Major modes
Ionian, Lydian and Mixolydian contain a major 3rd but differ in 4th and 7th behavior.
Modes are most useful when heard against a tonal center and chord function. Treating them only as seven fretboard patterns misses the harmonic reason they sound different.
ChordRevelation treats scale choice as a relationship between chord formula, function and target — not as a root-name lookup.
Ionian, Lydian and Mixolydian contain a major 3rd but differ in 4th and 7th behavior.
Dorian, Phrygian and Aeolian contain a minor 3rd but differ in 2nd and 6th degrees.
Locrian adds a diminished 5th, making it especially connected to half-diminished harmony.
Keep chord tones visible, compare overlays and practice toward the next chord instead of running patterns without a harmonic destination.
Compare all seven modes from C or another single root to hear interval differences directly.
Dorian is more meaningful over a suitable minor chord than as an abstract pattern.
Focus on the degree that separates one mode from a nearby major/minor scale.
The interval formula is the starting point; Play Over provides the real harmonic context.
Ionian · Dorian · Phrygian · Lydian · Mixolydian · Aeolian · Locrian
Connect the interval formula to chord tones and real harmonic context, then compare positions on the fretboard instead of memorizing a single box.
No. Scale choice depends on chord quality, harmonic function, key context and the next target chord, not only the root name.
Open the approach on the fretboard, compare chord tones with tensions, keep multiple overlays visible and use the next chord as the resolution target.