In this theory lesson with diagrams and charts you will learn what's the difference between relative and parallel modes and how to play them on guitar.
Diatonic modes, also referred to as church modes or ecclesiastic modes are actually scales within the major scale.
In other words, diatonic modes are built starting from each note of the major scale.
Example with C major :
C major is built with C D E F G A B. When starting from D we get a mode named D Dorian made of D E F G A B C.
When starting from E we get another mode called E Phrygian mode (E F G A B C D) and so on.
Here is a recapitulative chart of the seven diatonic modes of C major :
C major (Ionian Mode)
C
D
E
F
G
A
B
C
D Dorian
D
E
F
G
A
B
C
D
E Phrygian
E
F
G
A
B
C
D
E
F Lydian
F
G
A
B
C
D
E
F
G Mixolydian
G
A
B
C
D
E
F
G
A Aeolian (natural minor)
A
B
C
D
E
F
G
A
B Locrian
B
C
D
E
F
G
A
B
What Is A Parent Scale?
A Parent Scale is the scale from which the seven modes are built.
The following recapitulative chart show all the modes and their parent major scale.
For example, the major parent scale of G Phrygian is Eb. The parent scale of D Aeolian is F.
Relative Modes
We talk about relative modes when they share the same notes (as presented in the first chart).
In other words, relative modes are built with the same notes as in the parent major scale, except they start in different places.
Example with C major :
C major is built with C D E F G A B. When starting from D we get a mode named D Dorian made of D E F G A B C.
When starting from E we get another mode called E Phrygian mode (E F G A B C D).
Learning relative modes is not the best way to hear them, it is better to practice them in parallel as explained below.
However, it allows to understand the connection between them within a unique parent scale.
Parallel Modes
Many guitar players when learning modes for the first time play them within a unique scale, in other words they play the modes that have the same parent scale (relative modes).
This can be useful but you can't hear correcly the differences between them.
Because each mode has a different color, a different sound, it is important to practice them starting from the same tonic note, in parallel.
Here are the seven parallel modes that share the same tonic note (C) :
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