Music Fundamentals A Balanced Approach

To write the G Phrygian mode, we begin on G and use three flats in the key signature. (Note that the Phrygian
mode is a M3 above the Ionian mode; G is a M3 above Eb.) Compare this with G Phrygian written using the first
method of constructing modes using whole and half steps.

GPhrygian mode with a key signature

Towrite the BbMixolydian mode, we begin on Bband use three flats in the key signature. (Note that the
Mixolydian mode is the fifth note (P5) above the Ionian mode; Bbis a P5 above Eb.) Compare this with the Bb
Mixolydian written using whole and half steps.

BbMixolydian mode with a key signature

Notice:

• In order to use a key signature to determine the accidentals in a mode, establish the interval of the first note
  of the mode (which we will call the “tonic”) in relation to the “tonic” of the Ionian mode.


• Study the following list.

Ionian Tonic note of a major scale.

Dorian Second note of a major scale, M2 above the tonic

Phrygian Third note of a major scale, M3 above the tonic

Lydian Fourth note of a major scale, P4 above the tonic

Mixolydian Fifth note of a major scale, P5 above the tonic

Aeolian Sixth note of a major scale, M6 above the tonic

Locrian Seventh note of a major scale, M7 above the tonic

Exercise 3

Using the list given above, you can determine the mode of a song by determining the interval of tonic of the
major scale to the tonic of the mode.

Example: “Black Is the Color of My True Love’s Hair,” American folk song

MODES

435

HS HS

HS HS