Several years into learning music theory, most music students eventually come across a concept called "modes". Depending on how it's taught, this concept can seem quite complicated, or even not important enough to put in the work to understand. In this article, I will explain the concept of church modes a few different ways. Some people find one explanation more useful than the other, but it's best to try to understand it in as many ways as possible. Church modes are different variations of the major scale. Each mode has a different set of notes which are altered in order to achieve that mode. The seven modes are called Ionian, Durian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian.
Here is a brief explanation of which notes are altered in each mode: Ionian - major scale Durian - b3, b7 Phrygian - b2, b3, b6, b7 Lydian - #4 Mixolydian - b7 Aeolian - b3, b6, b7 Locrian - b2, b3, b5, b6, b7 There are two main ways to make sense of these different sets of notes. One way is to order them from the "brightest," or most major sounding scale, to the "darkest," most minor sounding scale. The other way is to order the modes by starting on each note of the major scale. I will further explain this below: Bright to Dark By putting the modes in order from brightest to darkest, it helps to hear the difference in sound between each mode. With this method, you can practice the modes by playing in one key center, and playing each mode around that key center. The order of the modes from bright to dark is: Lydian, Ionian, Mixolydian, Durian, Aeolian, Phrygian, Locrian. You can use the mnemonic LIMDAPL (pronounced "limbed apple") to remember the order. The advantage of using this method to understand and practice modes is that you are always only altering one note when switching from one mode to the next. For example, if you choose C as your key center, you would start in Lydian, and the key signature would have one sharp (F#). The next mode would be C Ionian (major), and you would have no sharps or flats. After that would be C Mixolydian, with one flat (Bb). As you go, you would continue lowering notes in the scale until you get through all the modes. I find this method very effective for hearing the differences between each scale's sound. It's also very helpful to see the difference between the finger patterns of each mode on an instrument. Consistent Key Signature The other way to organize the modes is by all the scale degrees in one key signature. This way, it's easier to see how each mode is connected to one major scale. In this method, the modes are ordered like this: Ionian, Durian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian. The advantage of practicing the modes this way is that all the finger patterns stay the same, and the only thing that changes is the starting note of the scale. For example, if you practice all the modes that have no sharps or flats, you would start on C Ionian. Then you would go to D Durian, which also has no sharps or flats, and starts on the note D. Next would be E Phrygian, a scale starting on the note E, with all natural notes. You would continue playing scales starting on the notes F, G, A, and B, all with no sharps or flats. And, you can apply this to any key signature. The idea with this method is to stick with the same key signature, while starting on every different key center. Why It's Useful Of course, the questions on everyone's mind is, "Why does any of this matter?" Modes, if studied, understood thoroughly, and applied well, can be very powerful in many aspects of music making. One application is in improvisation. If you can consciously apply modes to your improvisation, it means you can control the mood and emotion of what you are playing. Modes are also useful when trying to understand or analyze a piece of music. This has many sub-uses, such as trying to compose music with a certain feeling, or simply trying to understand why a song produces a certain emotion when listening to it. No matter how it's explained, the concept and application of church modes can be quite challenging. The key to mastering them is to have several people explain them to you, all in different ways. Once you think you get the idea, find someone else to explain it to you a different way. The more ways you hear it, the more likely you will start to understand. Also, the more you make the effort to use different modes in your music, or hear them in other people's music, the more you'll internalize the sounds and feelings each mode presents.
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Alani SugarAlani Sugar is a young fiddle and mandolin player from Maryland. She has been involved in the region's music scene since she was 15 years old, and has the attention of musicians and music lovers alike in the area. She currently works as a professional musician and teaches fiddle and mandolin lessons online via Skype Archives
January 2024
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