The Harmonic Major is basically an Ionian b6. All the other modes will fall into this pattern (i.e. a familiar mode name plus one alteration).
ionian b6 | 1 | 2 | 3 | 4 | 5 | b6 | 7 | 1 | 2 | 3 | 4 | 5 | b6 | 7 |
dorian b5 | 1 | 2 | b3 | 4 | b5 | 6 | b7 | |||||||
phrygian b4 | 1 | b2 | b3 | b4 | 5 | b6 | b7 | |||||||
lydian b3 | 1 | 2 | b3 | #4 | 5 | 6 | 7 | |||||||
mixolydian b2 | 1 | b2 | 3 | 4 | 5 | 6 | b7 | |||||||
aeolian b1 | b1 | 2 | b3 | 4 | 5 | b6 | b7 | |||||||
locrian bb7 | 1 | b2 | b3 | b4 | b5 | b6 | bb7 |
The Locrian bb7 might seem weird. Since we've only added one alteration why is there a double flat??? The reason is that the 7 in the Locrian is already a b7, so if you slap on another flat you get the bb7.
Also, as detailed elsewhere, the b1 isn't so useful practically. If we re-analyze the aeolian b1 we'll see that it's construction is thus:
1 #2 3 #4 #5 6 7
The #4 is a hallmark of the Lydian mode. And we've already encountered the Lydian #5 -- Lydian Augmented -- in the melodic minor modes (it's mode 3). So this can easily be named
Lydian Augmented #2.
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