<<<<<<< back to the Circle of 5ths  Modes Much can be written about modes in music.  We’ll focus only on modern modes and their use in dulcimer music.  If we play the diatonic scale – do re me fa so la ti do -  but change the tone on which the scale begins, we generate a mode of the diatonic scale.  Each of the modes has a name and specific character.  Here are the modes in the keys of D and G. Mode Solfege Key of D Key of G Ionian do re me fa so la ti do D E F# G A B C# D G A B C D E F# G Dorian re me fa so la ti do re E F# G A B C# D E A B C D E F# G A Phrgian me fa so la ti do re me F# G A B C# D E F# B C D E F# G A B Lydian fa so la ti do re me fa G A B C# D E F# G C D E F# G A B C Mixolydian so la ti do re me fa so A B C# D E F# G A D E F# G A B C D Aeolian la ti do re me fa so la B C# D E F# G A B E F# G A B C D E Locrain ti do re me fa so la ti C# D E F# G A B C# F# G A B C D E F#

Most Used Modes The Ionian mode is the most familiar mode.  Ionian, Lydian and Mixolydian modes are major key modes.  Dorian, Aeolian, Phrygian, and Locrian are minor key modes.  Dulcimer players find the most useful modes are Ionian, Dorian, Mixolydian and Aeolian.  The Locrian mode is problematic for all musicians.  The tonic chord is diminished.  The interval between I and V is diminished and that makes for all sorts of  voice leading problems.  Locrian is an unstable mode and rarely seen outside of applications in jazz and concert hall music. Mode Sample Music Ionian most pop tunes and most but not all old time music Dorian Star of the County Down (part A) Greensleeves (part A) Eleanor Rigby (the Beatles) Mixolydian Old Joe Clark Little Beggar Man (Red Haired Boy) Norwegian Wood (the Beatles) Aeolian most "sad" ballads in Western music   Phrygian mode is sometimes call "Spanish mode."  It is the harmonic organization for a large number of Spanish folk tunes and much flamenco music.

Chords on the Modes Ionian – this is the familiar mode.  Use the chord boxes developed from the circle of 5ths to choose chords. Dorian Mode -   Refer to the circle of 5ths to generate chord boxes.  Now the tonal center shifts to a different tone and that changes the relationships among the chords. For example, here’s what happens when we play in the Dorian mode of the key of D.  Think of part A of Star of the County Down as you work through this. The Chord Box for D Dorian is: G         D       A Em    Bm    F#m D is the tonic chord in this chord box.  But the Dorian scale uses E as it’s starting point – re me fa so la ti do.  So the tone E must become the central focus of the chord box.  So, in D - Dorian mode Em is the tonic chord.  This shifts the center of the chord box into the relative minor and over to the relative minor of the key of G C       G         D       Am    Em    Bm Em is the tonic chordin this chord box. The chord relations change because the tonic chord has changed.  Now Am and Bm have strong relationships with the tonic Em.  The D tone becomes the subtonic degree of the scale and the D chord plays the role a V chord does in the Ionian mode. Dorian Chord relationships are established for the keys of G and A are established in the same way. Mixolydian Mode – This mode is strong but limited.  Mixolydian mode on D begins the scale on the tone of A - so la ti do re me fa.  The strongest chord relationship is between the tonic A and its subtonic G.  Most mixolydian tunes have a chord structure that move between these two chords.  In Mixolydian D the chord structure would move between the A chord and G chord.  The D chord also fits in these progressions, but it is not strong.  Other chords, like the 5th above A, in this case an Em, are weak in relationship to the A chord. Aeolian Mode – This mode is the relative minor mode of the key and has many of good chord options.  The tonic chord of Aeolian D is Bm.  Once again the subtonic relationship is strong.  So the A chord tends to function something like a V chord in Ionian mode.  A chord box for Aeolian D is: G        D         A Em    Bm    F#m Bm is the tonic chordin this chord box. The other strong relationship is between Bm and Em and its relative major G.  A common chord progression in Aeolian D is:  Bm, F#m, Em, A, D.