I. Fundamentals
14 Introduction to Diatonic Modes and the Chromatic “Scale”
Chelsey Hamm
Key Takeaways
- The diatonic modes are scale-like collections of notes with patterns of half and whole steps.
- Modes can be described within a continuum of modal brightness: brighter modes sound more like a major scale, while darker modes sound more like a minor scale.
- The three bright modes, which contain mi ([latex]\hat{3}[/latex]) instead of me ([latex]\downarrow\hat{3}[/latex]), are lydian, ionian, and mixolydian.
- The four dark modes, which contain me ([latex]\downarrow\hat{3}[/latex]) instead of mi ([latex]\hat{3}[/latex]) are dorian, aeolian, phrygian, and locrian.
- A chromatic "scale", also known as the chromatic collection, consists of twelve adjacent half steps. Chromatic scales are often (but not always) written with sharps while ascending and with flats while descending.
This book covers modes from many different angles. For more information on modes, check Chord-Scale Theory (jazz), Modal Schemas (pop), Diatonic Modes (20th/21st-c.), and Analyzing with Modes, Scales, and Collections (20th-/21st-c.).
Modes and the Parallel Relationship
The diatonic modes are scale-like collections of notes with different patterns of half and whole steps. As we have learned previously, scales that share a tonic have a parallel relationship. In this chapter, modes are going to be described using the parallel relationship. Modes will also be described within a continuum of modal brightness; modal brightness: brighter modes sound more like a major scale, while darker modes sound more like a minor scale.
ranks the seven diatonic modes in terms of relative brightness and darkness. It also summarizes which scale degrees are altered in relation to the ionian (major) mode, which will be explained in more detail below.
The brightest mode is the lydian mode. The ascending pattern of half and whole steps in this mode is W‑W‑W‑H‑W‑W‑H. Another way to think of this mode is as a major scale but with raised [latex]\hat{4}[/latex], whose solfège is fi [latex](\uparrow\hat{4})[/latex]. shows C lydian with solfège.
https://musescore.com/user/32728834/scores/6824392/embed
The next brightest mode is the ionian mode. This mode consists of an ascending pattern of half and whole steps that is the same as a major scale: W-W-H-W-W-W-H. shows C ionian with solfège.
https://musescore.com/user/32728834/scores/6824424/embed
The next brightest mode is the mixolydian mode, with W-W-H-W-W-H-W as the ascending pattern of half and whole steps. Another way to think of this mode is as a major scale but with lowered [latex]\hat{7}[/latex]. shows C mixolydian with solfège.
https://musescore.com/user/32728834/scores/6824469/embed
The lydian, ionian, and mixolydian modes are usually considered the brighter (or more major) modes because they contain mi instead of me (unaltered [latex]\hat{3}[/latex] instead of lowered [latex]\hat{3}[/latex]). The dorian, aeolian, phrygian, and locrian modes are usually considered darker (or more minor) modes because they contain me instead of mi ([latex]\downarrow\hat{3}[/latex] instead of unaltered [latex]\hat{3}[/latex]).
The dorian mode is the first darker (or more minor) mode. This mode’s ascending pattern of half and whole steps is W-H-W-W-W-H-W. Another way to think of this mode is as a minor scale but with raised [latex]\hat{6}[/latex] (la). shows C dorian with solfège:
https://musescore.com/user/32728834/scores/6824501/embed
The next darkest mode is the aeolian mode. The aeolian mode’s ascending pattern of half and whole steps is the same as a natural minor scale: W-H-W-W-H-W-W. shows C aeolian with solfège.
https://musescore.com/user/32728834/scores/6824523/embed
The next darkest mode is the phrygian mode. The ascending pattern of half and whole steps in the phrygian mode is H-W-W-W-H-W-W. This is the same pattern as a natural minor scale, but with lowered [latex]\hat{2}[/latex], whose solfège is ra. shows C phrygian with solfège:
https://musescore.com/user/32728834/scores/6824675/embed
The darkest mode is the locrian mode. The locrian mode’s ascending pattern of half and whole steps is H-W-W-H-W-W-W. This is the same pattern as a natural minor scale, but with lowered [latex]\hat{2}[/latex] (ra) and lowered [latex]\hat{5}[/latex], whose solfège is se. shows C locrian with solfège:
https://musescore.com/user/32728834/scores/6824710/embed
Each mode can start on any note. For example, one could build a mixolydian collection starting on D♭, an aeolian collection starting on G♭, or a lydian collection starting on F♯. When writing modal collections, be sure to think about your accidentals carefully.
shows all of the different modes with scale degrees and solfège, ordered from brightest to darkest (lydian to locrian):
https://musescore.com/user/32728834/scores/6824854/embed
Listen to
carefully, observing the difference between the modes.Chromatic “Scales”
A chromatic "scale" consists of twelve adjacent half steps. Because it lacks a pattern of half and whole steps, music theorists generally refer to it as a chromatic collection, which is why “scale” is in scare quotes here. shows two chromatic collections, the first starting on A and the second starting on E♭:
https://musescore.com/user/32728834/scores/6824732/embed
As you can see in the keyboard are half steps: B/C and E/F.
, chromatic collections are often (but not always) written with sharps while ascending and with flats while descending; the first line of this example demonstrates this. A chromatic collection that begins with a flat note (such as the second line in ) is usually written with naturals while ascending and with flats while descending. When you write chromatic collections, don’t forget that two pairs of white keys on- Overview of the Modes and History (Classic FM)
- Modes from a Relative Conception (Learning Music)
- Modes Tutorial and Quiz (musictheoryfundamentals.com)
- Modes with Examples (fretello.com)
- Modes Identification Quiz (music-theory-practice.com)
- Chromatic Scales (Hello Music Theory)
- Writing Modes (.pdf, .pdf), from a Relative Conception (.pdf)
- Mode Identification and Accidental Error Detection (.pdf)
- Dorian p. 1, and lydian p. 3 (.pdf)
- Mode Writing and Questions (.docx, .docx)
- Mode Identification (.pdf)
- Chromatic Scales and Modes, p. 1 (.pdf)
- Writing Chromatic Scales (.pdf)
- Writing Modes Assignment #1 (.pdf, .mscx)
- Writing Modes Assignment #2 (.pdf, .mscx)
- Writing Chromatic “Scales” Assignment #1 (.pdf, .mscx)
- Writing Chromatic “Scales” Assignment #2 (.pdf, .mscx)
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A diatonic mode that follows the pattern W–W–W–H–W–W–H. This is like the major scale, but with a raised 4̂. This scale can also be found by playing the white notes of the piano starting on F.
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A diatonic mode that follows the pattern W–W–H–W–W–H–W. This is like the major scale, but with a lowered 7̂. This scale can also be found by playing the white notes of the piano starting on G.
A diatonic mode that follows the pattern W–H–W–W–W–H–W. This is like the natural minor scale, but with a raised 6̂. This scale can also be found by playing the white notes of the piano starting on D.
A diatonic mode that follows the pattern W–H–W–W–H–W–W. This is like the natural minor scale. This scale can also be found by playing the white notes of the piano starting on A.
A diatonic mode that follows the pattern H–W–W–W–H–W–W. This is like the natural minor scale, but with a lowered 2̂. This scale can also be found by playing the white notes of the piano starting on E.
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This section introduces students to the basics of music notation, including rhythm, pitch, and expressive markings. Students also learn to construct and identify rudimentary harmonies, including intervals (two-note chords), triads (three-note chords), and seventh chords (four-note chords).
Prerequisites
The Fundamentals section assumes no previous familiarity with Western musical notation. However, each chapter in this section assumes familiarity with all preceding chapters; for that reason, it is recommended that chapters are studied in order.
Organization
In the section's first chapter, Introduction to Western Musical Notation, students are encouraged to think about the ways in which they might write down (or notate) their favorite song or composition. The next six chapters (Notation of Notes, Clefs, and Ledger Lines through Other Aspects of Notation) focus upon the notation of pitch and the expressive and stylistic conventions of Western musical notation.
Next, students are introduced to the conventions of Western rhythmic notation in the subsequent four chapters (Rhythmic and Rest Values through Other Rhythmic Essentials). Pitch is then revisited, beginning with the spelling and identification of scales, key signatures, the diatonic modes, and the chromatic collection (in Major Scales, Scale Degrees, and Key Signatures through Introduction to Diatonic Modes and the Chromatic "Scale").
The following chapter, The Basics of Sight-singing and Dictation, presumes knowledge of the concepts in all previous chapters. It can be used as a stand-alone chapter in an aural skills class or within the context of a music theory or fundamentals course. Finally, the construction of harmonies is explored, from two-note Intervals through four-note Seventh Chords.
The Triads and Seventh Chords chapters deliberately do not include inversion or figured bass, as this is covered as a separate topic (Inversion and Figured Bass). This chapter, along with Roman Numerals and SATB Chord Construction and Texture, can be used as introductions to part-writing, counterpoint, music appreciation, or music history courses.
Audience
The Fundamentals section is designed for a wide audience, including high school students (and those taking AP Music Theory), collegiate non-music majors (and musical theater majors), and collegiate music majors.