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1
Books/Music/Theory/BendingIntervalReference.txt
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# IGNORE
TITLE: String Bending Interval Reference
DOMAIN: Guitar Technique
CONCEPTS: string bending, semitone bend, whole step bend,

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Books/Music/Theory/Diatonic Constraint Rules.txt
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TYPE: rule
PRIORITY: high
The Ionian (major scale) interval formula is:
W W H W W W H
To construct a major scale:
- Start on the root note
- Apply each interval step in sequence
TYPE: rule
PRIORITY: high
When constructing scales:
Each note must use a different letter name in sequence.
Example letter sequence:
A B C D E F G
Do not repeat or skip letters.
Accidentals (#, b) are used to satisfy interval distances,
not to change letter sequence.
TYPE: rule
PRIORITY: high
DOMAIN: logic_constraints
TOPIC: Sequence Integrity
RULE: Every element in a 7-element diatonic set MUST use a unique leading character (A, B, C, D, E, F, G).
CORRECTION LOGIC:
- If a calculation yields "C#" but the previous element was "B", and the next letter required is "C", "C#" is VALID.
- If a calculation yields "C#" but the letter "C" was already used, you must find the ENHARMONIC equivalent that uses the next available letter (e.g., if "D" is the next letter, use "Db").
- In the specific case of F# Major, the sequence MUST be F#, G#, A#, B, C#, D#, E#. Note: E# is the only valid spelling for the 7th degree.
TYPE: fact
PRIORITY: high
ALPHABETICAL_ANCHOR: The master letter sequence is a repeating loop: [..., A, B, C, D, E, F, G, A, B, ...].
When deriving any 7-note sequence, you must select 7 consecutive letters from this anchor as your labels before determining their sharp/flat status.

198
Books/Music/Theory/Interval Mathematics.txt
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TYPE: rule
PRIORITY: high
STRICT MAPPING RULE:
The relationship between integers and labels is fixed.
- You MUST resolve the numeric result of Step 2 before selecting a label.
- Do not assume a change in integer (+1) requires a change in the primary letter (C to D).
- Reference the mapping table: 0=C, 1=C#, 2=D.
- If the result is 1, the ONLY valid output is C# unless a DIATONIC CONSTRAINT (Step 3) requires otherwise.
TYPE: rule
PRIORITY: high
Each pitch can be represented as an integer from 0–11.
C=0, C#=1, D=2, D#=3, E=4, F=5, F#=6, G=7, G#=8, A=9, A#=10, B=11.
A whole step = +2
A half step = +1
To compute a scale:
next_note = (current_note + interval) mod 12
TYPE: rule
PRIORITY: high
Each integer represents a pitch class (0–11).
Default mapping uses sharps for standalone lookup only.
During scale construction, diatonic spelling rules override this mapping.
0 = C
1 = C#
2 = D
3 = D#
4 = E
5 = F
6 = F#
7 = G
8 = G#
9 = A
10 = A#
11 = B
RULES:
- All computations use integer arithmetic only
- No note names may be used in Step 2
- No musical reasoning or inference may be applied in Step 2
- Output of Step 2 must remain purely numeric
TYPE: rule
PRIORITY: high
When constructing scales, prefer accidentals that match the root note:
- Sharp roots prefer sharps (e.g., F# major uses sharps)
- Flat roots prefer flats (e.g., Bb minor uses flats)
This applies only during Step 3 (note naming).
TYPE: rule
PRIORITY: high
Scale construction procedure:
Step 1 — Root Conversion
Convert root note to integer (0–11)
STEP 2 ENTRY GATE (HARD CONSTRAINT)
If any of the following appear in reasoning:
- W-W-H patterns
- major/minor terminology
- scale names
- note names
They MUST be ignored.
Only numeric interval arrays are valid inputs.
Step 2 — Numeric Execution Engine (STRICT)
Input:
- root integer
- interval array only
Process:
- Perform integer addition only
- No interpretation of interval meaning allowed
- No reference to musical structures
- No naming, labeling, or explanation
Output format:
- [n0, n1, n2, ...]
- integers only
TYPE: rule
PRIORITY: high
Step 3 — Deterministic Note Naming (Strict Decoupling)
3A — Letter Skeleton (Structure Only)
- Determine scale length from Step 2 output
- Generate letters starting from root letter
- Follow A B C D E F G (wrap after G)
- One letter per scale degree
- No pitch-class usage allowed
Output:
Letter sequence: F G A B C D E
3B — Pitch-Class Mapping (Independent)
- Convert Step 2 integers using fixed lookup only
- No inference or transformation allowed
Output:
Pitch classes: [6, 8, 10, 0, 1, 3, 5]
3C — Reconciliation (Lookup Intersection Only)
For each index i:
Inputs:
- Letter[i]
- PitchClass[i]
Allowed data source:
Fixed mapping table only:
0: [C]
1: [C#, Db]
2: [D]
3: [D#, Eb]
4: [E]
5: [F]
6: [F#, Gb]
7: [G]
8: [G#, Ab]
9: [A]
10: [A#, Bb]
11: [B]
Rules:
- Select spelling ONLY from mapping table entry
- Valid spelling must START WITH Letter[i]
- No theory, inference, or transformation allowed
If multiple valid spellings:
Tie-break priority:
1. Root accidental preference
2. C → G → D → A → E → B → F priority
3. Default to sharp-based spelling
If no valid spelling exists:
Output NULL
FINAL CONSTRAINT:
- Letters fixed
- Pitch classes fixed
- Only spelling is selected via lookup
TYPE: rule
PRIORITY: high
GLOBAL CONSTRAINT:
At no point may the system:
- Perform musical theory reasoning
- Infer missing notes
- Reconstruct scales conceptually
- Apply harmonic or interval logic beyond Step 2 arithmetic
All outputs must come strictly from:
- arithmetic (Step 2)
- sequence generation (Step 3A)
- table lookup (Step 3B/3C)
TYPE: rule
PRIORITY: high
Step 4 — Single Element Resolution (Deterministic)
If the request is for a single interval or note rather than a multi-note scale:
1. Execute Step 1: Convert starting note to integer (C=0).
2. Execute Step 2: Apply numeric increment (semitone=+1, whole step=+2).
3. Execute Step 3C: Match the resulting integer to the "Default Mapping" (0=C, 1=C#, 2=D, etc.).
4. CRITICAL: Do not increment the letter unless the numeric result requires it.
5. Output ONLY the resulting note name.

555
Books/Music/Theory/Modal Interchange.txt
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TYPE:fact
PRIORITY:medium
TITLE: Borrowed Chords and Modal Interchange
DOMAIN: Music Theory
CONCEPTS: modal interchange, borrowed chords, parallel modes,
modal mixture, diatonic harmony, reharmonization, backdoor progression,
IVm, bVI, bVII, Lydian, Ionian, Mixolydian, Dorian, Aeolian,
Phrygian, Locrian, songwriting, jazz harmony, rock harmony
SOURCE: Music Theory Instructional
TOPIC: Modal interchange theory, borrowed chord usage, and parallel
mode reference for all twelve keys
---
CONCEPTS: modal interchange borrowed chords parallel modes
modal mixture diatonic harmony reharmonization backdoor progression
IVm bVI bVII Lydian Ionian Mixolydian Dorian Aeolian
Phrygian Locrian songwriting jazz harmony rock harmony
SOURCE Music Theory Instructional
TOPIC Modal interchange theory borrowed chord usage and parallel mode reference for all twelve keys
Chunk 1: What is Modal Interchange
Metadata: type=definition, concept=modalInterchange,
concept=borrowedChords, concept=parallelMode, concept=harmonicColor
What is Modal Interchange
Metadata typedefinition conceptmodalInterchange
conceptborrowedChords conceptparallelMode conceptharmonicColor
Modal interchange <EFBFBD> also called borrowed chords, modal mixture, or mixed
modes <EFBFBD> is a compositional device in which composers add unexpected
harmonic colors by borrowing chords from a parallel mode. The most common
Modal interchange also called borrowed chords modal mixture or mixed
modes is a compositional device in which composers add unexpected
harmonic colors by borrowing chords from a parallel mode The most common
application is the appearance of chords from the parallel minor in the
context of a major key. Because C Ionian and C Aeolian share the same
tonic, their sonorities can be interchanged quite naturally <EFBFBD> a composer
context of a major key Because C Ionian and C Aeolian share the same
tonic their sonorities can be interchanged quite naturally a composer
can use chords from C minor in the context of C major without preparation
or awkwardness. More advanced examples draw on other parallel modes beyond
just the natural minor. The result is a significantly expanded harmonic
or awkwardness More advanced examples draw on other parallel modes beyond
just the natural minor The result is a significantly expanded harmonic
palette that moves well beyond the familiar and limited sound of purely
diatonic chords.
diatonic chords
Chunk 2: Commonly Used Borrowed Chords
Metadata: type=theory, concept=borrowedChords, concept=modalInterchange,
key=Cmajor, chords=IVm/bVI/bVII/bIII/Vm/halfDiminishedII/diminishedVII,
concept=parallelMinor
Commonly Used Borrowed Chords
Metadata typetheory conceptborrowedChords conceptmodalInterchange
keyCmajor chordsIVmbVIbVIIbIIIVmhalfDiminishedIIdiminishedVII
conceptparallelMinor
The most frequently used borrowed chords in a major key come from the
parallel natural minor or Aeolian mode. In C major these are the minor
IV chord (F minor), the major bVI chord (Ab major), and the major bVII
chord (Bb major). Additional borrowed chords available in C major include
the minor I chord (Cm), the major bIII chord (Eb), the minor V chord (Gm),
the half-diminished II chord (D<>7), and the fully diminished VII chord
(B<>7). In practice, several borrowed chords from the parallel minor
function exactly like their diatonic counterparts <EFBFBD> IV can be replaced
with IVm, IIm7 with II<EFBFBD>7, V with Vm, VIm with bVI, and VII<EFBFBD>7 with VII<EFBFBD>7
without any other adaptation or preparation, creating striking new colors
within otherwise familiar progressions.
parallel natural minor or Aeolian mode In C major these are the minor
IV chord F minor the major bVI chord Ab major and the major bVII
chord Bb major Additional borrowed chords available in C major include
the minor I chord Cm the major bIII chord Eb the minor V chord Gm
the halfdiminished II chord D7 and the fully diminished VII chord
B7 In practice several borrowed chords from the parallel minor
function exactly like their diatonic counterparts IV can be replaced
with IVm IIm7 with II7 V with Vm VIm with bVI and VII7 with VII7
without any other adaptation or preparation creating striking new colors
within otherwise familiar progressions
Chunk 3: Modal Interchange in Classic Rock <EFBFBD> Blood Sweat and Tears
Metadata: type=example, concept=modalInterchange, genre=classicRock,
artist=BloodSweatAndTears, song=SpinningWheel, year=1970,
progression=I/bVII/bVI/V, key=Cmajor, concept=stepwiseDescent
Modal Interchange in Classic Rock Blood Sweat and Tears
Metadata typeexample conceptmodalInterchange genreclassicRock
artistBloodSweatAndTears songSpinningWheel year1970
progressionIbVIIbVIV keyCmajor conceptstepwiseDescent
Blood Sweat and Tears formed in New York City in 1967 with the goal of
combining jazz sophistication with rock energy. Their self-titled second
combining jazz sophistication with rock energy Their selftitled second
album featuring the hit single Spinning Wheel won the Grammy Award for
Album of the Year. The excerpt in C major features a stepwise descent
from tonic to dominant through borrowed chords from the parallel minor <EFBFBD>
moving I to bVII to bVI to V. This descending progression through bVII
and bVI borrowed from C Aeolian creates a cinematic, dramatic momentum
that diatonic harmony alone cannot achieve, with each chord pulling
downward toward the dominant resolution.
Album of the Year The excerpt in C major features a stepwise descent
from tonic to dominant through borrowed chords from the parallel minor
moving I to bVII to bVI to V This descending progression through bVII
and bVI borrowed from C Aeolian creates a cinematic dramatic momentum
that diatonic harmony alone cannot achieve with each chord pulling
downward toward the dominant resolution
Chunk 4: Modal Interchange in Jazz <EFBFBD> Days of Wine and Roses
Metadata: type=example, concept=modalInterchange, genre=jazz,
artist=HenryMancini/RayBrownTrio/GeneHarris,
song=DaysOfWineAndRoses, year=1962, key=Fmajor,
chords=IVm6/bVII7, concept=tritoneSubstitution, concept=backdoorProgression
Modal Interchange in Jazz Days of Wine and Roses
Metadata typeexample conceptmodalInterchange genrejazz
artistHenryManciniRayBrownTrioGeneHarris
songDaysOfWineAndRoses year1962 keyFmajor
chordsIVm6bVII7 concepttritoneSubstitution conceptbackdoorProgression
The Days of Wine and Roses written by Henry Mancini with lyrics by
Johnny Mercer appeared in the 1962 film of the same title, earning an
Johnny Mercer appeared in the 1962 film of the same title earning an
Academy Award for Best Original Song and Grammy Awards for Record of the
Year and Song of the Year. The Ray Brown Trio recording in F major
Year and Song of the Year The Ray Brown Trio recording in F major
contains borrowed chords IVm6 and bVII7 in measures seven and eight
drawn from the parallel minor. The Eb7(#11) in measure two may appear
drawn from the parallel minor The Eb711 in measure two may appear
to be a borrowed chord but is better understood as a tritone substitution
resolving to D7 in measure four. The movement from IVm7 to bVII9 to I
is a common jazz progression known as the backdoor ii-V or simply the
backdoor progression <EFBFBD> a particularly smooth and sophisticated application
resolving to D7 in measure four The movement from IVm7 to bVII9 to I
is a common jazz progression known as the backdoor iiV or simply the
backdoor progression a particularly smooth and sophisticated application
of modal interchange that resolves to the tonic from an unexpected
harmonic direction.
harmonic direction
Chunk 5: Modal Interchange in Soul <EFBFBD> Never Can Say Goodbye
Metadata: type=example, concept=modalInterchange, genre=soul/RandB,
artist=Jackson5/MichaelJackson, song=NeverCanSayGoodbye, year=1970,
key=Dmajor, modes=DDorian/DLydian/DPhrygian/DIonian,
concept=advancedModalInterchange
Modal Interchange in Soul Never Can Say Goodbye
Metadata typeexample conceptmodalInterchange genresoulRandB
artistJackson5MichaelJackson songNeverCanSayGoodbye year1970
keyDmajor modesDDorianDLydianDPhrygianDIonian
conceptadvancedModalInterchange
The Jackson 5 recorded Never Can Say Goodbye in 1970 with lead vocals
by an eleven-year-old Michael Jackson. Written by Clifton Davis, the
by an elevenyearold Michael Jackson Written by Clifton Davis the
song reached number two on the Billboard Hot 100 and number one on the
Billboard R&B Charts. The excerpt in D major represents a more advanced
application of modal interchange <EFBFBD> drawing on chords from D Dorian,
D Lydian, and D Phrygian before resolving back to D Ionian. This
Billboard RB Charts The excerpt in D major represents a more advanced
application of modal interchange drawing on chords from D Dorian
D Lydian and D Phrygian before resolving back to D Ionian This
movement across three parallel modes within a single progression
demonstrates that modal interchange is not limited to borrowing from
the parallel minor alone but can draw on the full spectrum of parallel
modes for harmonic color.
modes for harmonic color
Chunk 6: How to Use Borrowed Chords <EFBFBD> Practical Application
Metadata: type=application, concept=modalInterchange, concept=borrowedChords,
concept=melodyCompatibility, concept=reharmonization, concept=sidestepping,
concept=parallelChords, level=beginner/intermediate
How to Use Borrowed Chords Practical Application
Metadata typeapplication conceptmodalInterchange conceptborrowedChords
conceptmelodyCompatibility conceptreharmonization conceptsidestepping
conceptparallelChords levelbeginnerintermediate
For beginners approaching modal interchange, the simplest entry point
For beginners approaching modal interchange the simplest entry point
is identifying which melody notes have the greatest compatibility with
borrowed chords. In C major, the note C appears naturally in all
parallel modes, providing the greatest number of borrowed chord options
when C is the melody note. The notes F and G are also common to most
parallel modes of C, making them strong candidates for reharmonization
with borrowed chords. By contrast, the note B is only found in C Lydian
and C Ionian, severely limiting borrowed chord options when B is the
melody note. A useful technique is sidestepping or parallel chords <EFBFBD>
borrowed chords In C major the note C appears naturally in all
parallel modes providing the greatest number of borrowed chord options
when C is the melody note The notes F and G are also common to most
parallel modes of C making them strong candidates for reharmonization
with borrowed chords By contrast the note B is only found in C Lydian
and C Ionian severely limiting borrowed chord options when B is the
melody note A useful technique is sidestepping or parallel chords
where a borrowed chord resolves with each voice moving down a half step
in parallel chromatic motion, as when Ab/Gb precedes G/F with all notes
descending a half step. The backdoor progression <EFBFBD> IVm7 to bVII9 to I
<EFBFBD> is a particularly common and smooth jazz application of modal
interchange drawn from the parallel Aeolian mode.
in parallel chromatic motion as when AbGb precedes GF with all notes
descending a half step The backdoor progression IVm7 to bVII9 to I
is a particularly common and smooth jazz application of modal
interchange drawn from the parallel Aeolian mode
Chunk 7: Modal Interchange Applications Beyond Songwriting
Metadata: type=application, concept=modalInterchange, genre=jazz/coverBand,
concept=earTraining, concept=reharmonization, concept=jazzStandards,
concept=learningByEar
Modal Interchange Applications Beyond Songwriting
Metadata typeapplication conceptmodalInterchange genrejazzcoverBand
conceptearTraining conceptreharmonization conceptjazzStandards
conceptlearningByEar
Modal interchange is valuable beyond songwriting and composition. For
gigging musicians in cover bands, familiarity with the sound of common
borrowed chords enables faster learning of songs by ear <EFBFBD> recognizing
Modal interchange is valuable beyond songwriting and composition For
gigging musicians in cover bands familiarity with the sound of common
borrowed chords enables faster learning of songs by ear recognizing
that an unexpected chord is a borrowed bVI or bVII rather than a
modulation resolves harmonic confusion immediately. Jazz musicians use
modulation resolves harmonic confusion immediately Jazz musicians use
modal interchange alongside other reharmonization techniques to
personalize their repertoire of jazz standards, replacing diatonic
personalize their repertoire of jazz standards replacing diatonic
chords with borrowed alternatives to create fresh harmonic colors within
familiar melodic contexts. The skill of hearing modal interchange in
real music <EFBFBD> rather than only understanding it theoretically <EFBFBD> develops
familiar melodic contexts The skill of hearing modal interchange in
real music rather than only understanding it theoretically develops
through deliberate listening to the examples above and actively
identifying borrowed chords in recordings.
identifying borrowed chords in recordings
Chunk 8: Modal Interchange Summary
Metadata: type=summary, concept=modalInterchange, concept=borrowedChords,
concept=parallelMode, concept=harmonicPalette, concept=backdoorProgression,
chords=IVm/bVI/bVII/bIII, genres=rock/jazz/soul
Modal Interchange Summary
Metadata typesummary conceptmodalInterchange conceptborrowedChords
conceptparallelMode conceptharmonicPalette conceptbackdoorProgression
chordsIVmbVIbVIIbIII genresrockjazzsoul
Modal interchange is the practice of borrowing chords from parallel
modes to expand harmonic color beyond diatonic limitations. The most
common borrowed chords in major keys are IVm, bVI, and bVII from the
parallel natural minor, which can replace their diatonic counterparts
without preparation. More advanced applications draw on Dorian, Lydian,
Phrygian, and Locrian parallel modes for additional colors. The backdoor
progression <EFBFBD> IVm7 to bVII9 to I <EFBFBD> is a particularly smooth jazz
application. Modal interchange appears across genres from classic rock
(Blood Sweat and Tears), jazz (Days of Wine and Roses), and soul (Never
Can Say Goodbye), demonstrating its universal harmonic value. For
songwriters it expands the chord palette significantly; for performers
it accelerates learning by ear; for jazz musicians it enables
personalized reharmonization of standards.
modes to expand harmonic color beyond diatonic limitations The most
common borrowed chords in major keys are IVm bVI and bVII from the
parallel natural minor which can replace their diatonic counterparts
without preparation More advanced applications draw on Dorian Lydian
Phrygian and Locrian parallel modes for additional colors The backdoor
progression IVm7 to bVII9 to I is a particularly smooth jazz
application Modal interchange appears across genres from classic rock
Blood Sweat and Tears jazz Days of Wine and Roses and soul Never
Can Say Goodbye demonstrating its universal harmonic value For
songwriters it expands the chord palette significantly for performers
it accelerates learning by ear for jazz musicians it enables
personalized reharmonization of standards
Chunk — Key of C
C Lydian Parallel Mode of C (Brightest): C, D, E, F#, G, A, B (Major with a sharp 4th)
C Ionian Parallel Mode of C (Major): C, D, E, F, G, A, B (Natural Major)
C Mixolydian Parallel Mode of C: C, D, E, F, G, A, Bb (Major with a flat 7th)
C Dorian Parallel Mode of C: C, D, Eb, F, G, A, Bb (Minor with a sharp 6th)
C Aeolian Parallel Mode of C (Minor): C, D, Eb, F, G, Ab, Bb (Natural Minor)
C Phrygian Parallel Mode of C: C, Db, Eb, F, G, Ab, Bb (Minor with a flat 2nd)
C Locrian Parallel Mode of C (Darkest): C, Db, Eb, F, Gb, Ab, Bb (Minor with a flat 2nd and 5th)
Model Interchange as Color
The Spectrum of Harmonic Light and Shadow
Chunk — Key of C#
C# Lydian Parallel Mode of C# (Brightest): C#, D#, E#, F##, G#, A#, B# (Major with a sharp 4th)
C# Ionian Parallel Mode of C# (Major): C#, D#, E#, F#, G#, A#, B# (Natural Major)
C# Mixolydian Parallel Mode of C#: C#, D#, E#, F#, G#, A#, B (Major with a flat 7th)
C# Dorian Parallel Mode of C#: C#, D#, E, F#, G#, A#, B (Minor with a sharp 6th)
C# Aeolian Parallel Mode of C# (Minor): C#, D#, E, F#, G#, A, B (Natural Minor)
C# Phrygian Parallel Mode of C#: C#, D, E, F#, G#, A, B (Minor with a flat 2nd)
C# Locrian Parallel Mode of C# (Darkest): C#, D, E, F#, G, A, B (Minor with a flat 2nd and 5th)
Think of these parallel borrowings not just as chord swaps but as adjusting the lighting on a stage You are starting in the Neutral Daylight of the Major key and using these modes to shift the atmosphere
1 The Lydian Golden Hour The Brightest Lift
Chunk — Key of D
D Lydian Parallel Mode of D (Brightest): D, E, F#, G#, A, B, C# (Major with a sharp 4th)
D Ionian Parallel Mode of D (Major): D, E, F#, G, A, B, C# (Natural Major)
D Mixolydian Parallel Mode of D: D, E, F#, G, A, B, C (Major with a flat 7th)
D Dorian Parallel Mode of D: D, E, F, G, A, B, C (Minor with a sharp 6th)
D Aeolian Parallel Mode of D (Minor): D, E, F, G, A, Bb, C (Natural Minor)
D Phrygian Parallel Mode of D: D, Eb, F, G, A, Bb, C (Minor with a flat 2nd)
D Locrian Parallel Mode of D (Darkest): D, Eb, F, G, Ab, Bb, C (Minor with a flat 2nd and 5th)
The Substitution II7 for IImin7 eg D7 in C Major
Lydian is the brightest of all traditional modes When you borrow that Major II chord you are injecting a sense of wonder and upward momentum Its the sound of a movie protagonist seeing the ocean for the first time It feels ethereal optimistic and slightly outside
2 The Mixolydian Bluesy Sunset Relaxed Soulful
Chunk — Key of Eb
Eb Lydian Parallel Mode of Eb (Brightest): Eb, F, G, A, Bb, C, D (Major with a sharp 4th)
Eb Ionian Parallel Mode of Eb (Major): Eb, F, G, Ab, Bb, C, D (Natural Major)
Eb Mixolydian Parallel Mode of Eb: Eb, F, G, Ab, Bb, C, Db (Major with a flat 7th)
Eb Dorian Parallel Mode of Eb: Eb, F, Gb, Ab, Bb, C, Db (Minor with a sharp 6th)
Eb Aeolian Parallel Mode of Eb (Minor): Eb, F, Gb, Ab, Bb, Cb, Db (Natural Minor)
Eb Phrygian Parallel Mode of Eb: Eb, Fb, Gb, Ab, Bb, Cb, Db (Minor with a flat 2nd)
Eb Locrian Parallel Mode of Eb (Darkest): Eb, Fb, Gb, Ab, Bbb, Cb, Db (Minor with a flat 2nd and 5th)
The Substitution VIImaj7 for VIImin75 eg Bbmaj7 in C Major
Mixolydian softens the leading tone of the key By using the VII you remove the tension of the B diminished chord and replace it with a relaxed grooving stability This is the bedrock of classic rock and jam musicit feels grounded expansive and effortlessly cool
3 The Dorian Moonlight Sophisticated Mystery
Chunk — Key of E
E Lydian Parallel Mode of E (Brightest): E, F#, G#, A#, B, C#, D# (Major with a sharp 4th)
E Ionian Parallel Mode of E (Major): E, F#, G#, A, B, C#, D# (Natural Major)
E Mixolydian Parallel Mode of E: E, F#, G#, A, B, C#, D (Major with a flat 7th)
E Dorian Parallel Mode of E: E, F#, G, A, B, C#, D (Minor with a sharp 6th)
E Aeolian Parallel Mode of E (Minor): E, F#, G, A, B, C, D (Natural Minor)
E Phrygian Parallel Mode of E: E, F, G, A, B, C, D (Minor with a flat 2nd)
E Locrian Parallel Mode of E (Darkest): E, F, G, A, Bb, C, D (Minor with a flat 2nd and 5th)
The Substitution IV7 for IVmaj7 eg F7 in C Major
Dorian is the bridge between light and dark Borrowing the IV7 the Oye Como Va chord adds a soulful jazzy grit It doesnt feel sad like a minor key but it doesnt feel naive like a major key Its the sound of an urban nightsophisticated rhythmic and slightly mysterious
4 The Aeolian Storm Clouds Epic Drama
Chunk — Key of F
F Lydian Parallel Mode of F (Brightest): F, G, A, B, C, D, E (Major with a sharp 4th)
F Ionian Parallel Mode of F (Major): F, G, A, Bb, C, D, E (Natural Major)
F Mixolydian Parallel Mode of F: F, G, A, Bb, C, D, Eb (Major with a flat 7th)
F Dorian Parallel Mode of F: F, G, Ab, Bb, C, D, Eb (Minor with a sharp 6th)
F Aeolian Parallel Mode of F (Minor): F, G, Ab, Bb, C, Db, Eb (Natural Minor)
F Phrygian Parallel Mode of F: F, Gb, Ab, Bb, C, Db, Eb (Minor with a flat 2nd)
F Locrian Parallel Mode of F (Darkest): F, Gb, Ab, Bb, Cb, Db, Eb (Minor with a flat 2nd and 5th)
The Substitution VImaj7 or IIImaj7 eg Abmaj7 or Ebmaj7 in C Major
Now we are moving into the True Minor territory These chords provide the massive cinematic weight found in power ballads and hard rock The VI Abmaj7 in particular feels like a sudden shift in the windits dramatic heavy and carries a sense of gravity and grand scale
5 The Phrygian Eclipse The Darkest Depth
Chunk — Key of F#
F# Lydian Parallel Mode of F# (Brightest): F#, G#, A#, B#, C#, D#, E# (Major with a sharp 4th)
F# Ionian Parallel Mode of F# (Major): F#, G#, A#, B, C#, D#, E# (Natural Major)
F# Mixolydian Parallel Mode of F#: F#, G#, A#, B, C#, D#, E (Major with a flat 7th)
F# Dorian Parallel Mode of F#: F#, G#, A, B, C#, D#, E (Minor with a sharp 6th)
F# Aeolian Parallel Mode of F# (Minor): F#, G#, A, B, C#, D, E (Natural Minor)
F# Phrygian Parallel Mode of F#: F#, G, A, B, C#, D, E (Minor with a flat 2nd)
F# Locrian Parallel Mode of F# (Darkest): F#, G, A, B, C, D, E (Minor with a flat 2nd and 5th)
The Substitution IImaj7 for IImin7 eg Dbmaj7 for Dmin7
This is the most extreme shift The II is exotic tense and almost uncomfortably dark It creates a sense of immediate danger or ancient mystery When you hear this in a song like Becks Bolero its the moment the sun disappears behind the clouds and the atmosphere becomes thick and heavy
Chunk — Key of G
G Lydian Parallel Mode of G (Brightest): G, A, B, C#, D, E, F# (Major with a sharp 4th)
G Ionian Parallel Mode of G (Major): G, A, B, C, D, E, F# (Natural Major)
G Mixolydian Parallel Mode of G: G, A, B, C, D, E, F (Major with a flat 7th)
G Dorian Parallel Mode of G: G, A, Bb, C, D, E, F (Minor with a sharp 6th)
G Aeolian Parallel Mode of G (Minor): G, A, Bb, C, D, Eb, F (Natural Minor)
G Phrygian Parallel Mode of G: G, Ab, Bb, C, D, Eb, F (Minor with a flat 2nd)
G Locrian Parallel Mode of G (Darkest): G, Ab, Bb, C, Db, Eb, F (Minor with a flat 2nd and 5th)
From Parallel Dorian In the key of C major you can substitute or borrow Imin7 for Imaj7 for example Cmin7 for Cmaj7.
From Parallel Dorian In the key of C major you can substitute or borrow IV7 for IVmaj7 for example F7 for Fmaj7.
From Parallel Phrygian In the key of C major you can substitute or borrow bIImaj7 for IImin7 for example Dbmaj7 for Dmin7.
From Parallel Phrygian In the key of C major you can substitute or borrow bVIImin7 for VIImin7b5 for example Bbmin7 for Bmin7b5.
From Parallel Lydian In the key of C major you can substitute or borrow II7 for IImin7 for example D7 for Dmin7.
From Parallel Mixolydian In the key of C major you can substitute or borrow Vmin7 for V7 for example Gmin7 for G7.
From Parallel Mixolydian In the key of C major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Bbmaj7 for Bmin7b5.
From Parallel Aeolian In the key of C major you can substitute or borrow Imin7 for Imaj7 for example Cmin7 for Cmaj7.
From Parallel Aeolian In the key of C major you can substitute or borrow IImin7b5 for IImin7 for example Dmin7b5 for Dmin7.
From Parallel Aeolian In the key of C major you can substitute or borrow bIIImaj7 for IIImin7 for example Ebmaj7 for Emin7.
From Parallel Aeolian In the key of C major you can substitute or borrow IVmin7 for IVmaj7 for example Fmin7 for Fmaj7.
From Parallel Aeolian In the key of C major you can substitute or borrow Vmin7 for V7 for example Gmin7 for G7.
From Parallel Aeolian In the key of C major you can substitute or borrow bVImaj7 for VImin7 for example Abmaj7 for Amin7.
From Parallel Aeolian In the key of C major you can substitute or borrow bVII7 for VIImin7b5 for example Bb7 for Bmin7b5.
Chunk — Key of Ab
Ab Lydian Parallel Mode of Ab (Brightest): Ab, Bb, C, D, Eb, F, G (Major with a sharp 4th)
Ab Ionian Parallel Mode of Ab (Major): Ab, Bb, C, Db, Eb, F, G (Natural Major)
Ab Mixolydian Parallel Mode of Ab: Ab, Bb, C, Db, Eb, F, Gb (Major with a flat 7th)
Ab Dorian Parallel Mode of Ab: Ab, Bb, Cb, Db, Eb, F, Gb (Minor with a sharp 6th)
Ab Aeolian Parallel Mode of Ab (Minor): Ab, Bb, Cb, Db, Eb, Fb, Gb (Natural Minor)
Ab Phrygian Parallel Mode of Ab: Ab, Bbb, Cb, Db, Eb, Fb, Gb (Minor with a flat 2nd)
Ab Locrian Parallel Mode of Ab (Darkest): Ab, Bbb, Cb, Db, Ebb, Fb, Gb (Minor with a flat 2nd and 5th)
From Parallel Dorian In the key of C major you can substitute or borrow Imin7 for Imaj7 for example Cmin7 for Cmaj7.
From Parallel Dorian In the key of C major you can substitute or borrow IV7 for IVmaj7 for example F7 for Fmaj7.
From Parallel Phrygian In the key of C major you can substitute or borrow bIImaj7 for IImin7 for example Dmaj7 for Dmin7.
From Parallel Phrygian In the key of C major you can substitute or borrow bVIImin7 for VIImin7b5 for example Bmin7 for Bmin7b5.
From Parallel Lydian In the key of C major you can substitute or borrow II7 for IImin7 for example D7 for Dmin7.
From Parallel Mixolydian In the key of C major you can substitute or borrow Vmin7 for V7 for example Gmin7 for G7.
From Parallel Mixolydian In the key of C major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Bmaj7 for Bmin7b5.
From Parallel Aeolian In the key of C major you can substitute or borrow Imin7 for Imaj7 for example Cmin7 for Cmaj7.
From Parallel Aeolian In the key of C major you can substitute or borrow IImin7b5 for IImin7 for example Dmin7b5 for Dmin7.
From Parallel Aeolian In the key of C major you can substitute or borrow bIIImaj7 for IIImin7 for example Emaj7 for Emin7.
From Parallel Aeolian In the key of C major you can substitute or borrow IVmin7 for IVmaj7 for example Fmin7 for Fmaj7.
From Parallel Aeolian In the key of C major you can substitute or borrow Vmin7 for V7 for example Gmin7 for G7.
From Parallel Aeolian In the key of C major you can substitute or borrow bVImaj7 for VImin7 for example Amaj7 for Amin7.
From Parallel Aeolian In the key of C major you can substitute or borrow bVII7 for VIImin7b5 for example B7 for Bmin7b5.
Chunk — Key of A
A Lydian Parallel Mode of A (Brightest): A, B, C#, D#, E, F#, G# (Major with a sharp 4th)
A Ionian Parallel Mode of A (Major): A, B, C#, D, E, F#, G# (Natural Major)
A Mixolydian Parallel Mode of A: A, B, C#, D, E, F#, G (Major with a flat 7th)
A Dorian Parallel Mode of A: A, B, C, D, E, F#, G (Minor with a sharp 6th)
A Aeolian Parallel Mode of A (Minor): A, B, C, D, E, F, G (Natural Minor)
A Phrygian Parallel Mode of A: A, Bb, C, D, E, F, G (Minor with a flat 2nd)
A Locrian Parallel Mode of A (Darkest): A, Bb, C, D, Eb, F, G (Minor with a flat 2nd and 5th)
From Parallel Dorian In the key of Db major you can substitute or borrow Imin7 for Imaj7 for example Dbmin7 for Dbmaj7.
From Parallel Dorian In the key of Db major you can substitute or borrow IV7 for IVmaj7 for example Gb7 for Gbmaj7.
From Parallel Phrygian In the key of Db major you can substitute or borrow bIImaj7 for IImin7 for example Ebbmaj7 for Ebmin7.
From Parallel Phrygian In the key of Db major you can substitute or borrow bVIImin7 for VIImin7b5 for example Cbmin7 for Cmin7b5.
From Parallel Lydian In the key of Db major you can substitute or borrow II7 for IImin7 for example Eb7 for Ebmin7.
From Parallel Mixolydian In the key of Db major you can substitute or borrow Vmin7 for V7 for example Abmin7 for Ab7.
From Parallel Mixolydian In the key of Db major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Cbmaj7 for Cmin7b5.
From Parallel Aeolian In the key of Db major you can substitute or borrow Imin7 for Imaj7 for example Dbmin7 for Dbmaj7.
From Parallel Aeolian In the key of Db major you can substitute or borrow IImin7b5 for IImin7 for example Ebmin7b5 for Ebmin7.
From Parallel Aeolian In the key of Db major you can substitute or borrow bIIImaj7 for IIImin7 for example Fbmaj7 for Fmin7.
From Parallel Aeolian In the key of Db major you can substitute or borrow IVmin7 for IVmaj7 for example Gbmin7 for Gbmaj7.
From Parallel Aeolian In the key of Db major you can substitute or borrow Vmin7 for V7 for example Abmin7 for Ab7.
From Parallel Aeolian In the key of Db major you can substitute or borrow bVImaj7 for VImin7 for example Bbbmaj7 for Bbmin7.
From Parallel Aeolian In the key of Db major you can substitute or borrow bVII7 for VIImin7b5 for example Cb7 for Cmin7b5.
Chunk — Key of Bb
Bb Lydian Parallel Mode of Bb (Brightest): Bb, C, D, E, F, G, A (Major with a sharp 4th)
Bb Ionian Parallel Mode of Bb (Major): Bb, C, D, Eb, F, G, A (Natural Major)
Bb Mixolydian Parallel Mode of Bb: Bb, C, D, Eb, F, G, Ab (Major with a flat 7th)
Bb Dorian Parallel Mode of Bb: Bb, C, Db, Eb, F, G, Ab (Minor with a sharp 6th)
Bb Aeolian Parallel Mode of Bb (Minor): Bb, C, Db, Eb, F, Gb, Ab (Natural Minor)
Bb Phrygian Parallel Mode of Bb: Bb, Cb, Db, Eb, F, Gb, Ab (Minor with a flat 2nd)
Bb Locrian Parallel Mode of Bb (Darkest): Bb, Cb, Db, Eb, Fb, Gb, Ab (Minor with a flat 2nd and 5th)
From Parallel Dorian In the key of D major you can substitute or borrow Imin7 for Imaj7 for example Dmin7 for Dmaj7.
From Parallel Dorian In the key of D major you can substitute or borrow IV7 for IVmaj7 for example G7 for Gmaj7.
From Parallel Phrygian In the key of D major you can substitute or borrow bIImaj7 for IImin7 for example Ebmaj7 for Emin7.
From Parallel Phrygian In the key of D major you can substitute or borrow bVIImin7 for VIImin7b5 for example Cmin7 for Cmin7b5.
From Parallel Lydian In the key of D major you can substitute or borrow II7 for IImin7 for example E7 for Emin7.
From Parallel Mixolydian In the key of D major you can substitute or borrow Vmin7 for V7 for example Amin7 for A7.
From Parallel Mixolydian In the key of D major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Cmaj7 for Cmin7b5.
From Parallel Aeolian In the key of D major you can substitute or borrow Imin7 for Imaj7 for example Dmin7 for Dmaj7.
From Parallel Aeolian In the key of D major you can substitute or borrow IImin7b5 for IImin7 for example Emin7b5 for Emin7.
From Parallel Aeolian In the key of D major you can substitute or borrow bIIImaj7 for IIImin7 for example Fmaj7 for Fmin7.
From Parallel Aeolian In the key of D major you can substitute or borrow IVmin7 for IVmaj7 for example Gmin7 for Gmaj7.
From Parallel Aeolian In the key of D major you can substitute or borrow Vmin7 for V7 for example Amin7 for A7.
From Parallel Aeolian In the key of D major you can substitute or borrow bVImaj7 for VImin7 for example Bbmaj7 for Bmin7.
From Parallel Aeolian In the key of D major you can substitute or borrow bVII7 for VIImin7b5 for example C7 for Cmin7b5.
Chunk — Key of B
B Lydian Parallel Mode of B (Brightest): B, C#, D#, E#, F#, G#, A# (Major with a sharp 4th)
B Ionian Parallel Mode of B (Major): B, C#, D#, E, F#, G#, A# (Natural Major)
B Mixolydian Parallel Mode of B: B, C#, D#, E, F#, G#, A (Major with a flat 7th)
B Dorian Parallel Mode of B: B, C#, D, E, F#, G#, A (Minor with a sharp 6th)
B Aeolian Parallel Mode of B (Minor): B, C#, D, E, F#, G, A (Natural Minor)
B Phrygian Parallel Mode of B: B, C, D, E, F#, G, A (Minor with a flat 2nd)
B Locrian Parallel Mode of B (Darkest): B, C, D, E, F, G, A (Minor with a flat 2nd and 5th)
From Parallel Dorian In the key of D major you can substitute or borrow Imin7 for Imaj7 for example Dmin7 for Dmaj7.
From Parallel Dorian In the key of D major you can substitute or borrow IV7 for IVmaj7 for example G7 for Gmaj7.
From Parallel Phrygian In the key of D major you can substitute or borrow bIImaj7 for IImin7 for example Emaj7 for Emin7.
From Parallel Phrygian In the key of D major you can substitute or borrow bVIImin7 for VIImin7b5 for example Cmin7 for Cmin7b5.
From Parallel Lydian In the key of D major you can substitute or borrow II7 for IImin7 for example E7 for Emin7.
From Parallel Mixolydian In the key of D major you can substitute or borrow Vmin7 for V7 for example Amin7 for A7.
From Parallel Mixolydian In the key of D major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Cmaj7 for Cmin7b5.
From Parallel Aeolian In the key of D major you can substitute or borrow Imin7 for Imaj7 for example Dmin7 for Dmaj7.
From Parallel Aeolian In the key of D major you can substitute or borrow IImin7b5 for IImin7 for example Emin7b5 for Emin7.
From Parallel Aeolian In the key of D major you can substitute or borrow bIIImaj7 for IIImin7 for example Fmaj7 for Fmin7.
From Parallel Aeolian In the key of D major you can substitute or borrow IVmin7 for IVmaj7 for example Gmin7 for Gmaj7.
From Parallel Aeolian In the key of D major you can substitute or borrow Vmin7 for V7 for example Amin7 for A7.
From Parallel Aeolian In the key of D major you can substitute or borrow bVImaj7 for VImin7 for example Bmaj7 for Bmin7.
From Parallel Aeolian In the key of D major you can substitute or borrow bVII7 for VIImin7b5 for example C7 for Cmin7b5.
From Parallel Dorian In the key of Eb major you can substitute or borrow Imin7 for Imaj7 for example Ebmin7 for Ebmaj7.
From Parallel Dorian In the key of Eb major you can substitute or borrow IV7 for IVmaj7 for example Ab7 for Abmaj7.
From Parallel Phrygian In the key of Eb major you can substitute or borrow bIImaj7 for IImin7 for example Fbmaj7 for Fmin7.
From Parallel Phrygian In the key of Eb major you can substitute or borrow bVIImin7 for VIImin7b5 for example Dbmin7 for Dmin7b5.
From Parallel Lydian In the key of Eb major you can substitute or borrow II7 for IImin7 for example F7 for Fmin7.
From Parallel Mixolydian In the key of Eb major you can substitute or borrow Vmin7 for V7 for example Bbmin7 for Bb7.
From Parallel Mixolydian In the key of Eb major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Dbmaj7 for Dmin7b5.
From Parallel Aeolian In the key of Eb major you can substitute or borrow Imin7 for Imaj7 for example Ebmin7 for Ebmaj7.
From Parallel Aeolian In the key of Eb major you can substitute or borrow IImin7b5 for IImin7 for example Fmin7b5 for Fmin7.
From Parallel Aeolian In the key of Eb major you can substitute or borrow bIIImaj7 for IIImin7 for example Gbmaj7 for Gmin7.
From Parallel Aeolian In the key of Eb major you can substitute or borrow IVmin7 for IVmaj7 for example Abmin7 for Abmaj7.
From Parallel Aeolian In the key of Eb major you can substitute or borrow Vmin7 for V7 for example Bbmin7 for Bb7.
From Parallel Aeolian In the key of Eb major you can substitute or borrow bVImaj7 for VImin7 for example Cbmaj7 for Cmin7.
From Parallel Aeolian In the key of Eb major you can substitute or borrow bVII7 for VIImin7b5 for example Db7 for Dmin7b5.
From Parallel Dorian In the key of E major you can substitute or borrow Imin7 for Imaj7 for example Emin7 for Emaj7.
From Parallel Dorian In the key of E major you can substitute or borrow IV7 for IVmaj7 for example A7 for Amaj7.
From Parallel Phrygian In the key of E major you can substitute or borrow bIImaj7 for IImin7 for example Fmaj7 for Fmin7.
From Parallel Phrygian In the key of E major you can substitute or borrow bVIImin7 for VIImin7b5 for example Dmin7 for Dmin7b5.
From Parallel Lydian In the key of E major you can substitute or borrow II7 for IImin7 for example F7 for Fmin7.
From Parallel Mixolydian In the key of E major you can substitute or borrow Vmin7 for V7 for example Bmin7 for B7.
From Parallel Mixolydian In the key of E major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Dmaj7 for Dmin7b5.
From Parallel Aeolian In the key of E major you can substitute or borrow Imin7 for Imaj7 for example Emin7 for Emaj7.
From Parallel Aeolian In the key of E major you can substitute or borrow IImin7b5 for IImin7 for example Fmin7b5 for Fmin7.
From Parallel Aeolian In the key of E major you can substitute or borrow bIIImaj7 for IIImin7 for example Gmaj7 for Gmin7.
From Parallel Aeolian In the key of E major you can substitute or borrow IVmin7 for IVmaj7 for example Amin7 for Amaj7.
From Parallel Aeolian In the key of E major you can substitute or borrow Vmin7 for V7 for example Bmin7 for B7.
From Parallel Aeolian In the key of E major you can substitute or borrow bVImaj7 for VImin7 for example Cmaj7 for Cmin7.
From Parallel Aeolian In the key of E major you can substitute or borrow bVII7 for VIImin7b5 for example D7 for Dmin7b5.
From Parallel Dorian In the key of F major you can substitute or borrow Imin7 for Imaj7 for example Fmin7 for Fmaj7.
From Parallel Dorian In the key of F major you can substitute or borrow IV7 for IVmaj7 for example Bb7 for Bbmaj7.
From Parallel Phrygian In the key of F major you can substitute or borrow bIImaj7 for IImin7 for example Gbmaj7 for Gmin7.
From Parallel Phrygian In the key of F major you can substitute or borrow bVIImin7 for VIImin7b5 for example Ebmin7 for Emin7b5.
From Parallel Lydian In the key of F major you can substitute or borrow II7 for IImin7 for example G7 for Gmin7.
From Parallel Mixolydian In the key of F major you can substitute or borrow Vmin7 for V7 for example Cmin7 for C7.
From Parallel Mixolydian In the key of F major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Ebmaj7 for Emin7b5.
From Parallel Aeolian In the key of F major you can substitute or borrow Imin7 for Imaj7 for example Fmin7 for Fmaj7.
From Parallel Aeolian In the key of F major you can substitute or borrow IImin7b5 for IImin7 for example Gmin7b5 for Gmin7.
From Parallel Aeolian In the key of F major you can substitute or borrow bIIImaj7 for IIImin7 for example Abmaj7 for Amin7.
From Parallel Aeolian In the key of F major you can substitute or borrow IVmin7 for IVmaj7 for example Bbmin7 for Bbmaj7.
From Parallel Aeolian In the key of F major you can substitute or borrow Vmin7 for V7 for example Cmin7 for C7.
From Parallel Aeolian In the key of F major you can substitute or borrow bVImaj7 for VImin7 for example Dbmaj7 for Dmin7.
From Parallel Aeolian In the key of F major you can substitute or borrow bVII7 for VIImin7b5 for example Eb7 for Emin7b5.
From Parallel Dorian In the key of Gb major you can substitute or borrow Imin7 for Imaj7 for example Gbmin7 for Gbmaj7.
From Parallel Dorian In the key of Gb major you can substitute or borrow IV7 for IVmaj7 for example Cbb7 for Cbmaj7.
From Parallel Phrygian In the key of Gb major you can substitute or borrow bIImaj7 for IImin7 for example Abbmaj7 for Abmin7.
From Parallel Phrygian In the key of Gb major you can substitute or borrow bVIImin7 for VIImin7b5 for example Fmin7 for Fmin7b5.
From Parallel Lydian In the key of Gb major you can substitute or borrow II7 for IImin7 for example Ab7 for Abmin7.
From Parallel Mixolydian In the key of Gb major you can substitute or borrow Vmin7 for V7 for example Dbmin7 for Db7.
From Parallel Mixolydian In the key of Gb major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Fbmaj7 for Fmin7b5.
From Parallel Aeolian In the key of Gb major you can substitute or borrow Imin7 for Imaj7 for example Gbmin7 for Gbmaj7.
From Parallel Aeolian In the key of Gb major you can substitute or borrow IImin7b5 for IImin7 for example Abmin7b5 for Abmin7.
From Parallel Aeolian In the key of Gb major you can substitute or borrow bIIImaj7 for IIImin7 for example Bbbmaj7 for Bbmin7.
From Parallel Aeolian In the key of Gb major you can substitute or borrow IVmin7 for IVmaj7 for example Cbbmin7 for Cbmaj7.
From Parallel Aeolian In the key of Gb major you can substitute or borrow Vmin7 for V7 for example Dbbmin7 for Db7.
From Parallel Aeolian In the key of Gb major you can substitute or borrow bVImaj7 for VImin7 for example Ebbbmaj7 for Ebmin7.
From Parallel Aeolian In the key of Gb major you can substitute or borrow bVII7 for VIImin7b5 for example F7 for Fmin7b5.
From Parallel Dorian In the key of G major you can substitute or borrow Imin7 for Imaj7 for example Gmin7 for Gmaj7.
From Parallel Dorian In the key of G major you can substitute or borrow IV7 for IVmaj7 for example C7 for Cmaj7.
From Parallel Phrygian In the key of G major you can substitute or borrow bIImaj7 for IImin7 for example Abmaj7 for Amin7.
From Parallel Phrygian In the key of G major you can substitute or borrow bVIImin7 for VIImin7b5 for example Fmin7 for Fmin7b5.
From Parallel Lydian In the key of G major you can substitute or borrow II7 for IImin7 for example A7 for Amin7.
From Parallel Mixolydian In the key of G major you can substitute or borrow Vmin7 for V7 for example Dmin7 for D7.
From Parallel Mixolydian In the key of G major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Fmaj7 for Fmin7b5.
From Parallel Aeolian In the key of G major you can substitute or borrow Imin7 for Imaj7 for example Gmin7 for Gmaj7.
From Parallel Aeolian In the key of G major you can substitute or borrow IImin7b5 for IImin7 for example Amin7b5 for Amin7.
From Parallel Aeolian In the key of G major you can substitute or borrow bIIImaj7 for IIImin7 for example Bbmaj7 for Bmin7.
From Parallel Aeolian In the key of G major you can substitute or borrow IVmin7 for IVmaj7 for example Cmin7 for Cmaj7.
From Parallel Aeolian In the key of G major you can substitute or borrow Vmin7 for V7 for example Dmin7 for D7.
From Parallel Aeolian In the key of G major you can substitute or borrow bVImaj7 for VImin7 for example Ebmaj7 for Emin7.
From Parallel Aeolian In the key of G major you can substitute or borrow bVII7 for VIImin7b5 for example F7 for Fmin7b5.
From Parallel Dorian In the key of G major you can substitute or borrow Imin7 for Imaj7 for example Gmin7 for Gmaj7.
From Parallel Dorian In the key of G major you can substitute or borrow IV7 for IVmaj7 for example C7 for Cmaj7.
From Parallel Phrygian In the key of G major you can substitute or borrow bIImaj7 for IImin7 for example Amaj7 for Amin7.
From Parallel Phrygian In the key of G major you can substitute or borrow bVIImin7 for VIImin7b5 for example Fmin7 for Fmin7b5.
From Parallel Lydian In the key of G major you can substitute or borrow II7 for IImin7 for example A7 for Amin7.
From Parallel Mixolydian In the key of G major you can substitute or borrow Vmin7 for V7 for example Dmin7 for D7.
From Parallel Mixolydian In the key of G major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Fmaj7 for Fmin7b5.
From Parallel Aeolian In the key of G major you can substitute or borrow Imin7 for Imaj7 for example Gmin7 for Gmaj7.
From Parallel Aeolian In the key of G major you can substitute or borrow IImin7b5 for IImin7 for example Amin7b5 for Amin7.
From Parallel Aeolian In the key of G major you can substitute or borrow bIIImaj7 for IIImin7 for example Bmaj7 for Bmin7.
From Parallel Aeolian In the key of G major you can substitute or borrow IVmin7 for IVmaj7 for example Cmin7 for Cmaj7.
From Parallel Aeolian In the key of G major you can substitute or borrow Vmin7 for V7 for example Dmin7 for D7.
From Parallel Aeolian In the key of G major you can substitute or borrow bVImaj7 for VImin7 for example Emaj7 for Emin7.
From Parallel Aeolian In the key of G major you can substitute or borrow bVII7 for VIImin7b5 for example F7 for Fmin7b5.
From Parallel Dorian In the key of Ab major you can substitute or borrow Imin7 for Imaj7 for example Abmin7 for Abmaj7.
From Parallel Dorian In the key of Ab major you can substitute or borrow IV7 for IVmaj7 for example Db7 for Dbmaj7.
From Parallel Phrygian In the key of Ab major you can substitute or borrow bIImaj7 for IImin7 for example Bbbmaj7 for Bbmin7.
From Parallel Phrygian In the key of Ab major you can substitute or borrow bVIImin7 for VIImin7b5 for example Gmin7 for Gmin7b5.
From Parallel Lydian In the key of Ab major you can substitute or borrow II7 for IImin7 for example Bb7 for Bbmin7.
From Parallel Mixolydian In the key of Ab major you can substitute or borrow Vmin7 for V7 for example Ebmin7 for Eb7.
From Parallel Mixolydian In the key of Ab major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Gbmaj7 for Gmin7b5.
From Parallel Aeolian In the key of Ab major you can substitute or borrow Imin7 for Imaj7 for example Abmin7 for Abmaj7.
From Parallel Aeolian In the key of Ab major you can substitute or borrow IImin7b5 for IImin7 for example Bbmin7b5 for Bbmin7.
From Parallel Aeolian In the key of Ab major you can substitute or borrow bIIImaj7 for IIImin7 for example Cbmaj7 for Cmin7.
From Parallel Aeolian In the key of Ab major you can substitute or borrow IVmin7 for IVmaj7 for example Dbmin7 for Dbmaj7.
From Parallel Aeolian In the key of Ab major you can substitute or borrow Vmin7 for V7 for example Ebmin7 for Eb7.
From Parallel Aeolian In the key of Ab major you can substitute or borrow bVImaj7 for VImin7 for example Fbmaj7 for Fmin7.
From Parallel Aeolian In the key of Ab major you can substitute or borrow bVII7 for VIImin7b5 for example Gb7 for Gmin7b5.
From Parallel Dorian In the key of A major you can substitute or borrow Imin7 for Imaj7 for example Amin7 for Amaj7.
From Parallel Dorian In the key of A major you can substitute or borrow IV7 for IVmaj7 for example D7 for Dmaj7.
From Parallel Phrygian In the key of A major you can substitute or borrow bIImaj7 for IImin7 for example Bbmaj7 for Bmin7.
From Parallel Phrygian In the key of A major you can substitute or borrow bVIImin7 for VIImin7b5 for example Gmin7 for Gmin7b5.
From Parallel Lydian In the key of A major you can substitute or borrow II7 for IImin7 for example B7 for Bmin7.
From Parallel Mixolydian In the key of A major you can substitute or borrow Vmin7 for V7 for example Emin7 for E7.
From Parallel Mixolydian In the key of A major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Gmaj7 for Gmin7b5.
From Parallel Aeolian In the key of A major you can substitute or borrow Imin7 for Imaj7 for example Amin7 for Amaj7.
From Parallel Aeolian In the key of A major you can substitute or borrow IImin7b5 for IImin7 for example Bmin7b5 for Bmin7.
From Parallel Aeolian In the key of A major you can substitute or borrow bIIImaj7 for IIImin7 for example Cmaj7 for Cmin7.
From Parallel Aeolian In the key of A major you can substitute or borrow IVmin7 for IVmaj7 for example Dmin7 for Dmaj7.
From Parallel Aeolian In the key of A major you can substitute or borrow Vmin7 for V7 for example Emin7 for E7.
From Parallel Aeolian In the key of A major you can substitute or borrow bVImaj7 for VImin7 for example Fmaj7 for Fmin7.
From Parallel Aeolian In the key of A major you can substitute or borrow bVII7 for VIImin7b5 for example G7 for Gmin7b5.
From Parallel Dorian In the key of Bb major you can substitute or borrow Imin7 for Imaj7 for example Bbmin7 for Bbmaj7.
From Parallel Dorian In the key of Bb major you can substitute or borrow IV7 for IVmaj7 for example Eb7 for Ebmaj7.
From Parallel Phrygian In the key of Bb major you can substitute or borrow bIImaj7 for IImin7 for example Cbmaj7 for Cmin7.
From Parallel Phrygian In the key of Bb major you can substitute or borrow bVIImin7 for VIImin7b5 for example Abmin7 for Amin7b5.
From Parallel Lydian In the key of Bb major you can substitute or borrow II7 for IImin7 for example C7 for Cmin7.
From Parallel Mixolydian In the key of Bb major you can substitute or borrow Vmin7 for V7 for example Fmin7 for F7.
From Parallel Mixolydian In the key of Bb major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Abmaj7 for Amin7b5.
From Parallel Aeolian In the key of Bb major you can substitute or borrow Imin7 for Imaj7 for example Bbmin7 for Bbmaj7.
From Parallel Aeolian In the key of Bb major you can substitute or borrow IImin7b5 for IImin7 for example Cmin7b5 for Cmin7.
From Parallel Aeolian In the key of Bb major you can substitute or borrow bIIImaj7 for IIImin7 for example Dbmaj7 for Dmin7.
From Parallel Aeolian In the key of Bb major you can substitute or borrow IVmin7 for IVmaj7 for example Ebmin7 for Ebmaj7.
From Parallel Aeolian In the key of Bb major you can substitute or borrow Vmin7 for V7 for example Fmin7 for F7.
From Parallel Aeolian In the key of Bb major you can substitute or borrow bVImaj7 for VImin7 for example Gbmaj7 for Gmin7.
From Parallel Aeolian In the key of Bb major you can substitute or borrow bVII7 for VIImin7b5 for example Ab7 for Amin7b5.
From Parallel Dorian In the key of B major you can substitute or borrow Imin7 for Imaj7 for example Bmin7 for Bmaj7.
From Parallel Dorian In the key of B major you can substitute or borrow IV7 for IVmaj7 for example E7 for Emaj7.
From Parallel Phrygian In the key of B major you can substitute or borrow bIImaj7 for IImin7 for example Cmaj7 for Cmin7.
From Parallel Phrygian In the key of B major you can substitute or borrow bVIImin7 for VIImin7b5 for example Amin7 for Amin7b5.
From Parallel Lydian In the key of B major you can substitute or borrow II7 for IImin7 for example C7 for Cmin7.
From Parallel Mixolydian In the key of B major you can substitute or borrow Vmin7 for V7 for example Fmin7 for F7.
From Parallel Mixolydian In the key of B major you can substitute or borrow bVIImaj7 for VIImin7b5 for example Amaj7 for Amin7b5.
From Parallel Aeolian In the key of B major you can substitute or borrow Imin7 for Imaj7 for example Bmin7 for Bmaj7.
From Parallel Aeolian In the key of B major you can substitute or borrow IImin7b5 for IImin7 for example Cmin7b5 for Cmin7.
From Parallel Aeolian In the key of B major you can substitute or borrow bIIImaj7 for IIImin7 for example Dmaj7 for Dmin7.
From Parallel Aeolian In the key of B major you can substitute or borrow IVmin7 for IVmaj7 for example Emin7 for Emaj7.
From Parallel Aeolian In the key of B major you can substitute or borrow Vmin7 for V7 for example Fmin7 for F7.
From Parallel Aeolian In the key of B major you can substitute or borrow bVImaj7 for VImin7 for example Gmaj7 for Gmin7.
From Parallel Aeolian In the key of B major you can substitute or borrow bVII7 for VIImin7b5 for example A7 for Amin7b5.

6
Books/Music/Theory/Mode Formulas.txt
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@@ -1,8 +1,8 @@
TITLE: Mode Interval Formulas
TITLE: Mode Formulas
DOMAIN: Music Theory
CONCEPTS: modes, interval formula, whole step, half step, Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian, scale construction, W H pattern, construct scale, build scale, apply formula, starting note, root note
CONTENT TYPE: Reference
---
TYPE: reference
PRIORITY: medium
W means whole step also called a tone or T. H means half step also called a semitone or S. W and T are equivalent. H and S are equivalent. A whole step equals 2 semitones. A half step equals 1 semitone. W means whole step and H means half step in mode interval formulas. To construct any modal scale choose a starting note and apply each interval step in the formula in sequence to arrive at the next note.

55
Books/Music/Theory/mode_lookup.txt
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@@ -5,61 +5,58 @@ PRIORITY: high
CONCEPTS: modes, scales, ionian, dorian, phrygian, lydian, mixolydian, aeolian, locrian, diatonic scales, major scale, minor scale, intervals, scale degrees
SCOPE: modal_theory
Mode Scale Reference
All modes below are 7 note scales.
These are full modal scales and NOT pentatonic scales.
All modes listed are 7-note diatonic scales. Each mode is shown as a complete pitch collection for specific root notes.
---
Ionian Mode (Major Scale)
IONIAN MODE (Major Scale)
A Ionian scale (7 notes): A B C# D E F# G#
C Ionian scale (7 notes): C D E F G A B
G Ionian scale (7 notes): G A B C D E F#
C Ionian: C D E F G A B
G Ionian: G A B C D E F#
A Ionian: A B C# D E F# G#
---
Dorian Mode (minor with raised 6th)
DORIAN MODE (minor with raised 6th)
A Dorian scale (7 notes): A B C D E F# G
D Dorian scale (7 notes): D E F G A B C
G Dorian scale (7 notes): G A Bb C D E F
E Dorian scale (7 notes): E F# G A B C# D
C Dorian scale (7 notes): C D Eb F G A Bb
D Dorian: D E F G A B C
A Dorian: A B C D E F# G
E Dorian: E F# G A B C# D
G Dorian: G A Bb C D E F
C Dorian: C D Eb F G A Bb
---
Phrygian Mode (minor with lowered 2nd)
PHRYGIAN MODE (minor with lowered 2nd)
A Phrygian scale (7 notes): A Bb C D E F G
E Phrygian scale (7 notes): E F G A B C D
E Phrygian: E F G A B C D
A Phrygian: A Bb C D E F G
---
Lydian Mode (major with raised 4th)
LYDIAN MODE (major with raised 4th)
C Lydian scale (7 notes): C D E F# G A B
A Lydian scale (7 notes): A B C# D# E F# G#
C Lydian: C D E F# G A B
A Lydian: A B C# D# E F# G#
---
Mixolydian Mode (major with lowered 7th)
MIXOLYDIAN MODE (major with lowered 7th)
A Mixolydian scale (7 notes): A B C# D E F# G
G Mixolydian scale (7 notes): G A B C D E F
G Mixolydian: G A B C D E F
A Mixolydian: A B C# D E F# G
---
Aeolian Mode (Natural Minor)
AEOLIAN MODE (Natural Minor)
A Aeolian scale (7 notes): A B C D E F G
E Aeolian scale (7 notes): E F# G A B C D
A Aeolian: A B C D E F G
E Aeolian: E F# G A B C D
---
Locrian Mode (diminished scale)
LOCRIAN MODE (diminished / flattened 2nd and 5th)
A Locrian scale (7 notes): A Bb C D Eb F G
B Locrian scale (7 notes): B C D E F G A
B Locrian: B C D E F G A
A Locrian: A Bb C D Eb F G

48
Books/Music/Theory/mode_rules.txt
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@@ -6,37 +6,35 @@ CONCEPTS: intervals, whole step, half step, semitones, scale construction, modes
SCOPE: scale_construction
Mode Interval Definitions
W = whole step = 2 semitones
H = half step = 1 semitone
A whole step (W) equals 2 semitones. A half step (H) equals 1 semitone.
Scale Construction Rule
To construct a scale start on a root note and apply the interval formula step by step.
To construct any mode, begin on a root note and apply the interval formula step by step in sequence. Each interval determines the distance to the next note in the scale.
Ionian
Formula: W W H W W W H
Description: major scale
Ionian Mode (Major Scale)
The Ionian mode follows the interval pattern W W H W W W H. It is the standard major scale.
Example: C Ionian = C D E F G A B.
Dorian
Formula: W H W W W H W
Description: minor with raised sixth
Dorian Mode
The Dorian mode follows the interval pattern W H W W W H W. It is a minor-type scale with a raised sixth compared to the natural minor scale.
Example: D Dorian = D E F G A B C.
Phrygian
Formula: H W W W H W W
Description: minor with lowered second
Phrygian Mode
The Phrygian mode follows the interval pattern H W W W H W W. It is a minor-type scale with a lowered second, giving it a darker sound.
Example: E Phrygian = E F G A B C D.
Lydian
Formula: W W W H W W H
Description: major with raised fourth
Lydian Mode
The Lydian mode follows the interval pattern W W W H W W H. It is a major-type scale with a raised fourth.
Example: F Lydian = F G A B C D E.
Mixolydian
Formula: W W H W W H W
Description: major with lowered seventh
Mixolydian Mode
The Mixolydian mode follows the interval pattern W W H W W H W. It is a major-type scale with a lowered seventh.
Example: G Mixolydian = G A B C D E F.
Aeolian
Formula: W H W W H W W
Description: natural minor
Locrian
Formula: H W W H W W W
Description: diminished with lowered second and fifth
Aeolian Mode (Natural Minor)
The Aeolian mode follows the interval pattern W H W W H W W. It is the natural minor scale.
Example: A Aeolian = A B C D E F G.
Locrian Mode
The Locrian mode follows the interval pattern H W W H W W W. It is a diminished-type scale with a lowered second and lowered fifth.
Example: B Locrian = B C D E F G A.