tonic, selected tones

SUMMARY raised/lowered.
Glossary

Copyright
 Modes

Tony R.
Kuphaldt Shifting Around the Circle
Modes

Why Theory? Darker (CCW) Brighter (CW)

Purpose

Assumptions
C maj
Major and F maj G mix G maj
Minor Keys C mix D dor D mix
G dor A min A dor Brighter (CW)
Relative and Bb D min E min D maj Lydian
A mix
Parallel Keys E dor Major (Ionian)
B min Mixolydian
A Problem A maj B dor Dorian
Eb E mix F#b min Minor (Aeolian)
More G min Phrygian
Possibilities! Locrian
Ab E Darker (CCW)
Relative
Modes
C#/Db B/Cb
Parallel Modes F#/Gb
Modes on the
Circle

Practice Ideas

SUMMARY

Glossary Useful on any instrument: based on key signatures and

Copyright major-key tonics.
 Modes Glossary
Tony R.
Kuphaldt Interval – The ratio of pitch between two different tones,
Modes corresponding to the distance separating tones on a keyboard or a
Why Theory? fretboard. One fret’s distance on a guitar is a half-step interval, while
Purpose two frets’ distance is a whole step. Intervals may also be described in
Assumptions terms of the tones’ numbered position on a scale (e.g. a “perfect
Major and fourth” interval is the distance between the 1 and 4 tones of a major
Minor Keys
scale). This is part of the essential vocabulary for music. you will find
Relative and
Parallel Keys that the “feel” of music depends more on the intervals between notes
A Problem than the notes themselves!
More
Possibilities!
Octave – A two-to-one ratio of musical pitch. Octave tones sound
Relative
Modes remarkably similar to each other, and use the same letter designators.
Parallel Modes “Middle C” on a piano keyboard represents a tone vibration of 261.6
Modes on the
Circle
cycles per second, while the next “C” an octave above that is
Practice Ideas
precisely twice as fast (523.2 cycle per second) and the next “C” an
SUMMARY octave below “middle C” is half as fast (130.8 cycles per second).
Glossary Octaves are why tones seem to repeat themselves up and down the
Copyright scale of any wide-range instrument.
 Modes
Sharp (♯) or Flat (♭) – A raising or lowering of pitch. This may
Tony R.
Kuphaldt refer to a tone being off-pitch compared to a standard (e.g. tuning
fork, electronic tuner), or it may refer to the relative pitches of tones
Modes
on a musical scale. The Western “chromatic” scale (containing all
Why Theory?

Purpose
tones) is divided into twelve tones per octave, some of them given
Assumptions
letter names and others given letter names plus the “sharp” or “flat”
Major and designation: A-A♯ -B-C-C♯ -D-D♯ -E-F-F♯ -G-G♯ and back to A.
Minor Keys
Alternatively, A-B♭ -B-C-D♭ -D-E♭ -E-F-G♭ -G-A♭ and back to A. This is
Relative and
Parallel Keys part of the essential vocabulary for music.
A Problem

More
Possibilities!
C# D# F# G# A# C# D# F# G# A# "Sharp" ( ) tones
Relative
Modes
Db Eb Gb Ab Bb Db Eb Gb Ab Bb "Flat" ( ) tones
Note: there is nothing "special"
Parallel Modes
about sharp or flat tones. These
Modes on the designations are the result of using
Circle only seven alphabet letters to
represent twelve unique tones!
Practice Ideas

SUMMARY C D E F G A B C D E F G A B "Natural" ( ) tones

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Scale – A sequence of tones, usually played in ascending or
Modes
descending order, constituting a musical “palette” useful for creating
Why Theory?
tunes or phrases. A closely related concept is that of a Key, which in
Purpose Western music typically consists of the tones comprising a specific
Assumptions class of seven-note scale. Mastery of scales and keys allows you to
Major and quickly find tones that sound well with any other tone, which is
Minor Keys
obviously useful (e.g. jamming, composing).
Relative and
Parallel Keys

A Problem Degree – A number label given to each of the seven tones

More comprising a key. For example, in the C major key, C would be 1, D
Possibilities!
would be 2, E would be 3, etc. Musicians often refer to intervals by
Relative
Modes these degree numbers.
Parallel Modes

Modes on the
Tonic – The first-degree tone of a scale. Also, the resolving tone of
Circle
a key. A scale or a melody sounds as though it has “arrived back
Practice Ideas
home” when the tonic tone is played.
SUMMARY

Glossary

Copyright
 Modes

Tony R.
Kuphaldt Major versus Minor – These terms refer to two different qualities
of tone-clusters (e.g. keys or chords) defined by the intervals between
Modes
those tones. Major and minor are not the only types of quality in
Why Theory?

Purpose
Western music, but they tend to be the most common. These
Assumptions
qualities stand independent of the starting tone, which is why there
Major and are twelve “major keys” in Western music as well as twelve “minor
Minor Keys
keys” (i.e. each of these keys starting from one of twelve distinct
Relative and
Parallel Keys tones within an octave). Knowing all the major keys by heart gives
A Problem you a great starting point to build any of the minor or “modal” keys.
More
Possibilities!
Mode – A variation on a key, created by altering the step-distances
Relative
Modes (intervals) separating tones in that key. Traditionally, there are seven
Parallel Modes modes, each given a Greek name. Major (ionian) and Natural Minor
Modes on the (aeolian) are two of them. Some musical genres, especially Irish
Circle
music and Jazz, make use of modes to create different “qualities” for
Practice Ideas
tunes lying between major and minor.
SUMMARY

Glossary

Copyright
 Modes

Tony R.
Chord – A set of three or more tones played simultaneously. Some
Kuphaldt instruments (e.g. autoharps) play nothing but chords, and others
Modes
(e.g. guitars) are often played solely to form chords. Chords are used
Why Theory? extensively to accompany melodies, and are often notated by simple
Purpose letter symbols near lyrics which makes them easy to document in
Assumptions song music. Knowing which tones make up a chord gives you
Major and multiple options to sing and/or play harmony to any melody.
Minor Keys

Relative and
Parallel Keys Arpeggio – Italian for “chord played as on a harp,” this is simply
A Problem the different tones making up a chord played one at a time instead of
More simultaneously. Guitar players: hold a chord pattern with your left
Possibilities!
hand while picking individual notes with your right hand instead of
Relative
Modes strumming the strings, and you will be playing an arpeggio! Many
Parallel Modes melodies contain arpeggios, making them easy to play for anyone
Modes on the familiar with chords. Arpeggios sound more sophisticated and
Circle

Practice Ideas
interesting than chords played in block-fashion. Any chord player
SUMMARY
need only play the notes individually to create a respectable harmony
Glossary from a set of given chords.
Copyright
 Modes

Tony R.
Kuphaldt

Modes
Copyright Notice
Why Theory?

Purpose c 2017-2018 by Tony R. Kuphaldt – under the

Assumptions terms and conditions of the Creative Commons
Major and
Minor Keys
Attribution 4.0 International Public License
Relative and
Parallel Keys This is a copyrighted work, but licensed under the Creative
A Problem Commons Attribution 4.0 International Public License. The
More
Possibilities!
terms and conditions of this license allow for free copying,
Relative
distribution, and/or modification of all licensed works by the
Modes
general public. In other words, feel free to copy, share, and
Parallel Modes
even modify what you find here!
Modes on the
Circle

Practice Ideas

SUMMARY

Glossary

Copyright