I. Fundamentals
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]) (a major third above the tonic) are lydian, ionian, and mixolydian.
- The four dark modes, which contain me ([latex]\downarrow\hat{3}[/latex]) (a minor third above the tonic) are dorian, aeolian, phrygian, and locrian.
- A chromatic scale 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.). This book also covers the pentatonic collection in more depth in Collections.
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.
Example 1 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]. Example 2 shows C lydian with solfège.
Example 2. C lydian with solfège.
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. Example 3 shows C ionian with solfège.
Example 3. C ionian with solfège.
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]. Example 4 shows C mixolydian with solfège.
Example 4. C mixolydian with solfège.
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). Example 5 shows C dorian with solfège:
Example 5. C dorian with solfège.
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. Example 6 shows C aeolian with solfège.
Example 6. C aeolian with solfège.
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. Example 7 shows C phrygian with solfège:
Example 7. C phrygian with solfège.
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. Example 8 shows C locrian with solfège:
Example 8. C locrian with solfège.
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.
Example 9 shows all of the different modes with scale degrees and solfège, ordered from brightest to darkest (lydian to locrian):
Example 9. The modes from brightest to darkest, starting on C, with scale degrees.
Listen to Example 9 carefully, observing the difference between the modes.
The Pentatonic Collection
There are other diatonic collections of notes besides the modes. One is the pentatonic collection. This five-note collection uses the interval sequence ma2–ma2–mi3–ma2–mi3. It maps exactly onto the black keys of the piano (Example 10a), but it can begin on any note (Example 10b contains a D pentatonic collection, for example). Another way to think of the major pentatonic collection is in solfège: do, re, mi, sol, la, and do. When speaking in scale degrees, pentatonic scale degrees are often related to the major scale, but with [latex]\hat4[/latex] and [latex]\hat7[/latex] omitted: [latex]\hat1-\hat2-\hat3-\hat5-\hat6[/latex].
Example 10. A major pentatonic collection followed by a minor pentatonic collection, with solfège.
You can spell these collections by memorizing their solfège patterns and relating them to the major scale that starts on the same note. For example, if you wanted to spell a B♭ major pentatonic collection, you would first think of a B♭ major scale. Then you would write do, re, mi, sol, la, and do [latex](\hat1-\hat2-\hat3-\hat5-\hat6-\hat1)[/latex]: B♭–C–D–F–G–B♭.
Chromatic Scales
A chromatic scale consists of twelve adjacent half steps.[1] Example 11 shows three chromatic scales, the first starting on C, while the second and third have key signatures (A and E♭):
Example 11. Two chromatic scales starting on A and E♭.
As you can see in Example 11, chromatic scales are often (but not always) written with sharps while ascending and with flats (and/or naturals) while descending. A chromatic scale that begins with a flat note (such as the third line in Example 11) is usually written with naturals/sharps while ascending and with flats while descending. When you write chromatic scales, don’t forget that two pairs of white keys on the keyboard are half steps: B/C and E/F. Example 11 also introduces four new solfège syllables: di (raised do), ri (raised re), si (raised sol), and li (raised la). In general, raised solfège syllables use an -i vowel ending, and lowered syllables use -e (ra is an exception).
- Day-O’Connell, Jeremy. 2001. “Pentatonic.” Grove Music Online. https://doi.org/10.1093/gmo/9781561592630.article.21263.
- Dyson, George, revised by William Drabkin. “Chromatic.” Grove Music Online. https://doi.org/10.1093/gmo/9781561592630.article.05718.
- McGrain, Mark. 1986. Music Notation. Boston: Berklee Press.
- Palmer, Willard A. et al. 1994. The Complete Book of Scales, Chords, Arpeggios & Cadences. Van Nuys, CA: Alfred Publishing.
- Powers, Harold S. et al. 2001. “Mode.” Grove Music Online. https://doi.org/10.1093/gmo/9781561592630.article.43718.
- Rechberger, Herman. Scales and Modes around the World. 2008. Finland: Fennica-Gehrman.
- Roemer, Clinton. 1985. The Art of Music Copying: The Preparation of Music for Performance, 2nd edition. Sherman Oaks: Roerick Music Company.
- Overview of the Modes and History (Classic FM)
- Modes from a Relative Conception (Learning Music)
- Modes Tutorial and Quiz (musictheoryfundamentals.com)
- Modes Identification Quiz (music-theory-practice.com)
- Pentatonic Scale Tutorial (YouTube)
- Chromatic Scales (Hello Music Theory)
- Writing Modes, p. 3 (.pdf), from a Relative Conception (.pdf)
- Dorian p. 1, and Lydian p. 3 (.pdf)
- Mode Identification (.pdf, .pdf), pp. 2 and 4 (.pdf)
- Writing Major Pentatonic Collections (.pdf)
- Writing Chromatic Scales and Modes p. 1, and pentatonic collections (p. 3) (.pdf)
- Writing Chromatic Scales (.pdf) and p. 1 (.pdf)
- Writing Modes Assignment #1 (.pdf, .mscx)
- Writing Modes Assignment #2 (.pdf, .mscx)
- Chromatic Scales A. Asks students to write chromatic scales within and outside of a key context.
- Chromatic Scales B. Asks students to write chromatic scales within and outside of a key context.
Media Attributions
- Brightness and Darkness of Modes © Nathaniel Mitchell is licensed under a CC BY-SA (Attribution ShareAlike) license
- Because it lacks functionality like a major or minor scale, music theorists sometimes think of the chromatic scale as a collection instead. ↵
"Bright" refers to a more major sound, while "dark" refers to a more minor sound.
A diatonic mode that follows the pattern W–W–W–H–W–W–H. This is like the major scale, but with a raised scale degree 4. This scale can also be found by playing the white notes of the piano starting on F.
A diatonic mode that follows the pattern W–W–H–W–W–W–H. This is equivalent to a major scale.
A diatonic mode that follows the pattern W–W–H–W–W–H–W. This is like the major scale, but with a lowered scale degree 7. 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 scale degree 6. 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 scale degree 2. This scale can also be found by playing the white notes of the piano starting on E.
A diatonic mode that follows the pattern H–W–W–H–W–W–W. This is like the natural minor scale, but with a lowered scale degree 2 and lowered scale degree 5. This scale can also be found by playing the white notes of the piano starting on B.
A collection of notes that consists of twelve half steps.
1. A scale, mode, or collection that follows the pattern of whole and half steps W–W–H–W–W–W–H, or any rotation of that pattern.
2. Belonging to the local key (as opposed to "chromatic").
A group of pitches being used as the basis for a composition. This term is more neutral than "key," which may imply a hierarchy.
A pitch collection built with the interval pattern ma2–ma2–mi3–ma2–mi3. This collection can also be generated by using scale degrees 1̂, 2̂, 3̂, 5̂, and 6̂ only of the major scale.
