Does this in any way make sense. I used the key of C and went thru the different modes with it’s specific spacing, starting at C to see which degrees are flattened in each mode. Let me know Thanks
I find what you have tried to do there kind of daunting. There is a lot ot memorize there if you try to think of each location on the fretboard.
I have been thinking of modes more as a simple shifting of what I already knew.
Ionian (Major) = TTSTTTS
Dorian = TSTTTST
Phrygian = STTTSTT
etc.
Note the pattern is just a shifting of the tone/semitone sequence starting points. I consider this far easier to get my head around than looking at all the data on the fretboard.
Hope that helps! 
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Randy, numbering the root note of any scale anything other then 1 is not going to make sense to 99.9999999% of musicians … those that have not studied Improvise for Real.
I can understand why you do it …
Dorian is the 2nd mode so you numbered the root note 2.
Phrygian is the 3rd mode so you numbered the root note 3.
Honestly, this is using a language, or a frame of reference if you prefer, that people will not understand.
What was your aim / intent in mapping these diagrams. Perhaps we can help.
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Yeah mate, you are making it harder than it has to be.
@sequences makes a good point here in that its in many ways about a simple tonal shift. And then by extension the effect this has on chord function that differs from the major scale sound.
All the knowledge is already there, or should be, before you start looking at modes. Modes is just applying a bit of ‘twist’ to the major scale in 6 different ways; some sour, some sweet.
Of course, you need some sort of framework, and Im ceratainly not saying its easy. But that framework is built off a solid foundational knowledge of the Major scale. Without it, you will continually struggle. Because these modes are modes OF the Major scale.
There are some experts here. I’m not one; but Im almost certain they will all tell that a thorough working knowledge of the Major scale is the pathway to understanding and using the modes. And by ‘knowledge’ I dont mean you know the patterns. That is but the very first step.
Cheers, Shane
I wanted to be able to see which degrees of the mode were flattened. I also wrote it out like this but I could not get my head around how if one note is flattened how it effected the rest of the mode. Each astris between the W whole note and H half note counts as a fret. I think there may some mistakes:
1 2 3 4 5 6 7
W ** W ** H * W ** W ** W ** H * Ionian
W ** H * W ** W ** W ** H * W **Dorian b3,b7
1 2 3 4 5 6 7
W ** W ** H * W ** W ** W ** H * Ionian
H * W ** W ** W ** H * W ** W **Phrygian b2 b3 b6 b7
1 2 3 4 5 6 7
W ** W ** H * W ** W ** W ** H * Ionian
W ** W ** W ** H * W ** W ** H * Lydian b4???
1 2 3 4 5 6 7
W ** W ** H * W ** W ** W ** H * Ionian
W ** W ** H * W ** W ** H * W **Mixolydian b7
1 2 3 4 5 6 7
W ** W ** H * W ** W ** W ** H * Ionian
W ** H * W ** W ** H * W ** W **Aeolian b3 b6? b7
1 2 3 4 5 6 7
W ** W ** H * W ** W ** W ** H * Ionian
H * W ** W ** H * W ** W ** W **Locrian b3 b5 b7??
All the modes are compared to the major scale (ionian) and that is how the differences of each mode are detailed. The way I put each mode starting at C it showed all the differences. The only mistake is in Lydian, its not a b4 its a sharp 4
Yes, that’s correct.
Yes, you spotted it. Good.
Is your study of modes an academic exercise mainly at the moment? I can recommend this topic: Modes Parts 1 - 9
If engaged in a modal discussion, it can be helpful to see all seven grouped together. One way of doing so often involves arranging together with Lydian at the top and Locrian at the bottom.
- Lydian → 1, 2, 3, #4, 5, 6, 7
- Ionian (Major) → 1, 2, 3, 4, 5, 6, 7
- Mixolydian → 1, 2, 3, 4, 5, 6, b7
- Dorian → 1, 2, b3, 4, 5, 6, b7
- Aeolian → 1, 2, b3, 4, 5, b6, b7
- Phrygian → 1, b2, b3, 4, 5, b6, b7
- Locrian → 1, b2, b3, 4, b5, b6, b7
The Major scale (the source of all these modes) - also called Ionian - is shown with all scale degrees emboldened. One scale above it is Lydian. Its one difference compared to major scale is the #4. This is shown in normal font. As you take successive steps down from the major scale, each new scale has one additional variation from the major scale. These changes are shown by removing the emboldened font at every step. Some describe going up from major as moving to something even brighter - the Lydian scale, and each step down as becoming darker.
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