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13

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 ...


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. ...


4

First of all, the clefs are not quite right and the bottom part should be an octave lower (this is inferrable from the illegal 4th in the penultimate bar). Modes in Renaissance style are not the strict collections of 7 notes used in "modal" pop and jazz songs. Instead, a mode tells us where the tonic is located within a field of 11 notes, 7 diatonic and ...


2

It's because it's the distance/relationship between the note you emphasize and all the other notes that creates the emotion of the scale. If you use the notes A B C D E F G, and you emphasize A, it has a note 3 semitones above it, and the distance between these two notes (a minor third) makes it sound sad. If you emphasize C on the other hand, it has a note ...


2

A great deal of it is improvised, much in the same sense that Indian Raga is improvised. That is to say, a lot of melodic framework and development is predetermined, but there is a lot of room to work around the predefined bits. http://en.wikipedia.org/wiki/Arabic_maqam explains this well. Also: This is question is too wide. You should remove the bits ...



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