A
Key of A as Triads
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| | Alterations | I | II | III | IV | V | VI | VII
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Lydian | bright | raised 4 | A | B | C#min | D#min | E | F#min | G#min
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Ionian | neutral | no alterations | A | Bmin | C#min | D | E | F#min | G#min
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Mixolydian | less bright | lowered 7 | A | Bmin | C#min | D | Emin | F#min | G
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Dorian | dark | lowered 3, 7 | Amin | Bmin | C | D | Emin | F#dim | G
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Aeolian | darker | lowered 3, 6, 7 | Amin | Bdim | C | Dmin | Emin | F | G
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Phrygian | darkest | lowered 2, 3, 6, 7 | Amin | Bb | C | Dmin | Emin | F | G
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Locrian | unusable | lowered 2, 3, 5, 6, 7 | Adim | Bb | Cmin | Dmin | Eb | F | Gmin
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Key of A with 7ths
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| | Alterations | I | II | III | IV | V | VI | VII
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Lydian | bright | raised 4 | AbMAJ7 | Bb7 | Cmin7 | Dmin7b5 | EbMAJ7 | Fmin7 | Gmin7
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Ionian | neutral | no alterations | AbMAJ7 | Bbmin7 | Cmin7 | DbMAJ7 | Eb7 | Fmin7 | Gmin7b5
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Mixolydian | less bright | lowered 7 | Ab7 | Bbmin7 | Cmin7b5 | DbMAJ7 | Ebmin7 | Fmin7 | GbMAJ7
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Dorian | dark | lowered 3, 7 | Abmin7 | Bbmin7 | CbMAJ7 | Db7 | Ebmin7 | Fmin7b5 | GbMAJ7
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Aeolian | darker | lowered 3, 6, 7 | Abmin7 | Bbmin7b5 | CbMAJ7 | Dbmin7 | Ebmin7 | FbMAJ7 | Gb7
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Phrygian | darkest | lowered 2, 3, 6, 7 | Abmin7 | BbbMAJ7 | Cb7 | Dbmin7 | Ebmin7b5 | FbMAJ7 | Gbmin7
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Locrian | unusable | lowered 2, 3, 5, 6, 7 | Abmin7b5 | BbbMAJ7 | Cbmin7 | Dbmin7 | EbbMAJ7 | Fb7 | Gbmin7
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Notes
- The Ionian mode is more commonly called "the major scale" (and is the most commonly used major scale)
- The Aeolian mode is commonly called "the natural minor scale" (and is the most commonly used minor scale)
- Lydian, Ionian, & Mixolydian are considered major modes because their "I chord" is major.
- Dorian, Aeolian, & Phrygian are considered minor modes because their "I chord" is minor.
- The Locrian mode is so dissonant that it is usually unusable.
- Since most people are not used to working with double flatted chords (for example: AbbMaj7, or Ebb), I included the enharmonic equivalent.