MAJOR MODES
Modes are an essential tool for understanding and analyzing the tonality of any key. For
one to play scales in particular tonality, modes are extremely helpful in finding the center of
that tonality.
When going through any kind of musical analysis, knowing the modes is essential for
garnering a greater understanding what’s happening on a fundamental level; establishing the
relationship between the tonal center and its diatonic and scalar progressions.
For example;
Lets say, we would like to play on “Dmin7” chord or its scale.
At first, we should find the source of the chord.
a. If it is Dorian, the source would be C Major. Dorian is second degree of a major mode.
b. If it is Aeolian, the source would be F Major. Aeolian is sixth degree of a major mode.
c. If it is Phrygian, the source would be Bb Major. Phrygian is the third degree of a major
mode.
d. If it is Dorian b9 b5, the source would be C Harmonic Minor. The scale is the second
degree of Harmonic Minor.
e. If it is Dorian #4, the source would be C Harmonic Minor. The scale is the fourth degree
of Harmonic Minor.
f. If it is Dorian b9 (aka Phrygian natural 13), the source would be C Melodic Minor. The
scale is the second degree of Melodic Minor.
As you see from the list above, an intellectual analysis of the harmony will give you an
efficient result that can be applied to your playing.
In the following pages, you will see three different major, harmonic and melodic minor
examples written in three different keys based on raised augmented (ex. C major, E Major and
Ab Major keys)
In the box on the facing page, you will see all the keys.
Working through the modes for all major and minor keys will inform your note choice
and decision-making while improvising, as well as improve your technical ability on your ins-
trument.
16
MAJORS HARMONIC MINORS MELODIC MINORS
C Major C Minor C Melodic Minor
D Major D Minor C Melodic Minor
D Major D Minor D Melodic Minor
E Major E Minor E Melodic Minor
E Major E Minor E Melodic Minor
F Major F Minor F Melodic Minor
F Major F Minor F Melodic Minor
G Major G Minor G Melodic Minor
A Major A Minor A Melodic Minor
A Major A Minor A Melodic Minor
B Major B Minor B Melodic Minor
B Major B Minor B Melodic Minor
BASIC CHORDS CHEAT SHEET
Maj7 1–3–5–7 -Maj7 1– 3–5–7 V7 5 1–3– 5– 7
+Maj7 1–3– 5–7 -Maj7 5 1– 3– 5–7 V7 9 1–3–5– 7– 9
Min7 1– 3–5– 7 -Maj7 5 1– 3– 5–7 V7 9 1–3–5– 7– 9
Min6 1– 3–6 V7 1–3–5– 7 V7 9 11 1 – 3 – 11 – 7 – 9
Min7 5 1– 3– 5– 7 V7 11 1 – 3 – 11 – 7 V7 9 11 1 – 3 – 11 – 7 – 9
Maj [Major] Min [Minor] - [Minor] + [Augmented (#5)]
17
C Major
IONIAN
Cmaj7
DORIAN
Dmin7
PHRYGIAN
Emin7
LYDIAN
Fmaj7
MIXOLYDIAN
G7
AEOLIAN
Amin7
LOCRIAN Bmin7
18
E Major
IONIAN
Emaj7
DORIAN
F#min7
PHRYGIAN G#min7
LYDIAN Amaj 7
MIXOLYDIAN B7
AEOLIAN C#min7
5
LOCRIAN D#min7
19
A Major
IONIAN A maj7
DORIAN B min7
PHRYGIAN Cmin7
LYDIAN D maj7
MIXOLYDIAN
E7
AEOLIAN
Fmin7
LOCRIAN Gmin7 5
20
Harmonic Analysis on C Major
Medium Swing
IVmin7 IImin7 V7 Imaj7
B bmin7 E b7 A b maj7
b œ œ
& b b b 44 Ó Ó œ œ œ Ó
F min7
IVmaj7 V7 Imaj7
D b maj7
bbbb Ó nœ œ œ
5 G7 C maj7
& w
VImin7 IImin7 V7 Imaj7
B b7 E b maj7
b œ œ
& b bb Ó Ó nœ œ œ Ó
9 C min7 F min7
IVMaj7 V7 Imaj7
A b maj7
b œ nœ œ œ nœ
& b bb œ œ n Ó nœ nœ
13 D7 G maj7
œ nœ
3
IImin7 V7 Imaj7
bbbb œ œ œ n Ó nœ nœ œ
A min7 D7 G maj7
nœ n
17
& œ
IImin7 V7 Imaj7 V7/VI
#5
b
F #min7
j #C 7
& b bb n œ . œ nœ Ó Ó
B7 E maj7
nœ nœ œ
21
#
IVmin7 IImin7 V7 Imaj7
B bmin7 E b7 A b maj7
25
bbbb
F min7
Ó Ó œ œ œ œ œ Ó
&
21
IVmaj7 IVmin7 IIImin7 b IIIdim7
D b maj7 D bmin7
bb œ nœ œ nœ
&bb œ œ œ Ó œ œ œ Ó
29 C min7 B dim7
bb b b œ œ œ œ
b
IImin7 V7 Imaj7 V7/VI VImin7
G min7 b 5
B bmin7
œ
E b7 A b maj7
œ œ œ œ œ œ
C7 9
Ó Ó
33 F min7
&
Basic Harmonic Analisys Explanation
Key signature is Ab major. This means, we will analyze most of the chords according to the home key,
unless there are modulations, and non-diatonic chords.
Harmonic analysis is done by using the Roman numerals to indicate their function to figure out chord scales.
You will see in the explanation, that we will start from certain notes to figure out how to play their chord
scales. This is the starting point, if you're familiar with basic jazz harmony and theory. If you aren't, you may
consider studying with a jazz harmony instructor.
As long as you are aware of the chord scales of each chord, feel free to
structure your phrases according to the key you are in, and its other chord degrees as well (3rd, 5th and so on)
- Fmin7 (VImin7) This chord is the 6th mode of Ab major. You use the Ab major scale starting from F
- Bbmin7 (IImin7) This chord is the 2nd mode of Ab major. You use the Ab major scale starting from Bb
- Eb7 (V7) This chord is the 5th mode, dominant of Ab major. You use the Ab major scale starting from Eb
- Abmaj7 (Imaj7) This is our home key. You use the Ab major scale
- Dbmaj7 (IVMaj7) This chord is the 4th mode of Ab major. You use the Ab major scale starting from Db
- G7 This chord has actually two functions. As mentioned, we analyze the chords from Ab major,
which is our home key. In that case, it is a secondary dominant.
So, it is analyzed as V7/III (3rd mode; C minor's dominant, 5 of 3), however, it is not resolving to Cmin7,
but C major. This means, that we have a modulation. So, it will be analyzed as V7 of C major.
- Cmaj7 (Imaj7) Since, this chord is analyzed as I major, it is the new home key, and you apply the basic
C major scale.
- Cmin7 (VImin7) Starting from measure 9 to measure 13, we have an exact transposed harmonic motion,
same as we have from measure 1 to measure 5. So there is a new modulation again, and now we are in the
key of Eb major, and the following chords from measure 9 to 13 will be analyzed according to it.
- Fmin7 (IImin7) As mentioned, we are in the key of Eb major. Fmin7 is the 2nd mode of it.
We use the Eb major scale, starting on F
- Bb7 (V7) This chord is the 5th mode of Eb major. Use Eb major scale starting from Bb.
- Ebmaj7 (Imaj7) This chord is our new home key, and we play the Ionian mode, which is the Eb major scale.
- Abmaj7 (IVmaj7) This chord is the 4th mode of Eb major (Lydian mode) and the chord scale will be
Eb major, starting on Ab
22
BASIC HARMONIC ANALYSIS EXPLANATION
Key signature is Ab major. This means, we will analyze most of the chords according to the home
key, unless there are modulations, and non-diatonic chords.
Harmonic analysis is done by using the Roman numerals to indicate their function to figure out
chord scales. You will see in the explanation, that we will start from certain notes to figure out how
to play their chord scales. This is the starting point, if you're familiar with basic jazz harmony and
theory. If you aren't, you may consider studying with a jazz harmony instructor.
As long as you are aware of the chord scales of each chord, feel free to structure your phrases accor-
ding to the key you are in, and its other chord degrees as well (3rd, 5th and so on)
- Fmin7 (VImin7) This chord is the 6th mode of Ab major. You use the Ab major scale starting
from F
- Bbmin7 (IImin7) This chord is the 2nd mode of Ab major. You use the Ab major scale starting
from Bb
- Eb7 (V7) This chord is the 5th mode, dominant of Ab major. You use the Ab major scale starting
from Eb
- Abmaj7 (Imaj7) This is our home key. You use the Ab major scale
- Dbmaj7 (IVMaj7) This chord is the 4th mode of Ab major. You use the Ab major scale starting
from Db
)
- G7 This chord has actually two functions. As mentioned, we analyze the chords from Ab major,
which is our home key. In that case, it is a secondary dominant. So, it is analyzed as V7/III (3rd
mode; C minor's dominant, 5 of 3), however, it is not resolving to Cmin7, but C major. This me-
ans, that we have a modulation. So, it will be analyzed as V7 of C major.
- Cmaj7 (Imaj7) Since, this chord is analyzed as I major, it is the new home key, and you apply
the basic C major scale.
- Cmin7 (VImin7) Starting from measure 9 to measure 13, we have an exact transposed harmonic
motion, same as we have from measure 1 to measure 5. So there is a new modulation again, and
now we are in the key of Eb major, and the following chords from measure 9 to 13 will be analyzed
according to it.
- Fmin7 (IImin7) As mentioned, we are in the key of Eb major. Fmin7 is the 2nd mode of it. We
use the Eb major scale, starting on F
- Bb7 (V7) This chord is the 5th mode of Eb major. Use Eb major scale starting from Bb.
- Ebmaj7 (Imaj7) This chord is our new home key, and we play the Ionian mode, which is the Eb
major scale.
e.
23
- Abmaj7 (IVmaj7) This chord is the 4th mode of Eb major (Lydian mode) and the chord scale
will be Eb major, starting on Ab
- D7 This chord has actually two functions. As mentioned, Eb major is our new home key. In that
case, D7 is a secondary dominant. So, it is analyzed as V7/III (3rd mode; G minor's dominant, V7
of III), however, it is not resolving to Gmin7, but G major. This means, that we have a modulati-
on. So, it is analyzed as V7 of G major.
- Gmaj7 (Imaj7) Since G major is our new home key, we will apply the G Ionian mode, which is
G major.
- Amin7 (IImin7) This chord is the 2nd mode of G major, and we apply the Dorian mode starting
on A.
- D7 (V7) This chord is the 5th mode(Mixolydian) of G major, and we play the G major scale
starting on D.
- Gmaj7 (Imaj7) Since G major is our new home key, we will apply the G Ionian mode, which is
G major. Now, we have a new modulation towards E major, and IImin7 and V7 are used for it.
- F#min7 (IImin7) This chord is the 2nd mode of E major and you play F# Dorian mode.
- B7 (V7) This chord is the 5th mode (Mixolydian) of E major, and you play E major scale starting
on B.
- Emaj7 (Imaj7) Since E major is our new home key, we will apply the E Ionian scale, which is E
major.
- C7#5 (V7/VI) This chord is a secondary dominant (dominant of F minor) and it is used to come
back to the Fmin7 chord, which is in the key of Ab major. It is the original key of the music.
- Fmin7 (VImin7) This chord is the 6th mode of Ab major. You use the Ab major scale starting
from F.
- Bbmin7 (IImin7) This chord is the 2nd mode of Ab major. You use the Ab major scale starting
from Bb.
- Eb7 (V7) This chord is the 5th mode, dominant of Ab major. You use the Ab major scale starting
from Eb.
- Abmaj7 (Imaj7) This is our home key. You use the Ab major scale.
- Dbmaj7 (IVMaj7) This chord is the 4th mode of Ab major. You use the Ab major scale starting
from Db.
- Dbmin7 (IVmin7) this chord is a modal interchange chord.
24
* Modal interchange means; borrowing non-diatonic chords from other modes, for instance;
chords from Melodic Minor mode, and adapting them into, or in between chords to create richer
harmonic timbre, and harmonic motion as well.
- Cmin7 (IIImin7) This chord is the 3rd mode of Ab major. You play the Phrygian mode, that is
the Ab major scale, starting on C.
- Bdim7 (IIIdim7) This chord is a non-diatonic passing chord to connect, and chromatically
move from the IIImin7 chord to the IImin7 chord smoother. These diminished chords receive
diminished scales.
To study diminished scales, please go to the "Diminished Concepts" section in the book.
- Bbmin7 (IImin7) This chord is the 2nd mode of Ab major. You use the Ab major scale starting
from Bb.
- Eb7 (V7) This chord is the 5th mode, dominant of Ab major. You use the Ab major scale star-
ting from Eb.
- Abmaj7 (Imaj7) This is our home key. You use the Ab major Ionian scale.
- Gmin7b5 This chord has 2 functions. As mentioned, we analyze a chord according to the home
key. You may figure out that this chord is the last mode of Ab major, which is Locrian, however,
it is also functioning as IImin7b5 chord of F minor as well. Since we have the IImin7b5 - V7b9
chord progression, mostly this min7b5 chord is borrowed from F Harmonic minor. If you write
an F harmonic minor scale and build a chord on the 2nd degree of the scale, you will find out,
that the Gmin7b5 scale is also existing in F harmonic minor as well. So, when minor chords
have 2 functions in a II-V7-I situation, they do not receive a function, but they are called related
two minor chords.
- C7b9, (V7/IV chord) completes the chorus to get back to the top of the chorus, and resolves
back to F minor.
Important note: When there is a dominant chord, that has b9, or b9 and b13 tensions, you can
consider it the 5th degree of that resolving minor chords' harmonic minor mode. For example,
the C7b9 chord can be built from F harmonic minor's scale notes, starting at C.
Please follow the next page for written versions of each chord scale.
25
b bbb œ œ œ œ œ œ
& œ œ Fmin7 - Aeolian Mode
bb b œ œ œ œ œ œ œ œ
& b Bbmin7 - Dorian Mode
b œ
& b bb œ œ œ œ œ œ œ Eb7 - Mixolydian Mode
b bbb œ œ œ œ œ œ œ œ
& AbMaj7 - Ionian Mode
b
& b bb œ œ œ œ œ œ œ œ DbMaj7 - Lydian Mode
œ œ œ œ œ œ œ
&œ G7 - Mixolydian Mode (modulation to C major)
&œ œ œ œ œ œ œ œ CMaj7 - Ionian Mode (new home key)
b
&bb œ œ œ œ œ œ œ œ Cmin7 - Aeolian Mode (modulation to Eb Major begins)
b b œ œ œ œ œ
& œ œb œ Fmin7 - Dorian Mode (the modulation continues)
bb œ œ œ œ œ œ œ œ
& b Bb7 - Mixolydian Mode (the modulation continues)
26
b œ œ
&bb œ œ œ œ œ œ EbMaj7 - Ionian Mode (New home key)
b bb œ œ œ œ œ œ œ œ
& AbMaj7 - Lydian Mode (in the key of Eb major)
#
& œ œ œ œ œ œ œ œ D7 - Mixolydian Mode - (modulation to G major begins)
#
œ œ œ œ œ œ œ
& œ Gmaj7 - Ionian Mode (new home key)
# œ œ œ œ œ œ
& œ œ Amin7 - Dorian Mode
#
& œ œ œ œ œ œ œ œ D7 - Mixolydian Mode
# œ œ œ œ œ
& œ œ œ Gmaj7 - Ionian Mode
#### œ œ œ œ œ
& œ œ œ F#min7 - Dorian Mode (modulation to E Major begins)
#### œ œ œ œ œ œ œ
& œ B7 - Myxolydian Mode (modulation continues)
#### œ œ œ œ
& œ œ œ œ Emaj7 - Ionian Mode (new home key)
bb
& b b œ œ nœ œ œ œ œ œ C7#5 - Myxolydian Mode (modulation back to Ab begins)
27
b bbb œ œ œ œ œ œ
& œ œ Fmin7 - Aeolian Mode
œ
bb b b œ œ œ œ œ œ œ
& Bbmin7 - Dorian Mode
bb œ œ
&bb œ œ œ œ œ œ Eb7 - Mixolydian Mode
bb b b œ œ œ œ œ œ œ œ
& AbMaj7 - Ionian Mode
b
& b bb œ œ œ œ œ œ œ œ DbMaj7 - Lydian Mode
b
& b bb œ œ b œ b œ œ œ œ œ Db-maj7 - Melodic Minor Mode (modal interchange chord)
b
& b bb œ œ œ œ œ œ œ œ Cmin7 - Phrygian Mode
b
& b bb œ bœ œ nœ
nœ œ nœ œ
Bdim7 - Diminished chords (as a passing chord)
œ
bb b b œ œ œ œ œ œ œ
& Bbmin7 - Dorian Mode
b œ
& b bb œ œ œ œ œ œ œ Eb7 - Mixolydian Mode
bb b b œ œ œ œ œ œ œ œ
& AbMaj7 - Ionian Mode
28
b bbb œ œ œ œ nœ œ œ
& œ Gmin7b5 - Dorian b2 b5 Mode (from F harmonic minor)
b bbb œ œ œ œ œ œ œ
& œ Gmin7b5 - Locrian Mode (from Ab major)
bb
& b b œ œ nœ œ œ œ œ œ C7b9b13 - Mixolydian Mode (from F harmonic minor mode)
b
& b bb n œ œ œ œ œ œ
œ nœ
C7#5 - Mixolydian Mode (from F melodic minor mode)
29
