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in the beginning ...
on the guitar fretboard, the natural notes C D E F G A B C
are spaced a distance of 2 frets apart
| C | - | D | - | E | F | - | G | - | A | - | B | C |
except | E | F | and | B | C | which are spaced a distance of 1 fret apart
When Ionian met aeolian
each KEY containing 12 notes in sequence from KEY-note-to-KEY-note-repeat
played on 12 sequential frets on the guitar fretboard, repeating every 12 frets.
| C | C# | D | D# | E | F | F# | G | G# | A | Bb | B | C |
Playing all 12 notes upwards as an ascending scale and then back down very soon became very boring, monotonous to the ear, and clearly lacked any Major sense of style or uniqueness from KEY to KEY.
As a solution to the Major dilemma Ionian put forth the concept of introducing style not by adding something to an already-full scale of notes as much as by eliminating or skipping some of the 12 notes along the way when playing from KEY-note-to-KEY-note-repeat.
Over a certain period of time and after innumerable combinations & variations Ionian noted one day while playing the KEY of C that when skipping all but the natural notes (natural notes are those with no sharp and no flat) the remaining sequence of notes renders a cheerful spritely Progression that includes 7 notes.
Ionian soon determined that the KEY-note-repeated would become the 8th note or octave.
| C | - | D | - | E | F | - | G | - | A | - | B | C |
| 1 | - | 2 | - | 2 | 1 | - | 2 | - | 2 | - | 2 | 1 |
The sequence, this Major Progression, starting with the 1st note, from KEY-note-to-KEY-note-repeat can be played on one string or at one position using multiple strings. Fashionably playing at the first position using all 6 strings, Ionian rationalized, would be known as the Ionian mode.
continued ...