Medieval Modes

In the middle ages, modes were used to organize the melodic and harmonic parts of music.  From the 17th century until the 19th century, modes were not used as widely.  Modes in this time were replaced by the major and minor scales.  Modes, however, are still heard in contemporary music.  Modes, created mainly by the churches, were the basis for most of western music.  Curiously, in modes, the beginning tone is called the final, as opposed to the tonic as in other diatonic scales.

Table of Modes

Name	Range	Final	Half Steps Are Between	Similar Scale
Dorian	D to D	D	2-3, 6-7	Natural minor scale with raised sixth degree
Phrygian	E to E	E	1-2, 5-6	Natural minor scale with lowered second degree
Lydian	F to F	F	4-5, 7-8	Major scale with raised fourth degree
Mixolydian	G to G	G	3-4, 6-7	Major scale with lowered seventh degree
Aeolian	A to A	A	2-3, 5-6	Same as natural minor scale
Ionian	C to C	C	3-4, 7-8	Same as major scale
Locrian	B to B	B	1-2, 4-5	Natural minor with a lowered second and fifth degree.

Modes may begin on any tone as long as the arrangements of half and whole steps remain the same. The identity of a transposed mode can be quickly determined since the final of each mode lies in the same relationship to the tonic of the major with the same key signature.

1. The final of the Dorian mode is always the second degree of the major scale.
2. The final of the Phrygian mode is always the third degree of a major scale.
3. The final of the Lydian mode is always the fourth degree of a major scale.
4. The final of the Mixolydian mode is always the fifth degree of a major scale.
5. The final of the Aeolian mode is always the sixth degree of a major scale.
6. The final of the Ionian mode is always the first degree of a major scale.
7. Locrian modes are rarely used.