Modes are created by building a scale from each degree of the major scale. Although each mode contains the same notes as its parent major scale, each has a different root and interval structure.
In C Major:
Ionian (C) • Dorian (D) • Phrygian (E) • Lydian (F) • Mixolydian (G) • Aeolian (A) • Locrian (B)
For example, D Dorian uses the same notes as C Major, but D becomes the root.
Watch the companion video below to learn how to visualize the seven modes using the Circle of Fourths.
Circle of Modes
The Circle of Modes arranges every mode in fourth order. Starting at the 12 o’clock position and moving clockwise reveals the interval sequence for each mode.
The yellow wedges highlight the tritone unique to each mode.
Example:
Locrian: ♭5–1
Lydian Example
Lydian begins with the raised 4ᵗʰ.
Fourth Order:
♯4-7-3-6-2-5-1
Mixolydian Example
Mixolydian contains a lowered 7ᵗʰ.
Fourth Order:
3-6-2-5-1-4-♭7
Modal Families
Major Modes: Lydian • Ionian • Mixolydian (Major 3ʳᵈ)
Minor Modes: Dorian • Aeolian • Phrygian (Minor 3ʳᵈ)
Diminished Mode: Locrian (♭5)
Seventh Chords in the Modes
Every major key contains the same four seventh-chord qualities.
Major 7ᵗʰ:
I • IV
Minor 7ᵗʰ:
ii • iii • vi
Dominant 7ᵗʰ:
V
Minor 7♭5:
vii
In C Major:
Major7: Cmaj7, Fmaj7
Minor7: Dm7, Em7, Am7
Dominant7: G7
Minor7♭5: Bm7♭5
Notice the NANDI fourth order:
B–E–A–D–G–C–F
This fourth sequence groups the chord qualities naturally:
Bm7♭5 → Em7 → Am7 → Dm7 → G7 → Cmaj7 → Fmaj7
Once you recognize this pattern, the seventh chords of every major key can be visualized directly from the Circle of Fourths rather than memorized individually.
Learn 6 chords from 6 modes using the same shape:
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 1 | Ionian 1-2-3-4-5-6-7 | |||||||||||||||
| C | D | E | F | G | A | B | C | ||||||||||||||||
| M7 | m7 | m7 | M7 | 7th | m7 | m7♭5 | M7 | ||||||||||||||||
| Dorian 1-2-♭3-4-5-6-♭7 | 1 | 2 | ♭3 | 4 | 5 | 6 | ♭7 | 1 | |||||||||||||||
| D | E | F | G | A | B | C | D | ||||||||||||||||
| m7 | m7 | M7 | 7th | m7 | m7♭5 | M7 | m7 | ||||||||||||||||
| Phrygian 1-♭2-♭3-4-5-♭6-♭7 | 1 | ♭2 | ♭3 | 4 | 5 | ♭6 | ♭7 | 1 | |||||||||||||||
| E | F | G | A | B | C | D | E | ||||||||||||||||
| m7 | M7 | 7th | m7 | m7♭5 | M7 | m7 | m7 | ||||||||||||||||
| Lydian 1-2-3-#4-5-6-7 | 1 | 2 | 3 | #4 | 5 | 6 | 7 | 1 | |||||||||||||||
| F | G | A | B | C | D | E | F | ||||||||||||||||
| M7 | 7th | m7 | m7♭5 | M7 | m7 | m7 | M7 | ||||||||||||||||
| Mixolydian 1-2-3-4-5-6-♭7 | 1 | 2 | 3 | 4 | 5 | 6 | ♭7 | 1 | |||||||||||||||
| G | A | B | C | D | E | F | G | ||||||||||||||||
| 7th | m7 | m7♭5 | M7 | m7 | m7 | M7 | 7th | ||||||||||||||||
| Aeolian 1-2-♭3-4-5-♭6-♭7 | 1 | 2 | ♭3 | 4 | 5 | ♭6 | ♭7 | ||||||||||||||||
| A | B | C | D | E | F | G | A | ||||||||||||||||
| m7 | m7♭5 | M7 | m7 | m7 | M7 | 7th | m7 | ||||||||||||||||
| Locrian 1-♭2-♭3-4-♭5-♭6-♭7 | 1 | ♭2 | ♭3 | 4 | ♭5 | ♭6 | ♭7 | 1 | |||||||||||||||
| B | C | D | E | F | G | A | B | ||||||||||||||||
| m7♭5 | M7 | m7 | m7 | M7 | 7th | m7 | m7♭5 | ||||||||||||||||
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Parallel Modes:
Parallel modes share the same root (tonic) but have different interval structures.
For example, the parallel modes of G are:
G Ionian • G Dorian • G Phrygian • G Lydian • G Mixolydian • G Aeolian • G Locrian
Watch the companion video below to learn how to identify and compare the parallel modes of G using the Circle of Fourths.