# The A To A Of Scales. Part 3: Modes

Using minor pentatonics and the A to A method to learn the modes.

3
```|--------------------|------------------5-|
|--------------------|----------5-(7)-8---|
|------------------2-|--(4)-5-7-----------|
|----------2-(4)-5---|7-------------------|
|--(2)-3-5-----------|--------------------|
|5-------------------|--------------------|```
AEOLIAN
```|--------------------|------------------5-|
|--------------------|----------5-(6)-8---|
|------------------2-|--(4)-5-7-----------|
|----------2-(3)-5---|7-------------------|
|--(2)-3-5-----------|--------------------|
|5-------------------|--------------------|```
phrygian
```|--------------------|------------------5-|
|--------------------|----------5-(6)-8---|
|------------------2-|------5-7-----------|
|----------2-(3)-5---|7-(8)---------------|
|------3-5-----------|--------------------|
|5-(6)---------------|--------------------|```
The major pentatonics use the 1, 2, 3, 5 and 6. In the key of C this would be C, D, E, G and A. The missing modal notes are the 4 and 7, and again, the three major modes, Ionian, Lydian, and Mixolydian all contain the pentatonic notes, and it's the missing 4 and 7 that define their sounds. The Ionian has a perfect 4 (F) and major 7 (B), the Lydian an augmented 4 (F#) and major 7 (B), and the Mixolydian, a perfect 4 (F) and minor 7 (Bb). Here are a matched pair of C major pentatonics using the same patterns as the A minor, and with the modal notes added in brackets.
```IONIAN
|--------------------|------------5-(7)-8-|
|--------------------|----5-(6)-8---------|
|------------2-(4)-5-|5-7-----------------|
|----2-(3)-5---------|--------------------|
|3-5-----------------|--------------------|
|--------------------|--------------------|

LYDIAN
|--------------------|------------5-(7)-8-|
|--------------------|----5-(7)-8---------|
|------------2-(4)-5-|5-7-----------------|
|----2-(4)-5---------|--------------------|
|3-5-----------------|--------------------|
|--------------------|--------------------|

MIXOLYDIAN
|--------------------|------------5-(6)-8-|
|--------------------|----5-(6)-8---------|
|------------2-(3)-5-|5-7-----------------|
|----2-(3)-5---------|--------------------|
|3-5-----------------|--------------------|
|--------------------|--------------------|```
It's worth noting that the A Dorian and C Lydian contain the same notes, the A Aeolian and C Ionian, and the A Phrygian and C Mixolydian. So that's it. If you want to know all your scales/modes, start with the pentatonic minors, which is kind of cool because we tend to start with them anyway. A final tip: if you ever wanted to play in major keys but found them a little lacking in edge after playing pentatonic/blues scales, try playing in Lydian or Mixolydian first to bridge the gap. These two modes are only one note away from a major scale but have just enough interesting edgy darkness to ease you in to the happy and potentially nursery rhyme sound of the majors. Hope this was useful. Cheers