Easy and Fun Introduction to the Modes, part 2

Two Approaches to Teaching Modes: A Deeper Dive

Understanding and applying musical modes is essential for developing a strong improvisational vocabulary and deepening your connection to different tonal colors. In a previous blog post, I introduced the relative approach, where modes are derived from a single major scale by shifting the starting note. This approach helps musicians see how modes exist within a key. However, there is another effective way to approach modes: the parallel approach, where each mode starts on the same root note but alters the intervals.

 

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The Relative Approach to Modes

In the relative approach, each mode is derived from the same parent scale by shifting the starting note. The notes remain the same, but the tonal center shifts, creating different interval relationships and emotional qualities.

For example, in the G major scale (G Ionian):

G Ionian (Major Scale): G – A – B – C – D – E – F# – G
Interval Pattern: W – W – H – W – W – W – H

By shifting the starting note, we generate the other modes within G major:

• G Ionian (1st mode): G – A – B – C – D – E – F# – G
• A Dorian (2nd mode): A – B – C – D – E – F# – G – A
• B Phrygian (3rd mode): B – C – D – E – F# – G – A – B
• C Lydian (4th mode): C – D – E – F# – G – A – B – C
• D Mixolydian (5th mode): D – E – F# – G – A – B – C – D
• E Aeolian (6th mode): E – F# – G – A – B – C – D – E
• F# Locrian (7th mode): F# – G – A – B – C – D – E – F#

Teaching the Relative Approach in Practice

With my student, I had him loop a G chord on my looper pedal and improvise using the G major scale to hear its natural, bright character. Then, I asked him to change the loop to an A minor chord and improvise using the G major scale starting on A—this introduced him to A Dorian.

We continued this for other modes by shifting the tonal center:

• G Ionian over a G major chord
• A Dorian over am A minor chord

• B Phrygian over a B minor chord
• C Lydian over a C major chord
• D Mixolydian over a D major chord
• E Aeolian over an E minor chord
• F# Locrian over an F# half-diminished chord

This exercise helped the student hear how the mode affects the same set of notes while seeing how modes relate to the parent scale.

The Parallel Approach to Modes

In the parallel approach, we keep G as the root and introduce each mode by altering the notes of the G major scale. Rather than thinking in terms of intervals right away, students can first experience the sound and feel of each mode by playing within its parent scale while emphasizing the modal tonic. This means that instead of constructing G Dorian by modifying G major, the student plays an F major scale but starts and ends on G. This immediately immerses them in the tonal center of the mode without the cognitive burden of interval analysis.

Using this method, the modes of G are introduced as follows:

• G Ionian (Major Scale) – From G major: G – A – B – C – D – E – F# – G
• G Dorian – From F major: G – A – Bb – C – D – E – F – G
• G Phrygian – From Eb major: G – Ab – Bb – C – D – Eb – F – G
• G Lydian – From D major: G – A – B – C# – D – E – F# – G
• G Mixolydian – From C major: G – A – B – C – D – E – F – G
• G Aeolian (Natural Minor) – From Bb major: G – A – Bb – C – D – Eb – F – G
• G Locrian – From Ab major: G – Ab – Bb – C – Db – Eb – F – G

Teaching the Parallel Approach in Practice

To reinforce this, I had the student take the G major scale and improvise over a G major chord to establish the sound of Ionian. Then, I had him loop a G minor chord and play an F major scale while treating G as the tonal center—instantly putting him in G Dorian without requiring any interval calculations. We repeated this process for each mode, with the student playing within the parent scale but shifting his focus to G as the starting and resolving point.

This method helped the student internalize the distinct character of each mode without being overwhelmed by theoretical modifications. The understanding of intervals naturally followed as he recognized the modal differences by ear.

By experiencing modes in this way, students quickly develop an intuitive grasp of their sounds before diving deeper into the mechanics of how they differ from the major scale.

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The Power of Listening

During our session, the student noticed that certain modes, particularly Phrygian, Lydian, and Locrian, sounded “wrong” to his ears. These modes have less common tonal relationships in Western music, making them harder to internalize at first.

Just then, a more advanced student arrived and overheard the conversation. He suggested that listening was key and pulled up Spotify playlists filled with hundreds of songs in each mode. This provided the first student with a way to passively train his ears outside of lessons.

I also mentioned that my modal tracks from my album For Music Geeks had been included in some of those playlists. The student found and played my track “Ultra Phrygian”, which he immediately noted had a foreign, exotic sound—exactly what makes Phrygian so unique!

This moment reinforced a valuable lesson: Modes aren’t just theoretical—they need to be heard, felt, and lived in music.

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Using Both Approaches Together

Both the relative and parallel approaches are useful for teaching modes:

• The relative approach helps students see how modes fit within a key and how they relate to their parent scales.
• The parallel approach reinforces how each mode alters the major scale in a structured way.

Using both methods, my student gained a stronger grasp of modal improvisation and a deeper appreciation for modal sounds—all backed by listening practice. If you’re learning modes, try improvising, analyzing the theory, and actively listening to modal music.