B Locrian
Useful mnemonics are ‘I don’t play loud music after lunch’ or ‘I don’t particularly like
modes a lot’.
Each of the modes may be transposed so as to commence on any note, with the
appropriate accidentals inserted, so that the same sequential intervals are heard.
The Ionian mode is identical with the scale of C major and, when transposed, with all the
major scales.
The Aeolian mode is identical with the natural minor scale of A minor (the relative minor
of C major) and, when transposed, with all the natural minor scales.
The A natural minor scale has the same key signature as its relative major. In the case of
C major and A minor there is no key signature or, to put it another way, a ‘null’ key
signature.
The harmonic minor scale is the natural minor scale with the leading note (seventh) of the
natural minor scale sharpened by a semitone.
The melodic minor scale is the natural minor scale with both the sixth and seventh of the
natural minor scale sharpened in the ascending scale but unsharpened when descending.
The major scales, harmonic minor scales and melodic minor scales form the basis of
Western music.
The Ionian, Dorian, Aeolian and Mixolydian modes occur, in roughly descending order
of frequency, in Irish traditional music.
The Phrygian mode (‘natural Phrygian’ mode) is an important part of the Flamenco
sound.
The Dorian mode is found is found in Latin and Laotian music.
The ‘harmonic Phrygian’ mode is found in some central European music and in stylised
Arab music. It consists of the ‘natural Phrygian’ mode with a raised third (third
sharpened by a semitone).
The Myxolydian mode is quite common in jazz and most other forms of popular music.
The Lydian mode is because of its dream-like sound most often heard in soundtrack and
video game music.
Composers who have made use of modes, to a greater or lesser extent, include Chopin,
Liszt, Berlioz, Mussorgsky, Borodin, Debussy, Janá&ek, Sibelius, Vaughan Williams,