Guitar Modes Explained

Interactive Explorer + Complete Tutorial

Modes are one of the most misunderstood topics in guitar theory, but they don't have to be. A mode is simply a scale built by starting on a different degree of a parent scale. Each mode has its own interval pattern, its own sound, and its own set of chords.

This page gives you everything you need: an interactive tool that shows every mode on the fretboard with its diatonic chords, plus a step-by-step tutorial covering all 21 modes from three parent scale families.

Modes Explorer

Select a key and a mode to see its notes on the fretboard and the diatonic chords it generates. Toggle between triads and seventh chords, and click any chord card to highlight its tones.

What Are Modes?

Think of modes as scales with a twist. Take the C major scale: C D E F G A B. If you play those same seven notes but start on D instead of C, you get a different pattern of whole steps and half steps, and a completely different sound. That new pattern is called D Dorian.

Start on E and you get E Phrygian. Start on F and you get F Lydian. Each starting point produces a unique mode with its own character, from bright and happy to dark and tense.

Here's the concept in action with the C major scale:

Start on C	C D E F G A B	Ionian (Major)
Start on D	D E F G A B C	Dorian
Start on E	E F G A B C D	Phrygian
Start on F	F G A B C D E	Lydian
Start on G	G A B C D E F	Mixolydian
Start on A	A B C D E F G	Aeolian (Minor)
Start on B	B C D E F G A	Locrian

All seven modes use the same notes, but because each one starts on a different root, the arrangement of whole steps and half steps changes, and that's what gives each mode its distinct flavor.

For example, compare the major scale (Ionian) with Lydian:

C Ionian: C D E F G A B, formula: 1 2 3 4 5 6 7
C Lydian: C D E F# G A B, formula: 1 2 3 #4 5 6 7

The only difference is the raised fourth (#4), but it completely changes the mood of the scale.

Three Parent Scale Families

This same principle, starting on each degree of a parent scale, can be applied to any scale, not just the major scale. In practice, three parent scales give us the most useful modes for guitar:

• Major Scale: 7 modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian)
• Harmonic Minor Scale: 7 modes (Aeolian Maj7, Locrian #6, Ionian #5, Dorian #4, Phrygian Dominant, Lydian #2, Super Locrian bb7)
• Melodic Minor Scale: 7 modes (Melodic Minor, Dorian b2, Lydian Augmented, Lydian Dominant, Mixolydian b6, Aeolian b5, Super Locrian)

That's 21 modes in total, each with its own sound and set of diatonic chords. The interactive tool above lets you explore all of them.

Chords and Modes

Every mode generates a set of diatonic chords, chords built by stacking thirds from each scale degree. With triads, you get three-note chords (major, minor, diminished, augmented). Add a fourth note and you get seventh chords: maj7, min7, dom7, m7b5, dim7, and others.

For example, the C major scale (Ionian mode) generates three major chords (C, F, G), three minor chords (Dm, Em, Am), and one diminished chord (Bdim). Switch to a different mode and you get a completely different set.

Understanding which chords belong to each mode is essential for chord progressions, songwriting, and improvisation. The Roman numeral labels (I, ii, iii, IV, V, vi, vii°) shown in the tool above indicate each chord's function within the mode.

Modes of the Major Scale

The major scale is the foundation of Western music and the best place to start learning modes. Its seven modes range from the brightest (Lydian) to the darkest (Locrian), ordered here from brightest to darkest:

Ionian, 1 2 3 4 5 6 7

The Ionian mode is simply the major scale. It sounds bright, happy, and resolved — the foundation for most pop, rock, and classical music. Ionian scale guitar patterns.

Dorian, 1 2 b3 4 5 6 b7

Dorian is a minor mode with a brighter feel, thanks to its natural 6th degree. It's one of the most popular modes for soloing over minor 7th chords and is widely used in jazz, funk, and blues. Dorian scale guitar patterns.

Phrygian, 1 b2 b3 4 5 b6 b7

The b2 gives Phrygian a dark, exotic quality often associated with flamenco and Middle Eastern music. It works well over minor chords and sus4(b9) voicings. Phrygian scale guitar patterns.

Lydian, 1 2 3 #4 5 6 7

Lydian is the brightest mode, identical to the major scale except for its raised fourth (#4), which creates a dreamy, floating quality. It's a great choice over maj7 and maj7#11 chords. Lydian scale guitar patterns.

Mixolydian, 1 2 3 4 5 6 b7

Mixolydian is identical to the major scale with a flatted seventh (b7). That b7 gives it a bluesy, dominant quality, making it the go-to scale for dominant 7th chords. Think classic rock, blues, and country. Mixolydian scale guitar patterns.

Aeolian, 1 2 b3 4 5 b6 b7

The Aeolian mode is the natural minor scale. It has a sad, melancholic sound and is the basis of countless rock, metal, and pop songs. Aeolian scale guitar patterns.

Locrian, 1 b2 b3 4 b5 b6 b7

Locrian is the darkest major-scale mode. Its diminished fifth (b5) makes it unstable and tense, perfect for half-diminished (m7b5) chords in jazz harmony. Locrian scale guitar patterns.

Modes of the Harmonic Minor Scale

The harmonic minor scale (1 2 b3 4 5 b6 7) raises the seventh degree of the natural minor, creating a distinctive leading tone. Its seven modes have a more exotic, dramatic character:

Aeolian Maj7, 1 2 b3 4 5 b6 7

Also known as the Harmonic Minor scale itself. Very close to the natural minor (Aeolian), but with a major seventh that creates a strong pull toward the tonic. The gap between b6 and 7 gives it a distinctive, slightly Eastern sound. Aeolian Maj7 guitar patterns.

Locrian #6, 1 b2 b3 4 b5 6 b7

Similar to the standard Locrian but with a natural 6th degree, which adds a slightly brighter twist to this otherwise dark mode. Used over m7b5 chords. Locrian #6 guitar patterns.

Ionian #5, 1 2 3 4 #5 6 7

Like the major scale with an augmented fifth (#5). The raised fifth gives it a tense, unresolved quality that works well over augmented major 7th chords. Ionian #5 guitar patterns.

Dorian #4, 1 2 b3 #4 5 6 b7

Also called Lydian Minor. Combines the minor third and flatted seventh of Dorian with a raised fourth (#4), creating an unusual minor mode with a Lydian twist. Dorian #4 guitar patterns.

Phrygian Dominant, 1 b2 3 4 5 b6 b7

The signature sound of flamenco and Spanish guitar. It combines a flat second (b2) with a major third, creating a dramatic, exotic character. Works over dominant 7th(b9) chords. Phrygian Dominant guitar patterns.

Lydian #2, 1 #2 3 #4 5 6 7

Like the Lydian mode with a raised second. The #2 and #4 together give it a bright, almost otherworldly quality. A rare mode, but harmonically rich. Lydian #2 guitar patterns.

Super Locrian bb7, 1 b2 b3 b4 b5 b6 bb7

The most diminished-sounding mode in the harmonic minor family. Every degree except the root is lowered, and the seventh is double-flatted (bb7). Used over diminished 7th chords. Super Locrian bb7 guitar patterns.

Modes of the Melodic Minor Scale

The melodic minor scale (1 2 b3 4 5 6 7) is like a major scale with a flat third. Its modes are heavily used in jazz and fusion, producing sophisticated sounds that sit between major and minor:

Melodic Minor, 1 2 b3 4 5 6 7

Like a major scale with a flat third. The minor third gives it a minor quality, but the major sixth and seventh keep it bright. Essential in jazz for minor-major 7th chords. Melodic Minor guitar patterns.

Dorian b2, 1 b2 b3 4 5 6 b7

Similar to Dorian but with a flat second (b2), adding an exotic, Phrygian-like color to an otherwise familiar minor sound. Used in jazz over sus4(b9) voicings. Dorian b2 guitar patterns.

Lydian Augmented, 1 2 3 #4 #5 6 7

Combines the raised fourth of Lydian with an augmented fifth (#5). A major-sounding mode with a wide, expansive feel. Works over augmented major 7th(#11) chords. Lydian Augmented guitar patterns.

Lydian Dominant, 1 2 3 #4 5 6 b7

Also called Lydian b7 or Mixolydian #4. It has the raised fourth of Lydian combined with the flat seventh of Mixolydian, a dominant-quality mode that sounds great over 7(#11) chords. Lydian Dominant guitar patterns.

Mixolydian b6, 1 2 3 4 5 b6 b7

Also known as the Hindu scale. Like Mixolydian but with a flat sixth, creating a bittersweet dominant quality. Pairs with dominant 7th chords in a melodic minor context. Mixolydian b6 guitar patterns.

Aeolian b5, 1 2 b3 4 b5 b6 b7

Also called Locrian #2. Like the Locrian mode but with a natural second, which makes it more usable. The preferred scale for m7b5 chords in jazz. Aeolian b5 guitar patterns.

Super Locrian, 1 b2 b3 b4 b5 b6 b7

Also called the Altered scale. Every note except the root is altered. It's the go-to scale for jazz players soloing over altered dominant 7th chords (7#9, 7b9, 7#5, 7b5). Super Locrian guitar patterns.

Modal Chord Progressions

Once you know the diatonic chords for a mode, you can build modal chord progressions that capture that mode's unique sound.

For example, the well-known I V vi IV progression in C Ionian is C, G, Am, F. Now try the same Roman numeral pattern using chords from C Lydian (check them with the tool above): you get C, G, Am, F#dim, because Lydian's #4 turns the IV chord into a diminished chord. A small change in the scale, a big change in the sound.

Experiment with different modes, different keys, and both triads and seventh chords. Each combination opens up new harmonic colors for your songwriting and improvisation.

Further Resources

• Guitar Modes: Relative vs Parallel, understand the two ways to think about modes
• Guitar Scale Finder, see fretboard patterns with audio for any scale
• Modal Chord Progressions, explore chord progressions built from each mode
• Guitar Scale Library, complete scale reference with tabs and diagrams