# Mode Relations

The unique "graph" below maps the relationship between all the various modes of common scales; from the perspective of: which scales tones are modified as you go from one mode to another.

On the graph are "bubbles" for each mode. The Ionian mode is a starting point, and links extend out for any modification that leads to another mode of a represented scale. The scales that are represented are:

• Diatonic (All 7 Modes)
• Melodic Minor (All 7 Modes)
• Harmonic Minor (All 7 Modes)
• Diminished (Both Modes)
• Whole Tone
• Bebop (Dominant, Minor, Half-Diminished, and Major)
• Pentatonic (Major and Minor)
• Blues (Major and Minor)

(Abbreviations on the graph indicate the mode: "MM-1 for Melodic Minor mode 1, HM for Harmonic Minor, etc.)

The graph is also somewhat organised: Scale tone modifications span left-right on the graph: all modes are a single modification away from adjacent modes. And in a general sense, modifications that are sharps move up the graph, and flats go down.

For an example:

Lydian, Mixolydian, and Melodic minor are all adjacent to Ionian: each differs from Ionian by only a single modified scale tone. Lydian is connected to Ionian by a "♯4" link, representing the fact that by modifying Ionian with a ♯4 you arrive at Lydian. And since Lydian has a sharp alteration and Mixolydian has a flat, it it positioned higher on the graph.

Notice that this graph is not "perfect", strictly speaking. There are enharmonic interpretations that might lead to certain bubbles potentially being positioned differently; and it may be possible that not all relationships are represented.

Below is also included a text outline generated by the software used to make the graph (this graph was created with CmapTools). This also gives an interesting perspective to see the relationships: it is similarly not "perfect", but it gathers together all the modes that share the same modification: in other words, under "♭7" you will find listed all modes that do contain the flatted 7.

(TODO: Have a software developer implement a "live" version of this map: so it can be re-centered on any mode, showing the relative changes from that mode; and similarly for the list; and a collapsible list too.)

## The Text Outline:

• Ionian

• ♯4
• Lydian
• ♯2
• Lydian ♯2 (HM-6)
• ♯5
• Lydian ♯5 (Augmented Lydian) (MM-3)
• ♭7, no 6
• Whole Tone
• ♭7
• Lydian ♭7 (Mixolydian ♯11) – Lydian Dominant (MM-4)
• ♯5, no 6
• Whole Tone
• ♭3
• Dorian ♯4 (HM-4)
• ♯5
• Ionian ♯5 (HM-3)
• ♯4
• Lydian ♯5 (Augmented Lydian) (MM-3)
• ♭7, no 6
• Whole Tone
• Bebop Major
• Bebop Major
• Bebop Dominant
• ♭3
• Melodic Minor
• ♭6
• Harmonic Minor
• Diminished (W-H)
• ♭7
• Aeolian
• ♭2
• Phrygian
• ♭5
• Locrian
• ♭4
• Altered (Super-Locrian / Locrian ♭4) (MM-7)
• ♭♭7
• Dominant Diminished ♭6 without 8 (HM-7)
• ♭5
• Locrian ♯2 (Aeolian ♭5) (MM-6)
• ♭2
• Locrian
• ♭4
• Altered (Super-Locrian / Locrian ♭4) (MM-7)
• ♭♭7
• Dominant Diminished ♭6 without 8 (HM-7)
• no 2, no 6
• Minor Pentatonic
• Minor Blues
• ♭7
• Dorian
• ♯4
• Dorian ♯4 (HM-4)
• Bebop Dorian
• ♭2
• Dorian ♭2 (Phrygian ♯6) (MM-2)
• Dominant Diminished (H-W)
• ♭5
• Locrian ♯6 (HM-2)
• ♭6
• Locrian
• ♭4
• Altered (Super-Locrian / Locrian ♭4) (MM-7)
• ♭♭7
• Dominant Diminished ♭6 without 8 (HM-7)
• ♭6
• Phrygian
• ♭5
• Locrian
• ♭4
• Altered (Super-Locrian / Locrian ♭4) (MM-7)
• ♭♭7
• Dominant Diminished ♭6 without 8 (HM-7)
• ♭6
• Aeolian
• ♭2
• Phrygian
• ♭5
• Locrian
• ♭4
• Altered (Super-Locrian / Locrian ♭4) (MM-7)
• ♭♭7
• Dominant Diminished ♭6 without 8 (HM-7)
• ♭5
• Locrian ♯2 (Aeolian ♭5) (MM-6)
• ♭2
• Locrian
• ♭4
• Altered (Super-Locrian / Locrian ♭4) (MM-7)
• ♭♭7
• Dominant Diminished ♭6 without 8 (HM-7)
• no 2, no 6
• Minor Pentatonic
• Minor Blues
• no 2, no 6
• Minor Pentatonic
• Minor Blues
• ♭7
• Mixolydian
• ♯11
• Lydian ♭7 (Mixolydian ♯11) – Lydian Dominant (MM-4)
• ♯5, no 6
• Whole Tone
• ♭3
• Dorian ♯4 (HM-4)
• Bebop Dominant
• ♭3
• Dorian
• ♯4
• Dorian ♯4 (HM-4)
• Bebop Dorian
• ♭2
• Dorian ♭2 (Phrygian ♯6) (MM-2)
• Dominant Diminished (H-W)
• ♭5
• Locrian ♯6 (HM-2)
• ♭6
• Locrian
• ♭4
• Altered (Super-Locrian / Locrian ♭4) (MM-7)
• ♭♭7
• Dominant Diminished ♭6 without 8 (HM-7)
• ♭6
• Phrygian
• ♭5
• Locrian
• ♭4
• Altered (Super-Locrian / Locrian ♭4) (MM-7)
• ♭♭7
• Dominant Diminished ♭6 without 8 (HM-7)
• ♭6
• Aeolian
• ♭2
• Phrygian
• ♭5
• Locrian
• ♭4
• Altered (Super-Locrian / Locrian ♭4) (MM-7)
• ♭♭7
• Dominant Diminished ♭6 without 8 (HM-7)
• ♭5
• Locrian ♯2 (Aeolian ♭5) (MM-6)
• ♭2
• Locrian
• ♭4
• Altered (Super-Locrian / Locrian ♭4) (MM-7)
• ♭♭7
• Dominant Diminished ♭6 without 8 (HM-7)
• no 2, no 6
• Minor Pentatonic
• Minor Blues
• no 2, no 6
• Minor Pentatonic
• Minor Blues
• ♭6
• Mixolydian ♭13 (MM-5)
• ♯4, no 5
• Whole Tone
• ♭3
• Aeolian
• ♭2
• Phrygian
• ♭5
• Locrian
• ♭4
• Altered (Super-Locrian / Locrian ♭4) (MM-7)
• ♭♭7
• Dominant Diminished ♭6 without 8 (HM-7)
• ♭5
• Locrian ♯2 (Aeolian ♭5) (MM-6)
• ♭2
• Locrian
• ♭4
• Altered (Super-Locrian / Locrian ♭4) (MM-7)
• ♭♭7
• Dominant Diminished ♭6 without 8 (HM-7)
• no 2, no 6
• Minor Pentatonic