Introduction

There are seven modes in the western major scale, but each mode may start on any of the twelve notes. By using the interval formula for each mode, we’ll fix the modal root to the note C and examine the notes and key signatures.

Dorian having root note C

This is the Dorian in the key of Bb. To find the key signature, it's a tone down from the note C.

Phrygian having root note C

This is the Phrygian in the key of Ab. To find the key signature, it's a two tones down from the note C.

Lydian having root note C

This is the Lydian in the key of G. To find the key signature, it's a perfect fourth down from the note C.

Mixolydian having root note C

This is the Mixolydian in the key of F. To find the key signature, it's a perfect fifth down from the note C.

Aeolian having root note C

This is the Aeolian in the key of Eb. To find the key signature, it's a sixth down from the note C.

Locrian having root note C

This is the Locrian in the key of Db. To find the key signature, it's a major seventh down from the note C.

Modes from darker to brighter

By transposing the natural modes into Ionian modal equivalence, the pattern is easier to visualise and understand what is happening.

Let’s look at the following table, modes arrange from darker sounding to bright sounding.

The following tables shows the modes from darkest to lightest.

Chord progression from darker to brighter

Locrian is the darkest mode and Lydian is the brightest mode. The first and third columns are key independent, the middle column is in the key of C. Modes are only one factor when determining in a composition feels dark or bright, there is also melodic and harmonic rhythm, the choice of melody intervals, the direction of the melody, the tempo, instrumentation, dynamics, touch.