Diatonic Modal Chords
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Diatonic Modal Chords
W
hat?
Major and minor scales have diatonic chords. So do modes.
Furthermore, each mode has characteristic chords that sum up its
unique sound.
W
hy?
The advantages of learning characteristic modal chord progressions are similar
to the advantages of being able to recognize keys, scales, modes, and other compo-
nents of music. They exist whether you’re aware of them or not, and if you are aware of
what to look for, then you’re one step ahead.
Here’s a reminder about notating chords built on chromatically altered (non diatonic) notes.
VI
An A chord in the key of C, for example, would be
—a major chord built on the low-
VI
ered sixth degree. You’ll also see it written
, by the way, depending on who is doing the
In the chart below, the chords that particularly characterize each mode are in bold. These
seven chords per mode. Here’s the gist: In addition to the tonic chord, any chords (with the
1
exception of the diminished chord) which contain the “newest altered note”
the mode. Got it? Let’s go: (By the way, notice that the tonic chord is always important in
M
T
S
M
S
. D
S
L
T
ODE
ONIC
UPERTONIC
EDIANT
UBDOM
OMINANT
UBMEDIANT
EADING
ONE
Í
Lydian
I
II
iiim
iv°
V
vim
viim
Ionian
I
iim
iiim
IV
V
vim
vii°
Mixolydian
I
iim
iii°
IV
vm
vim
VII
Dorian
im
iim
III
IV
vm
vi°
VII
Aeolian
im
ii°
III
ivm
vm
VI
VII
Phrygian
im
II
III
ivm
v°
VI
viim
Locrian
i°
II
iiim
ivm
V
VI
viim
Diatonic Modal Chords
1
Remember the modes “from brightest to darkest”? Reminder: Moving one mode at a time from
Lydian to Locrian, one note is altered (lowered) each time, and every alteration remains for the rest
˜
of the modes. The “newest altered notes” are Ionian’s
4, Mixolydian’s 7, Dorian’s 3, Aeolian’s 6,
119
Phrygian’s 2, and Locrian’s 5.
Chapter 26Ω Diatonic Modal Chords
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