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The Seven Modes

General Feeling Mode 1 2 (9) 3 4 (11) 5 6 (13) 7
Quirkily Uplifting
Lydian
1
2
3
♯4
5
6
7
Happy
Ionian
(Major Scale)
1
2
3
4
5
6
7
Happy, but Serious
Mixolydian
1
2
3
4
5
6
♭7
Sad, but Hopeful
Dorian
1
2
♭3
4
5
6
♭7
Sad
Aeolian
(Nat. minor Scale)
1
2
♭3
4
5
♭6
♭7
Dark
Phrygian
1
♭2
♭3
4
5
♭6
♭7
Evil
Locrian
1
♭2
♭3
4
♭5
♭6
♭7
Table adapted from one in the book Hack Music Theory for Songwriting and Producing by Ray Harmony

All Modes are listed from brightest to darkest in quality. The top three Modes (i.e.: Lydian, Ionian, and Mixolydian) are called "Major Modes" because they have a M3 Interval. Likewise, the last four Modes (i.e.: Dorian, Aeolian, Phrygian, and Locrian) are called "minor Modes" because they have a m3 Interval. Underlined Notes are what give that Mode its unique sound, distinct from the regular Major and minor Scales.

Notice that all of the Notes within the Modes are shown in relation to the Scale Degrees of the Ionian or Major Scale. All of them are considered "Parallel Keys" because they all begin on the same Tonic. Seeing the Modes as "Relative Keys" (i.e.: the same Notes just shifted in order) might not give any idea as to how to use them. However, if we think of them as Parallel Keys, then we can see how a Key Change can be used to switch between each of their unique moods.