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33

'Dorian mode on C' does not mean "the Dorian scale that you can find among the notes that are available in the major key of C"! 'Dorian mode on C' refers to the Dorian scale, or set of note intervals, that start on the note C, i.e. C is its root or tonic. This set of notes happens to be the same as the ones found in the Bb major key, thus two flats. This is ...


17

G Mixolydian is a modal scale, more specifically the 5th mode of the major (Ionian) scale. We can't very well call it a "C" scale because (a) G is the tonic, not C and (b) assuming you meant C (Major), it does not have the same interval pattern as a major scale due to the lowered 7th. As far as its purpose, it can serve many. After all, it's an ordered set ...


17

The minor scale is not called the "minor scale" because it is the most minor. Names don't have to accurately reflect the definition. Modes are sometimes classified as "minor" or "major" depending on their third (a minor third usually comes with other minor degrees like the flat 7th which is common to all minor modes of the major scale). And of all the minor ...


16

A scale is any sequence of ascending (or descending) notes that can be used as an "organizing structure" for a piece of music. There are many types of scales, including diatonic (the "standard" in Western music), chromatic (containing every half note in an octave), whole-tone (containing notes a whole step apart), and pentatonic (the pentatonic formed from C ...


15

It partly depends how you read the accidentals at the beginning of each staff, and there are several manuscripts of this treaty and therefore of this Sobria. If one uses the PnD manuscript (from Paris National Library - Ex French Royal Library - Fonds Italien) as you do (I do not have access to something else anyway), and one makes the hypothesis that the ...


14

It's important to understand that mode doesn't have to be, and often isn't, an explicit choice. You wrote: The notes we play and the order is based on sound and emotion. and that's true enough, but—if you've mostly written notes from a single western key and are writing in a more or less traditional style—then the way you've used those notes will be in ...


13

There seems to be a general confusion here. Everything you can play or imagine is possible. Theory is a means to describe music, but music is by no way bound to any theory whatsoever. Major scales are typically not a good way to describe (or play) Blues. Better suited are scales that are aptly named "blues scales" (see ...


11

When you play a C Major scale and have emphasis on a note other than C, such as D, then it is D Dorian. The player implies that the D note is the root using the notes of the C Major scale. Another thing is the harmony behind the scale. What chords are being used? That would direct your ear in hearing where the root is. If I play Dmin7 chord and use the C ...


10

A "scale", technically defined, is a sequence of ascending or descending "unit pitches" that form a palette of notes that can be used to form a melody. Most scales in Western music conform to a particular "key"; that is, a sequence of notes that will be "sharp" or "flat" by default. Not all scales have keys; the chromatic scale is a scale of all possible ...


10

What you are asking about doesn't really have to do with modes or accidentals. Essentially what you are talking about is the difference between modern equal temperament on the one hand, and just intonation on the other. Up until the late 1800s, musical instruments could play the traditional Greek modes and scales based on pure intervals, but a given ...


10

I am really not knowledgable in ancient music theory so the following might be riddled with errors, but here is what I've gathered. What are the original Greek modes? Ancient Greek music scale theory was built upon the concept of the "tetrachord" - literally meaning four strings. A tetrachord consists of a group of four notes with three smaller intervals ...


9

Sure, that kind of modal shifting using the same root relationships is generally quite effective. In your particular example, you might want to raise the 7th scale degree (C to C#) for V and vii chords (much as you might do in minor) in order to get a stronger drive to the i chord, but then you wouldn't strictly be in D Dorian. Either way works but has a ...


8

I'll give this a shot. Some elements contributing to a Medieval sound are Minor-key, modal melody (I think it is Dorian) Melody is catchy and song-like and follows a resolution pattern that resembles old drinking songs or sailor songs. The 6/8 rhythm also contributes to a drinking-song feel. Harmonic voice-leading features prominent parallel motion ...


8

I hope no one minds that I got curious, and did a bit of digging into this on my own. I discovered what appears to be an excellent resource answering this very question. The book is entitled Between Modes and Keys: German Theory, 1592-1802 by Joel Lester (1989). I do not have access to a copy of the book, but I've been able to see several relevant portions ...


7

For me it depends whether I'm on guitar or piano. On piano, I will base everything on the major scale of that key. So to play in C Aeolian, I would start with C major, then say "I'll need to flatten the third (E -> Eb), the 6th (A -> Ab) and the 7th (B -> Bb)" On guitar, that method doesn't work for me. On a guitar, I use the shape corresponding to the ...


6

Sorry, but I have to chime in after all this time. The answers given here, while accurate, convey none of the most critical distinctions, nor of how modes sound to the ear in a way different from scales. And how things sound is what music is all about. Otherwise you may as well describe the difference between, say, Leonardo Da Vinci and Claude Monet by ...


6

Mode mixture is a pretty common thing to see in rock music. Basically, that just means it's okay if you see chords that are outside of the key here and there--and the major chord built on the flat 7th (bVII) in particular is something you'll see a lot. For this song, I would say your analysis of D mixolydian is completely accurate. The root is undoubtedly ...


6

Basically, modes come from a major scale, also known as the Ionian mode. This is your TTSTTTS spacing, note by note, as in Cmaj: CDEFGABC.Starting on the 2nd note, and rising to an octave above it, you get the Dorian mode.The next starts on the 3rd note, E in this scenario.It's the Phrygian mode. The 4th degree start gives the Lydian, the 5th ...


6

Yes, they're using all the same notes, but not necessarily in the right order... C maj. will be CENTRED around C, D Dorian will be CENTRED around D, E Phrygian will be... you get the picture. The home (CENTRED) note will be the mode letter. The chords may well be the same, but their function will be different, i.e. in C maj., the G will be the dominant ...


6

It's quite a big subject, but one where I believe musos are split into two camps. One, like you (and I), think in terms of a set of modes being from a 'mother key'. As in C maj.begets D dorian, E phrygian, F lydian, G mixolydian, A aeolian and B locrian. Thus, when playing in, say, G mixolydian, one uses the notes from C maj. but centres around G. The ...


6

The basic idea on how to establish a mode is make the tonal center of the progression and melody center the tonic chord of the modal scale. For example this progression would signify C major. C - F - G - C The progression stats and ends with C and the melody to accompany this would use the notes of the C major scale that would start and end with a ...


6

Modes and scales are just a way of ordering a series of notes. A bit like there's an order for letters - alphabet - but those letters never get used in that order (apart from the word 'no'...). A song in a particular mode will be based around a particular note. As in, that note feels like home, often a start place, and usually a finish place in a journey. ...


6

Of course there are infinite ways one might explore a scale or harmony compositionally, but one aspect of the pitch collection that made it interesting to Scriabin is that it can be used to resolve in a more-or-less traditional manner to a number of different distantly related harmonic areas. First off, a reminder about the harmonic possibilities of a ...


5

By way of analogy: Isn't the minor scale just some other key's major scale starting on the sixth note? C minor has three flats, and this because C minor is just Eb Major, starting on the sixth note (that is, the sixth note of Eb Major, which is C). And A minor has no sharps or flats because it is just C Major, starting of the sixth note (of C Major, which ...


5

As far as I'm aware, Beatles' Eleanor Rigby is written in E Aeolian/minor (with the key signature of a G major/E minor, which is just one sharp at the F). Although most of the song is mostly played in Aeolian, the verses are alternating with the Dorian mode. The Dorian mode is almost exactly the same as an Aeolian mode, but with a raised sixth! In this case ...


5

I think the musical answers already given are the most useful, but the dictionary answers may also be informative. From the Oxford English Dictionary (OED) we get: Scale: Any of the graduated series of sounds into which the octave is divided, the sounds varying according to the system of graduation adopted. Mode: A scheme or system specifying the ...


5

While the terms can be used fairly interchangeably, that only speaks to the practical applications; where each comes from is slightly different. A scale is an ordered sequence of notes with a start and end. A mode is a permutation upon a scale that is repeatable at the octave, such that the start and end points are shifted. For example, the major scale is ...


5

The seven Modes are named thusly. If you start with C, they are spelled as follows: Ionian (1), or the Major scale: C D E F G A B C Dorian (2), D E F G A B C D Phrygian (3) E F G A B C D E Lydian (4) F G A B C D E F Mixolydian (5) G A B C D E F G (which is the most common mode for rock and roll) Aeolian (6), or the Natural Minor scale: A B C D E F G A ...



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