If you’ve ever heard a piece of music that felt “exotic,” “jazzy,” “mystical,” or “unsettled,” you might have been hearing modes.
Modes are simply variations of a parent scale that start and resolve on different degrees. The order of whole tones (whole steps) and semitones (half steps) stays the same — but the tonal centre shifts, creating entirely new colours and moods.
Below is a complete guide to all the modes derived from three essential scales: the major scale, the melodic minor scale, and the harmonic minor scale. Each mode includes its scale degree formula (compared with a major scale) so you can build it from any root, and a short description of the sound effect it can result in. You can also find a picture and PDF for quick reference if you scroll down.
Modes of the Major Scale (Ionian System)
These are the traditional “church modes” — seven modes built on each degree of the major scale.
Ionian (I): 1 2 3 4 5 6 7 — major scale itself; bright, stable, familiar.
Dorian (II): 1 2 b3 4 5 6 b7 — minor with raised 6; soulful, wistful, melancholy with lift, versatile, often used in jazz/funk and pop.
Phrygian (III): 1 b2 b3 4 5 b6 b7 — minor with b2; dark, Spanish flavour, mysterious, Renaissance.
Lydian (IV): 1 2 3 #4 5 6 7 — major with #4; dreamy, floaty, other-worldly, modern.
Mixolydian (V): 1 2 3 4 5 6 b7 — major with b7; used in blues, jazz, rock and some folk styles; frequently used with dominant 7th chords.
Aeolian (VI): 1 2 b3 4 5 b6 b7 — natural minor; melancholy, used in folk styles a lot (among other styles).
Locrian (VII): 1 b2 b3 4 b5 b6 b7 — contains diminished 5th degree; unstable, rare, tense, unresolved.
Modes of the Melodic Minor Scale
Melodic minor is a minor scale with a raised 6 and 7 (ascending). Its modes are widely used in jazz and modern harmony.
Melodic minor (I): 1 2 b3 4 5 6 7 — minor with raised 6th and 7th; smooth, lyrical, melancholy.
Dorian♭2 (II): 1 b2 b3 4 5 6 b7— AKA Phrygian 6, or Phrygian♮6, or Phrygian #6; dark, Middle Eastern.
Lydian Augmented (III): 1 2 3 #4 #5 6 7 — Lydian with #5; bright, dreamy, modern.
Lydian Dominant (IV): 1 2 3 #4 5 6 b7 — Mixolydian with #4, or Lydian with b7; jazz dominant, can be otherworldly.
Mixolydian ♭6 (V): 1 2 3 4 5 b6 b7 — Mixolydian mode with a flattened 6th, “Aeolian Dominant”; tense, mysterious, magical, modal dominant.
Locrian♮2 (VI): 1 2 b3 4 b5 b6 b7 — Locrian mode with natural 2; dark but usable.
Altered (VII): 1 b2 b3 b4 b5 b6 b7 — “Super Locrian”; dissonant, jazz dominant, often used over dominant altered chords.
Modes of the Harmonic Minor Scale
Harmonic minor (natural minor with a raised 7) creates a leading tone and a distinctive “Eastern” quality. Its modes are less common but extremely expressive.
Harmonic Minor (I): 1 2 b3 4 5 b6 7 — exotic minor; classical, dramatic, gypsy.
Locrian♮6 (II): 1 b2 b3 4 b5 6 b7 — Locrian with natural 6; rare, dark.
Ionian #5 (III): 1 2 3 4 #5 6 7 — Ionian Augmented, major with sharp 5; lush, bright but can be dark and unsettling depending on context, filmic.
Dorian #4 (IV): 1 2 b3 #4 5 6 b7 — Lydian Diminished, Dorian with sharpened 4th; Unique, exotic, mysterious, can be fusion style.
Phrygian Dominant (V): 1 b2 3 4 5 b6 b7 — major with flat 2, flat 6 and flat 7; Middle Eastern, Flamenco, can be found in jazz.
Lydian #2 (VI): 1 #2 3 #4 5 6 7 — Lydian with sharpened 2; Magical, ambiguous, a little darker than Lydian, unsettled.
Ultralocrian (VII): 1 b2 b3 b4 b5 b6 bb7 — highly dissonant; tension, modern jazz.
How to Work out a Mode
Here is a quick example of how you can work out a mode using the formulas above.
Let’s say you want to work out the Lydian Dominant mode with C as the tonal centre (i.e. C as the root):
The Lydian Dominant is the 4th mode of the melodic minor scale (IV). C is a 4th above G, so the Lydian Dominant starting on C would be based on the G melodic minor (ascending) scale, which is: G A Bb C D E F#. To play the Lydian Dominant, simply play these exact notes, but starting on C, or using C as your tonal centre.
Another way of working it out would be to look at the degrees of the scale starting from C. The degrees of the scale are always described using a major scale pattern (starting on the same root) as the baseline/comparison. The Lydian Dominant degrees of the scale are 1 2 3 #4 5 6 b7.
If we take the C major scale as the baseline to work out the Lydian Dominant on C, we would need to first consider the notes of the C major scale: C D E F G A B, and the degrees of the scale are simply 1 2 3 4 5 6 7.
For the Lydian Dominant the 1st, 2nd and 3rd degrees are unchanged (so C, D, E are unchanged), however the 4th is sharpened, so F becomes F#. The 5th and 6th degrees are also unchanged (G and A), but the 7th is flattened, so the B becomes Bb.
So you end up with C D E F# G A Bb for the Lydian Dominant scale starting on C.
Download a quick reference PDF of all the modes here:
How to Practise Modes
- Start with one parent scale (e.g. C major) and play each mode from C upwards.
- Improvise with each mode over a static bass note or drone to internalise its character.
- Try chord–mode pairing: e.g. Lydian Dominant over a V7 chord, Altered over a V7alt chord, Dorian over a minor 7 chord.
Final Thoughts on Modes
Modes are more than just theory — they’re a palette of colours you can paint with. The difference between Dorian and Aeolian, or Lydian Dominant and Mixolydian, might be a single note — but that note transforms the feel of the music.
If you’ve enjoyed my recent improvisations, many of the sounds you’re hearing come straight from these modal worlds. Whether you’re composing, soloing, or exploring new sounds at the piano, mastering modes is one of the most powerful ways to expand your musical vocabulary.
Read my guide on how to use modes in improvisation at the piano.
Building fluency in keys is the foundation for understanding modes, and the starting point is familiarity with all major keys. You can develop that skill with exercises like this.
Example: Modal Improvisation in Dorian, Dorian sharp 4, Lydian & Mixolydian ♭6
Here is one of my original piano improvisations using a combination of modes. It’s an expressive, long-form piece that shows how modal colour can shape a complete musical atmosphere, and that modal improvisation doesn’t have to be about static vamps.
Example of Improvisation Using Lydian Sharp 2 and Phrygian Dominant modes, Alongside Aeolian
This improvisation of mine is mainly in the Aeolian mode, but starts with the Lydian sharp 2 mode and uses the Phrygian dominant mode in a later section:
You can listen to some more of my modal improvisations here:
Aster — Improvisation in G♯ Aeolian
Chimera — Improvisation in F♯ Dorian & F♯ Aeolian, D Mixolydian ♭6 & D Aeolian
Bluebell — Improvisation in F Dorian & Dorian ♯4, C Phrygian, G & C Mixolydian ♭6
Or explore my full improvisation gallery here.
My improvisations and articles reflect the same detailed, reflective approach I bring to teaching — including my video exchange lessons, where I provide personalised written and video feedback to students worldwide.
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