How Are The Parallel Modal Scales Related?

Size: px

Start display at page:

Download "How Are The Parallel Modal Scales Related?"

Alexia Clare Ramsey
5 years ago
Views:

1 How Are The Parallel Modal Scales Related? Just as the major and minor scale are simple permutations of each other [that is, they share the same notes and chords, but have different starting points within their respective sequences], the remaining modes [dorian, phrygian, lydian, mixolydian, and locrian] are also permutations of these scales. If we begin with the ionian mode (your standard-issue major scale) as mode 1, and go in order of modes based on that major scale s respective scale degrees, this is the order we get: Ionian [major scale; think of this as your relative starting point] Dorian [begins on the 2nd degree of the relative ionian scale] Phrygian [begins on the 3rd degree of the relative ionian scale] Lydian [begins on the 4th degree of the relative ionian scale] Mixolydian [begins on the 5th scale degree of the relative ionian scale] Aeolian [begins on the 6th degree of the relative ionian scale] Locrian [begins on the 7th degree of the relative ionian scale] If we lay that out in terms of relative scales, this is what it looks like: Mode Type Ionian Major C D E F G A B Dorian Minor D E F G A B C Phrygian Minor E F G A B C D Lydian Major F G A B C D E Mixolydian Major G A B C D E F Aeolian Minor A B C D E F G Locrian Minor B C D E F G A

2 Because all of these scales [C ionian, D dorian, etc] utilise the same exact notes, and same exact chords, they are all related to each other - the only differences are the starting note of each scale, and subsequently the order of chords (major, minor, diminished) - this is the same exact concept as relative major and minor scales [e.g., G# minor (aeolian) is the relative minor scale to B major (ionian)]. So if you re writing in the key of C, and using a G major chord, you re not borrowing that chord, even though it exists within other scales, because it is already diatonic to the key of C major. So when it comes to actually borrowing chords correctly, this is where it s helpful to understand the modes in order of lightest to darkest: Lydian [a major mode characterised by a raised 4th] Ionian [your standard-issue major scale] Mixolydian [a major mode characterised by a lowered, or flat, 7th] Dorian [a minor mode characterised by a natural 6th] Aeolian [your standard-issue minor scale] Phrygian [a minor mode characterised by a lowered, or flat, 2nd] Locrian [a minor mode with a lowered 2nd, characterised by also having a lowered, or flat, 5th] So, if we work in that order, here s how all of your parallel C scales break down. Listed on the right are the relative ionian [major] scales for each scale: Scale Relative Major C Lydian C D E F# G A B G Major C Ionian C D E F G A B N/A [C] C Mixolydian C D E F G A Bb F Major C Dorian C D Eb F G A Bb Bb Major C Aeolian C D Eb F G Ab Bb Eb Major C Phrygian C Db Eb F G Ab Bb Ab Major C Locrian C Db Eb F Gb Ab Bb Db Major

3 If you look solely at the relative scales, G - C - F - Bb - Eb - Ab - Db, do you notice that the roots of each relative scale move down the circle of 5ths? So, if you re trying to write in C major, and you want to borrow from another mode, your options would be to look to the *related major scales* for different chords; those being, G major, F major, Bb major, Eb major, Ab major, or Db major. Likewise, if you wanted to write in C minor, the above-listed major scales would ALSO be options from which you could borrow chords. Now, let s add the related minor keys to this table. The related minor key refers to the relative minor scale of the related major scale to our mode [i.e., C lydian s related major scale is G major; its relative minor scale is Em; therefore, the related minor scale to C lydian is E Minor] Scale Related Major Relative Minor C Lydian C D E F# G A B G Major E Minor C Ionian C D E F G A B N/A [C] A Minor C Mixolydian C D E F G A Bb F Major D Minor C Dorian C D Eb F G A Bb Bb Major G Minor C Aeolian C D Eb F G Ab Bb Eb Major N/A [Cm] C Phrygian C Db Eb F G Ab Bb Ab Major F Minor C Locrian C Db Eb F Gb Ab Bb Db Major Bb Minor Keep in mind that even though you re using the same exact notes from your related scales, what determines the key in which you re writing is the sequence of chords you choose for your progression, as well as your melody. So, if you re trying to write in C lydian, you still want to make sure that your progression creates a sense of resolution on the C chord [so, perhaps you want to go from G major to C, or D major to C], and your melody is C-centric when appropriate [keep in mind the relationship of each note in your melody to your respective chords should still sound pleasant and be free of unintentional dissonances].

4 Now, let s look at how this all breaks down in order of modes as they appear in the 1-7 sequence: Mode Related Major Relative Minor C Ionian C D E F G A B N/A [C] A Minor C Dorian C D Eb F G A Bb Bb Major G Minor C Phrygian C Db Eb F G Ab Bb Ab Major F Minor C Lydian C D E F# G A B G Major E Minor C Mixolydian C D E F G A Bb F Major D Minor C Aeolian C D Eb F G Ab Bb Eb Major N/A [Cm] C Locrian C Db Eb F Gb Ab Bb Db Major Bb Minor Just a quick pause now at the order of related scales this presents: From Ionian-Locrian modes, the related major scales are C - Bb - Ab - G - F - Eb - Db, which is the C phrygian scale backwards. From Ionian-Locrian modes, the related minor scales are A - G - F - E - D - C - Bb, which is the A phrygian scale backwards. Now, the last important bit is to look at how all of these chords tie together, so that you gain a full understanding of which chords you can borrow and where they re coming from.

5 Here s a look at the sequence of chords within each modal scale. Notice that the specific overall order of chords never changes; it just starts from a different point within the rotation for each scale: Mode Ionian Maj Min Min Maj Maj Min Dim Dorian Min Min Maj Maj Min Dim Maj Phrygian Min Maj Maj Min Dim Maj Min Lydian Maj Maj Min Dim Maj Min Min Mixolydian Maj Min Dim Maj Min Min Maj Aeolian Min Dim Maj Min Min Maj Maj Locrian Dim Maj Min Min Maj Maj Min And to see how that lays out with respect to each key s respective number chords, here you go: Mode Ionian Major [I] Minor [ii] Minor [iii] Major [IV] Major [V] Minor [vi] Diminished [vii ] Dorian Minor [i] Minor [ii] Major [biii] Major [IV] Minor [v] Diminished [vi ] Major [bvii] Phrygian Minor [i] Major [bii] Major [biii] Minor [iv] Diminished [v ] Major [bvi] Major [bvii] Lydian Major [I] Major [II] Minor [iii] Diminished [#iv ] Major [V] Major [VI] Minor [vii] Mixolydian Major [I] Minor [ii] Diminished [iii ] Major [IV] Minor [v] Minor [vi] Major [bvii] Aeolian Minor [i] Diminished [ii ] Major [biii] Minor [iv] Minor [v] Major [bvi] Major [bvii] Locrian Diminished [i ] Major [bii] Minor [biii] Minor [iv] Major [bv] Major [bvi] Minor [bvii]

APPENDIX A SOME MUSIC INFORMATION

APPENDIX A SOME MUSIC INFORMATION This appendix has some general information on music. This includes: 1. Musical notes 2. Musical scale formation and the relationship of notes to the scale; 3. Chord formation;