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28

'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 ...


13

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 ...


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 ...


12

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 ...


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 ...


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

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 ...


9

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 ...


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

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 ...


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

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

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

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 ...


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 ...


5

Taking C major/C Ionian as a start point, as in C D E F G A B C, the mode starting on note 2, D, using all the same notes, will be D Dorian. This is sometimes, confusingly, called 'the Dorian of C'. You , I think, are finding 'the Dorian of Bb', which will start on C, and use the notes from Bb maj/ Bb Ionian.Thus, the notes involved will be C D Eb F G A Bb ...


4

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 ...


4

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 ...


4

If you look at just a small part of the tune under a magnifying glass, so to speak, then you don't know. A D minor chord is playing, or a G7, and all the notes are from the key of C major. You could be in a II-V-I cadence or whatever. To know that you are in D Dorian, you have to step back and take a bird's eye view of the tune's structure. Strong clues ...


3

C Dorian is C D Eb F G A Bb D Dorian is D E F G A B C D So D Dorian has the same notes as your C Ionian, but you are starting from a different position. I am not sure what you mean by "Next" in the context of your question, though.


3

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 ...


3

This is not right. The modes of the major scale each have 7 notes; instead you have listed both scales as having all 12 possible pitches, but just starting on different notes. You have listed a chromatic scale on C and a chromatic scale on D. Also, the way you describe a number of the intervals is not correct: for instance C-F# is a 4# (in your notation). ...


2

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 ...


2

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 ...


2

Think of C Major: C D E F G A B. Notice how there are 7 notes. There are 7 modes in a scale, one for each note of the scale. Modes are the scale, starting from a different note. In this instance, C Major is the parent scale and all the modes are derived from it. So using the notes of C Major we get: C Ionian (The same exact thing as C Major) D Dorian E ...



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