Your minor modes take up degrees two, three and six of the major scale. Their names?
Dorian is the second degree
Phrygian, is the third
And Aeolian is the sixth.
You may already know of the Aeolian mode as it is the natural minor scale. A bit like how Ionian is the major scale.
Today’s post is all about quickly understanding how the minor modes are built with a brief look into how each one is applied. Just like the major modes, your minor ones have distinct notes that build up the character of each. LET’S LOOK AT THEM.
Minor modes; a breakdown
As mentioned, although these are considered minor modes, they are scales within the major scale. Sticking with C major (like in our major modes post) let’s take a look at the notes we get from a C major scale.
For reference – C – D – E – F – G – A – B – C are the notes in C major.
| Mode | Tonic | Notes | Intervals |
| Dorian | D | D – E – F – G – A – B – C – D | T – ST – T – T – T – ST – T |
| Phrygian | E | E – F – G – A – B – C – D – E | ST – T – T – T – ST – T – T |
| Aeolian | A | A – B – C – D – E – F – G – A | T – ST – T – T – ST – T – T |
Once again by changing the tonic of your scale, the intervals between the notes shift around, creating a different collection of notes compared to the standard major, or in this case, minor scales.
Dorian
Dorian’s scale formula isn’t too dissimilar to the natural minor. As with other minor modes, the third degree is flattened or is a minor third. The only difference between this and the minor scale is the major 6th in place of the usual minor 6th. This gives this minor mode a certain brightness compared to the natural minor. This one interval changes the whole vibe of this sequence of notes. A melancholy, yet optimistic mood often found in blues or jazz.
Phrygian
Phrygian is our second minor mode and the third mode of the major scale. The difference between this mode and the natural minor is the minor 2nd interval, giving a darker yet slightly more exotic vibe. Found largely at home in Spanish style flamenco music, you’ll hear this mode in heavier music such as Metallica’s ‘Wherever I May Roam‘. This is a great mode to utilise if the minor you’re using doesn’t quite have the right amount of heavy you need.
Aeolian
Take the notes of C Ionian and instead of starting from the tonic (C), start from the 6th interval of A. Go from A to A and what does that sound like? That’s right, we’re on the natural minor scale. Just like how the aforementioned Ionian is the major scale. For 100%, absolute sadness, this is the mode for you. A great fit for blues and jazz, you’ll also find a litany of other genres such as rock, pop and country employing this melancholy mode.
Bonus Mode! Locrian
Now Locrian, in some ways could be considered in an emotive category unto itself. Or it could be a major mode, or a minor mode depending on which way you look at it. But for all intents and purposes, it’s consider a minor mode. Odd and rather unnerving, this is certainly the mode least deployed in music. For a real sense of how this mode sounds, pick any key and start on the 7th interval. If you get a feeling of ‘what just happened!?’ then you’ve hit the right notes for this scale.
Locrian’s tritone and lack of a perfect 5th lend this mode it’s bizarre mood. Often utilised by guitarists playing heavier music, a great example of this mode in action is via Björk’s ‘Army of Me‘. Although it resolves on the tonic of C as much as it can, you get a lot of unsettling vibes throughout.
Where next?
By now, hopefully you’ve grasped at least a small understanding of how the modes are built. Don’t forget to check out my previous article on the major modes!
As you get used to both modes, mix things up a little between the tonal variants. You might find that straying from the usual pentatonic scales with these various modes will breath new life into your playing.
Let’s take a quick look as to how a key’s individual modes would work in the key of C (of course);
C Ionian
D Dorian
E Phrygian
F Lydian
G Mixolydian
A Aeolian
B Locrian
So let’s say you’re playing along to a I V ii chord progression. In the key of C your chords would be – C Major7 – G7 – Dminor7
Now use the scale shapes that correspond to these intervals to come up with some interesting patterns and lines. You’ll start to notice how each mode has it’s own distinct flavour of the major scale.
Wanna know more or need guidance in exploring the modes? You know where I am!