F-sharp
| Key of F# as Triads
|
| Mode | Color | Alterations | I | II | III | IV | V | VI | VII
|
| Lydian | bright | raised 4 | F# | G# | A#min | B#dim | C# | D#min | E#min
|
| Ionian | neutral | no alterations | F# | G#min | A#min | B | C# | D#min | E#dim
|
| Mixolydian | less bright | lowered 7 | F# | G#min | A#dim | B | C#min | D#min | E
|
| Dorian | dark | lowered 3, 7 | F#min | G#min | A | B | C#min | D#dim | E
|
| Aeolian | darker | lowered 3, 6, 7 | F#min | G#dim | A | Bmin | C#min | D | E
|
| Phrygian | darkest | lowered 2, 3, 6, 7 | F#min | G | A | Bmin | C#dim | D | Emin
|
| Locrian | unusable | lowered 2, 3, 5, 6, 7 | F#dim | G | Amin | Bmin | C | D | Emin
|
| Key of F# with 7ths
|
| Mode | Color | Alterations | I | II | III | IV | V | VI | VII
|
| Lydian | bright | raised 4 | F#MAJ7 | G#7 | A#min7 | B#min7b5 | C#MAJ7 | D#min7 | E#min7
|
| Ionian | neutral | no alterations | F#MAJ7 | G#min7 | A#min7 | BMAJ7 | C#7 | D#min7 | E#min7b5
|
| Mixolydian | less bright | lowered 7 | F#7 | G#min7 | A#min7b5 | BMAJ7 | C#min7 | D#min7 | EMAJ7
|
| Dorian | dark | lowered 3, 7 | F#min7 | G#min7 | AMAJ7 | B7 | C#min7 | D#min7b5 | EMAJ7
|
| Aeolian | darker | lowered 3, 6, 7 | F#min7 | G#min7b5 | AMAJ7 | Bmin7 | C#min7 | DMAJ7 | E7
|
| Phrygian | darkest | lowered 2, 3, 6, 7 | F#min7 | GMAJ7 | A7 | Bmin7 | C#min7b5 | DMAJ7 | Emin7
|
| Locrian | unusable | lowered 2, 3, 5, 6, 7 | F#min7b5 | GMAJ7 | Amin7 | Bmin7 | CMAJ7 | D7 | Emin7
|
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.
Credit: Shane Adams
