Properties of Greek Modes

Greek modes have really interesting properties

If we take the seventh chords of the major scale, we would get Imaj7 ii7 iii7 IVmaj7 V7 vii7 viiø7. We can order this by the circle of fifths. In particular, we will get the table below:


Ionian	IVmaj7	Imaj7	V7	ii7	vi7	iii7	viiø7

Notice how it is in the order of chord qualities. When we go to Mixolydian, our seventh turns flat. Four things happen:

the diminished chord’s root goes down a semitone, turning it into a major seventh chord.
the third of the dominant chord goes minor, turning to a minor seventh chord.
the fifth of the last minor seventh chord go flat, turning it to a half diminished chord.
the seventh of the last major seventh chord goes flat, turning it to a dominant seventh chord.

If we were to reorder by the circle of fifths, we get a familiar pattern.


Mixolydian	bVIImaj7	IVmaj7	I7	v7	ii7	vi7	iiiø7
Ionian	IVmaj7	Imaj7	V7	ii7	vi7	iii7	viiø7

We can repeat the process forward and backwards for every mode. We get the final table here:


Locrian	bVmaj7	bIImaj7	bVI7	biii7	bvii7	iv7	iø7
Phrygian	bIImaj7	bVImaj7	bIII7	bvii7	iv7	i7	vø7
Aeolian	bVImaj7	bIIImaj7	bVII7	iv7	i7	v7	iiø7
Dorian	bIIImaj7	bVIImaj7	IV7	i7	v7	ii7	viø7
Mixolydian	bVIImaj7	IVmaj7	I7	v7	ii7	vi7	iiiø7
Ionian	IVmaj7	Imaj7	V7	ii7	vi7	iii7	viiø7
Lydian	Imaj7	Vmaj7	II7	vi7	iii7	vii7	#ivø7

Is this useful? Not really. But I find it interesting that:

The tonic note forms the longest axis. Makes sense because the tonic is always ever.
Every note in Lydian eventually gets a half diminished version.
Every new note in the right column eventually lands a spot in Locrian
Most chords are actually fully minor chords.

last modified on 2026年09月11日