{"id":965,"date":"2024-09-26T11:58:52","date_gmt":"2024-09-26T09:58:52","guid":{"rendered":"https:\/\/elliasmeinel.de\/?p=965"},"modified":"2024-09-26T11:59:33","modified_gmt":"2024-09-26T09:59:33","slug":"modi","status":"publish","type":"post","link":"https:\/\/elliasmeinel.de\/en\/lehre\/modi\/","title":{"rendered":"Modes"},"content":{"rendered":"

Simply explained, when I use the modes I think of a major scale that is played by the different notes.<\/p>\n\n\n\n

    \n
  1. Ionian<\/strong> (major) <\/li>\n\n\n\n
  2. Dorian<\/strong> (The scale is played from the second note of the major scale)<\/li>\n\n\n\n
  3. Phrygian<\/strong> (The scale is played from the third note of the major scale)<\/li>\n\n\n\n
  4. Lydian<\/strong> (The scale is played from the forth note of the major scale)<\/li>\n\n\n\n
  5. Mixolydian<\/strong> (The scale is played from the fifth note of the major scale)<\/li>\n\n\n\n
  6. Aeolian<\/strong> (The scale is played from the sixth note of the major scale or natural minor)<\/li>\n\n\n\n
  7. Lokrian<\/strong> (The scale is played from the second note of the major scale)<\/li>\n<\/ol>\n\n\n\n

    If you want to build a mode from scratch, you can of course also use Formulas<\/a> for each scale.<\/p>\n\n\n\n

    I. Ionian<\/strong> (1st mode)<\/h3>\n\n\n\n

    whole step \u2013 half step \u2013 whole step \u2013 whole step \u2013 half step \u2013 whole step \u2013 whole step<\/strong><\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    II. Dorian (2nd mode)<\/h3>\n\n\n\n

    whole step \u2013 half step \u2013 whole step \u2013 whole step \u2013 half step \u2013 whole step \u2013 whole step<\/strong><\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    III. Phrygian (3rd mode)<\/h3>\n\n\n\n

    half step \u2013 whole step \u2013 whole step \u2013 whole step \u2013 half step \u2013 whole step \u2013 whole step<\/strong><\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    IV. Lydian (4th mode)<\/h3>\n\n\n\n

    whole step \u2013 whole step \u2013 whole step \u2013 half step \u2013 whole step \u2013 whole step \u2013 half step<\/strong><\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    V. Mixolydian (5th mode)<\/h3>\n\n\n\n

    whole step \u2013 whole step \u2013 half step \u2013 whole step \u2013 whole step \u2013 half step \u2013 whole step<\/strong><\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    VI Aeolian (6th mode)<\/h3>\n\n\n\n

    whole step \u2013 half step \u2013 whole step \u2013 whole step \u2013 half step \u2013 whole step \u2013 whole step<\/strong><\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    VII. Locrian (7th mode)<\/h3>\n\n\n\n

    half step \u2013 whole step \u2013 whole step \u2013 half step \u2013 whole step \u2013 whole step \u2013 whole step<\/strong><\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    How I think about modes:<\/h2>\n\n\n\n
      \n
    1. Ionian<\/strong> (major)<\/li>\n\n\n\n
    2. Dorian<\/strong> (like minor with a major sixth)<\/li>\n\n\n\n
    3. Phrygian<\/strong> (like minor with a minor second)<\/li>\n\n\n\n
    4. Lydian<\/strong> (like major with an augmented forth)<\/li>\n\n\n\n
    5. Mixolydian<\/strong> (like major with a minor seventh)<\/li>\n\n\n\n
    6. Aeolian<\/strong> (natural minor)<\/li>\n\n\n\n
    7. Lokrian<\/strong> (like minor with a minor second and a diminished fifth)<\/li>\n<\/ol>\n\n\n\n

      My current knowledge for practical application:<\/h2>\n\n\n\n
        \n
      • About a Maj#11\/13 Playing Lydian<\/li>\n\n\n\n
      • Play Dorian over a Min11\/b13<\/li>\n\n\n\n
      • Play Mixolydian over a dominant chord<\/li>\n<\/ul>\n\n\n\n

        There will certainly be more insights added to this blog entry over the years. Until then.<\/p>","protected":false},"excerpt":{"rendered":"

        Ganz einfach erkl\u00e4rt denke ich beim verwenden der Modi an eine Dur-Tonleiter, die von den verschiedenen T\u00f6nen angespielt wird. Wenn man einen Modi von Grund auf bilden m\u00f6chte kann man nat\u00fcrlich auch Formulare verwenden: I. Ionisch (1. Modus) Ganzton – Ganzton – Halbton – Ganzton – Ganzton – Ganzton – Halbton II. Dorisch (2. Modus) […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[1],"tags":[34],"class_list":["post-965","post","type-post","status-publish","format-standard","hentry","category-blog","tag-musik-theorie"],"_links":{"self":[{"href":"https:\/\/elliasmeinel.de\/en\/wp-json\/wp\/v2\/posts\/965","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/elliasmeinel.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/elliasmeinel.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/elliasmeinel.de\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/elliasmeinel.de\/en\/wp-json\/wp\/v2\/comments?post=965"}],"version-history":[{"count":2,"href":"https:\/\/elliasmeinel.de\/en\/wp-json\/wp\/v2\/posts\/965\/revisions"}],"predecessor-version":[{"id":974,"href":"https:\/\/elliasmeinel.de\/en\/wp-json\/wp\/v2\/posts\/965\/revisions\/974"}],"wp:attachment":[{"href":"https:\/\/elliasmeinel.de\/en\/wp-json\/wp\/v2\/media?parent=965"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/elliasmeinel.de\/en\/wp-json\/wp\/v2\/categories?post=965"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/elliasmeinel.de\/en\/wp-json\/wp\/v2\/tags?post=965"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}