You have seen that a diatonic scale formed by the white keys on the piano you can start from C (
major mode 
) or from A (
minor mode ). Western music uses, in most cases, only these two modes; however, since the notes are seven, the theoretical possibilities are as many, as shown in the following table.
| Tonic |
Name of the mode |
Positions of the semitones |
| C |
ionian (major) |
III-IV |
VII-VIII |
| D |
dorian |
II-III |
VI-VII |
| E |
phrygian |
I-II |
V-VI |
| F |
lydian |
IV-V |
VII-VIII |
| G |
mixolydian |
III-IV |
VI-VII |
| A |
aeolian (minor) |
II-III |
V-VI |
| B |
locrian |
I-II |
IV-V |
The major and minor modes, that have become established “only” in the 1700s, have however dominated the music of the XVIII and XIX centuries, forming in some way our current musical sensibility. The others were used by the ancient Greeks, in the Gregorian music (Middle Ages), by some classical authors of the first part of the twentieth century and in jazz.
“Rondo in E lidyan” 
and
“Tarantella” are in
lidyan mode , as also the central part of
“Romance in A minor” .
“Children’s rhapsody” (where also
chords of fourths are used), uses the doric one. The mode of
“Romance in A mixolydian” is evident from the name of the piece.
