{"id":10630,"date":"2015-12-03T00:00:13","date_gmt":"2015-12-03T08:00:13","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=10630"},"modified":"2024-10-19T16:24:16","modified_gmt":"2024-10-20T00:24:16","slug":"major-and-minor-modes","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/major-and-minor-modes\/","title":{"rendered":"The Difference Between Major and Minor Modes"},"content":{"rendered":"<p>In today&#8217;s post, let&#8217;s turn our attention to the difference between major and minor modes. But to do that, let&#8217;s first discuss tonality.<\/p>\n<h2>TODAY &#8211; <em>TONALITY<\/em><\/h2>\n<p>The concept of <em>key<\/em> in music is called tonality. Ever heard the terms <em>&#8220;major key&#8221;<\/em> or <em>&#8220;minor key?&#8221;<\/em> That&#8217;s because there are <strong>two classes<\/strong> of tonalities &#8211; major and minor.<\/p>\n<p>Tonality describes the emotional character of a key.<\/p>\n<p>In life, there is usually a contrast between two characters, modes, or ends of a spectrum. Some examples include:<\/p>\n<ul>\n<li>light and darkness,<\/li>\n<li>happiness and sadness,<\/li>\n<li>good and bad,<\/li>\n<li>beauty and ugliness,<\/li>\n<li>masculinity and feminity,<\/li>\n<\/ul>\n<p>And now you have:<\/p>\n<ul>\n<li><strong><strong>major and minor.<\/strong><\/strong><\/li>\n<\/ul>\n<p>This same <em>law of contrast<\/em> is the reason there are two tonalities in music: the major tonality and the minor tonality (aka &#8211; &#8220;major key&#8221; and &#8220;minor key&#8221;).<\/p>\n<p>The process of reproducing the major or minor tonality will entail the use of what we call &#8220;pitch modifiers&#8221; (sharps, flats etc.).<\/p>\n<p>For example, here&#8217;s the C major scale:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,D,E,F,G,A,B,C&amp;color=FFCCCC&amp;size=2\" border=\"0\" \/><\/p>\n<p>If we want to reproduce the major scale in &#8220;A,&#8221; a certain number of sharps will come into the picture.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=A,B,Cs,D,E,Fs,Gs,A&amp;color=FFCCCC&amp;size=2\" border=\"0\" \/><\/p>\n<p>The number of sharps in the A major scale is three. This is its uniqueness &#8211; there is no other major scale that has this number of sharps &#8211; it&#8217;s exclusive to A. This uniqueness is known as <em>key signature<\/em>.<\/p>\n<p>Each tonality is unique and has its signature. Key signature is a set of pitch modifiers (sharps, flats etc.) that distinguish one tonality or key from the other.<\/p>\n<p>For example, you know that C major and A major are different from each other.<\/p>\n<blockquote><p>C has no sharps, while A has three sharps (on F, C and G).<\/p><\/blockquote>\n<h2>YESTERDAY &#8211; MODALITY<\/h2>\n<p>Several centuries ago, there was nothing like tonality, which is commonly called the <em>key center<\/em> or simply the <strong>key<\/strong>.<\/p>\n<p>The order of the day was <em>modes<\/em>. The difference between modes and scales is this:<\/p>\n<p>In modes, we don&#8217;t have to reproduce a scale twice. In other words, we start from C to C, D to D, E to E, etc. without pitch modifiers. You should be familiar with these seven modes:<\/p>\n<p>Ionian<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,D,E,F,G,A,B,C&amp;color=FFCCCC&amp;size=2\" alt=\"major and minor modes C D E F G A B C\" border=\"0\" \/><\/p>\n<p>Dorian<br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=D,E,F,G,A,B,C,D&amp;color=FFCCCC&amp;size=2\" alt=\"major and minor modes D E F G A B C D\" width=\"561\" height=\"176\" border=\"0\" \/><\/p>\n<p>Phrygian<br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=E,F,G,A,B,C,D,E&amp;color=FFCCCC&amp;size=2\" alt=\"major and minor modes E F G A B C D E\" width=\"561\" height=\"176\" border=\"0\" \/><\/p>\n<p>Lydian<br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=F,G,A,B,C,D,E,F&amp;color=FFCCCC&amp;size=2\" alt=\"major and minor modes F G A B C D E F\" width=\"561\" height=\"176\" border=\"0\" \/><\/p>\n<p>Mixolydian<br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=G,A,B,C,D,E,F,G&amp;color=FFCCCC&amp;size=2\" alt=\"major and minor modes G A B C D E F G\" width=\"561\" height=\"176\" border=\"0\" \/><\/p>\n<p>Aeolian<br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=A,B,C,D,E,F,G,A&amp;color=FFCCCC&amp;size=2\" alt=\"major and minor modes A B C D E F G A\" width=\"561\" height=\"176\" border=\"0\" \/><\/p>\n<p>Locrian<br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=B,C,D,E,F,G,A,B&amp;color=FFCCCC&amp;size=2\" alt=\"major and minor modes B C D E F G A B\" width=\"561\" height=\"176\" border=\"0\" \/><\/p>\n<h2>Classification of Major and Minor Modes<\/h2>\n<p>Have you ever tried to describe an event from a long time ago, but in today&#8217;s terms? Let&#8217;s say you&#8217;re trying to explain the &#8220;telegram&#8221; to young teens who haven&#8217;t a clue what it is. You&#8217;d probably have to make a comparison like this&#8230;<\/p>\n<p>1940: &#8220;Did you get my telegram?&#8221;<\/p>\n<p>2015: &#8220;Did you get my sms\/email?&#8221;<\/p>\n<p>This is exactly what our attempt to classify modes looks like. We&#8217;re using tonality to classify modality.<\/p>\n<p>When modes were used, there wasn&#8217;t tonality or key. The terms major and minor are attributes of tonality, and not modality. There is actually a school of thought against the classification of modes according to tonality. However, we are intentionally doing it because we want to find out what these seven modes have in common. <i>We are giving tonal attributes to modal scales.<\/i><\/p>\n<h2>The Difference Between Major and Minor Modes &#8211; Explored<\/h2>\n<p>The very first thing to do in order to ascertain if a scale is major or minor is to determine the interval between the <em>first<\/em> and the <em>third<\/em> tone of the scale. So the interval between the root and the third tone of the scale is the <i>litmus test<\/i> to ascertain the tonality of a scale.<\/p>\n<p><strong>Major Scales:<\/strong> If the interval between the first and third tone of the scale is a major third, then the scale is a major scale.<\/p>\n<p><strong>Minor Scales:<\/strong> If the interval between the first and third tone of the scale is a minor third, then the scale is a minor scale.<\/p>\n<div class=\"productinfo\">At this point, I need to emphasize the importance of the knowledge of major 3rds and minor 3rds in all the keys. If you don\u2019t know about major 3rds and minor 3rds, here&#8217;s a lesson on <a href=\"https:\/\/www.hearandplay.com\/main\/consonant-intervals\">consonant intervals<\/a> with a free 111-pg pdf guide.<\/div>\n<p>To recap, we have a:<\/p>\n<ul>\n<li>C to C mode called the Ionian mode<\/li>\n<li>D to D mode called the Dorian mode<\/li>\n<li>E to E mode called the Phrygian mode<\/li>\n<li>F to F mode called the Lydian mode<\/li>\n<li>G to G mode called the Mixolydian mode<\/li>\n<li>A to A mode called Aeolian mode<\/li>\n<li>B to B mode called the Locrian mode.<\/li>\n<\/ul>\n<p>These seven modes can be classified into two: Major modes and minor modes.<\/p>\n<p>All we have to do is determine the quality of <em>third<\/em>, to know which is major and which is minor.<\/p>\n<div class=\"productinfo\">\n<p>Here&#8217;s a quick cheat sheet for thirds. (But I recommend checking out my <a href=\"https:\/\/www.hearandplay.com\/main\/consonant-intervals\">full-length lesson<\/a> and 111-pg pdf guide to get a comprehensive look at this.)<\/p>\n<p><strong>Major thirds:<\/strong><br \/>\nC E<br \/>\nD F#<br \/>\nE G#<br \/>\nF A<br \/>\nG B<br \/>\nA C#<br \/>\nB D#<\/p>\n<p><strong>Minor thirds:<\/strong><br \/>\nC to Eb<br \/>\nD to F<br \/>\nE to G<br \/>\nF to Ab<br \/>\nG to Bb<br \/>\nA to C<br \/>\nB to D<\/p>\n<\/div>\n<p><strong>The Ionian mode:<\/strong> <strong>C<\/strong> D <strong>E<\/strong> F G A B C. The first and third tones of this mode happen to be C and E.<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=C,E&amp;color=FFCCCC&amp;size=2\" border=\"0\" \/><\/p>\n<p>Considering that the interval between C and E is a major 3<sup>rd<\/sup>, the Ionian mode is a major mode.<\/p>\n<p><strong>Dorian mode:<\/strong> <strong>D<\/strong> E <strong>F<\/strong> G A B C D. The 1<sup>st<\/sup> and the 3<sup>rd<\/sup> tones of this mode are D and F.<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=D,F&amp;color=FFCCCC&amp;size=2\" border=\"0\" \/><\/p>\n<p>D and F is a minor 3<sup>rd<\/sup>, therefore the dorian mode is a minor mode.<\/p>\n<p><strong>Phrygian mode:<\/strong> <strong>E<\/strong> F <strong>G<\/strong> A B C D E. The 1<sup>st<\/sup> and the 3<sup>rd<\/sup> tones of this mode are E and G.<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=E,G&amp;color=FFCCCC&amp;size=2\" border=\"0\" \/><\/p>\n<p>E-G is a minor 3<sup>rd<\/sup>, therefore the phrygian mode is a minor mode.<\/p>\n<p><strong>Lydian mode: <\/strong><strong>F<\/strong> G <strong>A<\/strong> B C D E F. The 1<sup>st<\/sup> and the 3<sup>rd<\/sup> tones of this mode happen to be F and A.<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=F,A&amp;color=FFCCCC&amp;size=2\" border=\"0\" \/><\/p>\n<p>Considering that the interval between F and A is a major 3<sup>rd<\/sup>, the Lydian mode is a major mode.<\/p>\n<p><strong>Mixolydian mode: <\/strong><strong>G<\/strong> A <strong>B<\/strong> C D E F G. The 1<sup>st<\/sup> and the 3<sup>rd<\/sup> tones of this mode happen to be G and B.<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=G,B&amp;color=FFCCCC&amp;size=2\" border=\"0\" \/><\/p>\n<p>Considering that the interval between G and B is a major 3<sup>rd<\/sup>, the Mixolydian mode is a major mode.<\/p>\n<p><strong>Aeolian mode:<\/strong> <strong>A<\/strong> B <strong>C<\/strong> D E F G A . The 1<sup>st<\/sup> and the 3<sup>rd<\/sup> tones of this mode are A and C.<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=A,C&amp;color=FFCCCC&amp;size=2\" border=\"0\" \/><\/p>\n<p>A and C is a minor 3<sup>rd<\/sup>, therefore the Aeolian mode is a minor mode.<\/p>\n<p><strong>Locrian mode:<\/strong> <strong>B<\/strong> C <strong>D<\/strong> E F G A B. The 1<sup>st<\/sup> and the 3<sup>rd<\/sup> tones of this mode are B and D.<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=B,D&amp;color=FFCCCC&amp;size=2\" border=\"0\" \/><br \/>\nB-D is a minor 3<sup>rd<\/sup>, therefore the locrian mode is a minor mode.<\/p>\n<p>If you put everything together, you&#8217;ll have 3 major modes and 4 minor modes.<\/p>\n<p><strong>The three major modes<\/strong> are Ionian mode, Lydian mode, and the Mixolydian mode.<\/p>\n<p>[Tweet &#8220;The three major modes are Ionian mode, Lydian mode, and the Mixolydian mode.&#8221;]<\/p>\n<p><strong>The four minor modes<\/strong> are the Dorian, Phrygian, Aeolian, and the Locrian mode.<\/p>\n<p>[Tweet &#8220;The four minor modes are the Dorian, Phrygian, Aeolian, and the Locrian mode&#8221;]<\/p>\n<p>P.S.<\/p>\n<p>If you enjoyed this lesson, then you&#8217;ll love our upcoming course on scales &#8211; <a href=\"https:\/\/www.hearandplay.com\/main\/hearandplay120\">HearandPlay 120 &#8211; Scales<\/a> where scales and modes are broken down into digestible fragments. <a href=\"https:\/\/www.hearandplay.com\/main\/hearandplay120\">Click here to sign up on our notification list<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In today&#8217;s post, let&#8217;s turn our attention to the difference between major and minor modes. But to do that, let&#8217;s first discuss tonality and how this concept has developed over the years.<\/p>\n","protected":false},"author":9,"featured_media":23026,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9,229],"tags":[17,1836,1833,621,1835,1834],"class_list":["post-10630","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-piano","category-scales-theory-piano","tag-basic-songs","tag-major-and-minor-modes","tag-major-modes","tag-major-vs-minor","tag-major-vs-minor-modes","tag-minor-modes","post-wrapper","thrv_wrapper"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Difference Between Major and Minor Modes - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In today&#039;s post, let&#039;s turn our attention to the difference between major and minor modes. 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