Editing Mode (music) (section)

=== Summary ===
The modes can be arranged in the following sequence, which follows the [[circle of fifths]]. In this sequence, each mode has one more lowered interval relative to the tonic than the mode preceding it. Thus, taking Lydian as reference, Ionian (major) has a lowered fourth; Mixolydian, a lowered fourth and seventh; Dorian, a lowered fourth, seventh, and third; Aeolian (natural minor), a lowered fourth, seventh, third, and sixth; Phrygian, a lowered fourth, seventh, third, sixth, and second; and Locrian, a lowered fourth, seventh, third, sixth, second, and fifth. Put another way, the augmented fourth of the Lydian mode has been reduced to a perfect fourth in Ionian, the major seventh in Ionian to a minor seventh in Mixolydian, etc.{{Citation needed|date=January 2020|reason=This system differs significantly from the one given in the "Analysis" section, above. Neither system is cited.}}

{| class="wikitable" style="text-align: center"
! rowspan="2"| Mode || rowspan="2"| White<br />note || colspan="8" | [[Interval (music)|Intervals]] with respect to the tonic
|-
! style="width: 5em"| unison
! style="width: 5em"| second
! style="width: 5em"| third
! style="width: 5em"| fourth
! style="width: 5em"| fifth
! style="width: 5em"| sixth
! style="width: 5em"| seventh
! style="width: 5em"| octave
|-
! style="text-align: left"| Lydian
| F
| rowspan="7"| perfect
| rowspan="5"| major
| rowspan="3"| major
| rowspan="1"| augmented
| rowspan="6"| perfect
| rowspan="4"| major
| rowspan="2"| major
| rowspan="7"| perfect
|-
! style="text-align: left"| Ionian
| C || rowspan="6" | perfect
|-
! style="text-align: left"| Mixolydian
| G || rowspan="5" | minor
|-
! style="text-align: left"| Dorian
| D || rowspan="4" | minor
|-
! style="text-align: left"| Aeolian
| A || rowspan="3" | minor
|-
! style="text-align: left"| Phrygian
| E || rowspan="2" | minor
|-
! style="text-align: left"| Locrian
| B || rowspan="1" | diminished
|}

The first three modes are sometimes called major,<ref>{{harvp|Carroll|2002|p=134}}</ref><ref name=Marx-1852-336 /><ref>{{harvp|Marx|1852|pp=338, 342, 346}}</ref><ref name=Serna-2013-35>{{harvp|Serna|2013|p=35}}</ref> the next three minor,<ref>{{harvp|Carroll|2002|p=153}}</ref><ref name=Marx-1852-336>{{harvp|Marx|1852|p=336}}</ref><ref name=Serna-2013-35 /> and the last one diminished (Locrian),<ref>{{cite web
|url= https://www.musical-u.com/learn/the-aural-illusions-of-the-locrian-mode/#
|title= The Aural Illusions of the Locrian Mode
|last= Voitinskaia
|first= Anastasia
|website= Musical U
|date= 9 December 2018
|access-date= 2022-09-04
|quote=}}</ref> according to the quality of their [[Tonic (music)|tonic]] [[Triad (music)|triads]]. The Locrian mode is traditionally considered theoretical rather than practical because the triad built on the first scale degree is diminished. Because [[diminished triad]]s are not consonant they do not lend themselves to [[Cadence (music)|cadential endings]] and cannot be tonicized according to traditional practice.

* The Ionian mode corresponds to the major scale. Scales in the Lydian mode are major scales with an [[augmented fourth]]. The Mixolydian mode corresponds to the major scale with a [[minor seventh]].
* The Aeolian mode is identical to the [[Minor scale#Natural minor scale|natural minor scale]]. The Dorian mode corresponds to the natural minor scale with a [[major sixth]]. The Phrygian mode corresponds to the natural minor scale with a [[minor second]].
* The Locrian is neither a major nor a minor mode because, although its third scale degree is minor, the fifth degree is diminished instead of perfect. For this reason it is sometimes called a "diminished" scale, though in jazz theory this term is also applied to the [[octatonic scale]]. This interval is [[enharmonic]]ally equivalent to the augmented fourth found between scale degrees 1 and 4 in the Lydian mode and is also referred to as the [[tritone]].