ABSTRACT
In modal jazz theory, diatonic modes are traditionally introduced as derivatives of the parent major scale. The parent-scale method is based on constructing modes on the consecutive pitches of the major scale. While parent-scale derivation is an important theoretical construct, it strips individual modes of their salient characteristics and is cumbersome in actual musical practice. By building modes starting on the same pitch and concentrating on their sound, essential tones, and pitch hierarchy, people can better understand their pitch structure. In order to convey the sound of the Ionian mode, only two pitches are needed: a major 3rd as the modal qualifier and a major 7th as the beauty mark. The Lydian mode is a diatonic mode with a more contemporary sound. Even though the Mixolydian mode belongs to the major family of modes, it has a distinct functional status and behavior that is entirely different from Ionian and Lydian modes.
