i don't particularly like modes a lot

I don't particularly like modes a lot.

And neither do you. At least, you don't like memorizing the names of modes.

That's exactly where I.D.P.L.M.A.L. comes in.

Understanding Modes

Modes are variations of scales built from a series of intervals above a specific tonic note.

For each mode, you can think about its characteristic sound or associated feel:

• Ionian: Sounds "major" and is the foundation.
• Dorian: Sounds like a minor scale with an added major 6th.
• Phrygian: Sounds exotic and often used in flamenco music.
• Lydian: Sounds bright with a raised 4th.
• Mixolydian: Sounds jazzy with a lowered 7th.
• Aeolian: Sounds minor and is the basis for many rock ballads.
• Locrian: Sounds diminished and often used in dissonant contexts.

Ya like jazz?

In jazz theory, the seven diatonic modes of the major scale are typically described as:

• Ionian – mode built on the 1st degree of the major scale (major scale itself).
• Dorian – mode built on the 2nd degree.
• Phrygian – mode built on the 3rd degree.
• Lydian – mode built on the 4th degree.
• Mixolydian – mode built on the 5th degree.
• Aeolian – mode built on the 6th degree (natural minor).
• Locrian – mode built on the 7th degree.

The Mnemonic "I.D.P.L.M.A.L."

This phrase is designed to help you remember the order of modes.

Let's break it down:

• I = Ionian
• D = Dorian
• P = Phrygian
• L = Lydian
• M = Mixolydian
• A = Aeolian
• L = Locrian

Advanced Modes

Beyond the seven diatonic modes, jazz musicians often work with additional modal colors derived from melodic minor, harmonic minor, and symmetric scales. These are not “advanced” in difficulty so much as more specialized in sound and function.

Melodic minor modes (very common in modern jazz):

• Mode 1: Melodic minor itself (e.g., tonic minor maj7 sounds).
• Mode 2: Dorian b2 (a darker ii sound).
• Mode 3: Lydian augmented (maj7#5).
• Mode 4: Lydian dominant (Mixolydian #11; classic V7 in jazz).
• Mode 5: Mixolydian b6 (altered dominant color).
• Mode 6: Locrian ♮2 (minor 7b5 with a natural 9).
• Mode 7: Altered scale (Super‑Locrian; highly altered dominant).

Harmonic minor modes (used for minor ii–V–i and exotic colors):

• Harmonic minor (i maj7♭6 color).
• Locrian ♮6 (iiø in minor).
• Phrygian dominant (V7 in minor; strong “Middle Eastern” flavor).

In addition, symmetric and synthetic scales often treated modally:

• Whole‑tone scale (augmented and #5/#11 dominant sounds).
• Diminished (octatonic) scales: half–whole and whole–half for dominant and diminished chords.
• Hexatonic and triad‑pair approaches (built from two triads for more open, modern lines).