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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 ...


12

To answer this, we can arrange the modes in order from those that have the highest-pitched notes (largest intervals relative to tonic), to those that have the lowest-pitched notes (smallest intervals relative to tonic), then compare the resulting intervals. Note how, in this order, each following mode is identical to the previous one, except for one scale ...


9

Theoretically, yes there are five modes that can be derived from the major pentatonic scale and they would be named the same way the other modes contained in the major scale. Let's look at the relative modes instead of parallel as it is slightly easier to see the patter. The C major pentatonic scale consists of the following notes: C, D, E, G, A ...


9

I think, Dom, that you would need to do a few things: Truncate the tonic - it will always be root and third. (This kind of truncation wasn't all that unusual in late Renaissance and early Baroque modal polyphony, by the way, even though the Locrian mode itself wasn't used at all.) Borrow procedures from the Phrygian mode, which is the closest in ...


7

The C and A Altered Dorian scales you show, are simply Dorian Modes with fourth degrees raised by a Semitone. So, to work out the Altered Dorians starting on the other pitches: firstly, work out the Dorian modes starting on each of these pitches; secondly, raise the fourth degree of each of these modes by a semitone. There are two easy ways to work out the ...


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 ...


6

You can use V-I, although you need to prep it well. A not-unusual formula is to end with a standard Phrygian cadence (♭vii6-I), and then close it off with V-I or viiᵒ-I (often over over a tonic pedal). Also, less conventional, but using a formula that actually arose from the Phrygian cadence, is to use an augmented sixth as your dominant. (I've closed off a ...


5

Dom's answer correctly explains what the modes of the pentatonic scale are and how they are (not) used. Since this might give the impression that the pentatonic scale is almost exclusively useful if used as either major or minor pentatonic scale, I would like to add one important application of the pentatonic scale where it is used over a chord whose tonic ...


5

The main note to emphasise on each mode has to be the 'key note'.As in, for example, D Dorian, the D; in G# Mixolydian, the G#. Those are the 'key centres' for the modes, and everything will gravitate towards that note. The V will not necessarily be a V,as we normally see it. In Locrian, it's going to actually be a flat five, although all the other 6 modes ...


5

You can't really apply these functional terms to modes. A mode refers to a specific scale and its characteristic melodic phrases. The problem with Phrygian, when you try to build classical harmony on its scale, is in fact constructing the "dominant" harmony, i.e. the triad on the 5. step. It has a diminished fifth (in "White Key Phrygian" on E this would be ...


5

The scale that fits over all the chords given is: A B C# D E F# G A Those notes are in the D Major Scale but the intended root is A as repeated at beginning and end of chord progression in other areas of song and starts the song. Therefore it is A Mixolydian.


5

One of the first things to observe is that the tritone F#-C should be avoided, because it suggests a dominant sound (leading to G). Consequently, don't use the II7 chord (D7 in the case of C lydian), and don't use IVm7(b5) (F#m7(b5) in C lydian) either, because both contain the tritone. Note that the triad II (D major triad) can be used. Progressions in ...


5

You might almost say they didn't "work" in terms of sounding good as much as those transitions help make the music sound whimsical. It's not like they fit inside some sacred rules of harmony as much as they broke the rules in a certain way that makes that theme effective in setting the tone for the show. Also the main motive is repeated (more or less) in ...


4

Great question Dom. I think your best bet is to make sure that the two modes are distinct and separate. This is achieved through rhythmic decisions, register, counterpoint, instrumentation, and a number of other musical factors. If the lines containing the modes cross, the definition of each line becomes obscured, and therefore the harmonic contrast ...


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 ...


4

I think some confusion here could be alleviated with a historical perspective. Many of the explanations above talk about present-day relations between the pair of major/minor "scales" and some altered versions of the same notes, reordered, equivalent to "modes" (white notes on the piano = C major scale = A Aeolian mode, D Dorian, etc.). This is doubtless ...


4

Each mode has it's own unique harmony associated with it and Phrygian is no different. The most notable thing about Phrygian harmony is the II chord which in E Phrygian is F. It's really strong and it is very commonly borrowed and used as what is known as a Neapolitan chord. You would want your chord progression to utilize the II chord like a dominant since ...


4

The chords available to you in a given key are the same no matter what mode you choose. This is because you're still constructing the chords from the same set of 7 notes. For example, in C major, you have CDEFGAB, and no sharps or flats. That means that (ignoring "fancier" chords"), the chord on C is CEG = C major, the chord on D is DFA = D minor, and so ...


4

A nice addendum to Caleb Hines' answer is that if you take all the most common intervals, you get M2, m3, P4, P5, M6, and m7, which is the Dorian mode. What's significant about this is that the Dorian mode is a point of symmetry in our diatonic scale. If you use D as a center point and move both up and down in perfect 5ths, you end up getting the diatonic ...


4

You already mentioned the most important point in your comment to Tim's answer: you probably hear the notes of the pentatonic scale as the most consonant notes. Those notes usually sound good over all chords from the respective scale, whereas the remaining two notes can be problematic over certain chords. E.g. in C major the two notes that can be a bit ...


4

You can write a circle of 5th's progression in the Phyrgian mode, but it won't make the progression sound Phyrgian. This site shows you how to build a circle of 5th's progression in any key in any mode, but doesn't really explain what is going on. If you look at the progression for C Phygian you will see: Db - Ab - Eb - Bbm - Fm - Cm - Gdim However, if ...


4

In his comment, Patrx2 listed the 8 traditional church modes: Dorian (and Hypodorian), Phrygian (and Hypophrygian), Lydian (and Hypolydian), and Mixolydian (and Hypomixolydian). The "Hypo-" forms are called plagal modes (as opposed to the four authentic modes). The plagal modes have the same "final" (tonic) and the same pitch classes as their corresponding ...


4

Each mode has a different sound. They have some specific notes that add the color in each of them. Ionian mode is like the major scale Dorian mode is like the natural minor scale, with a major sixth. Phrygian mode is like the natural minor scale, with b2. Lydian mode is like the major scale, with #4. Myxolydian mode is like the major scale, with b7. ...


3

The song definitely has the more an A Mixolydian feel then a D major feel. Both contain similar chord progressions, but there are a few signs showing A Mixolydian is the better way to look at it. First of all, the progression itself centers around A as the tonic. Also note that the dominant chord (E major) is not present in this progression which would very ...


3

The different modes derived from any particular scale will contain the same notes. This means that while staying in the key, you will have the same chords available to you. The main difference between being in one mode vs. another is what we treat as tonic, or home base as I like to refer to it for those that don't know the term tonic. This means that the ...


3

With tabs you need to know some theory first on how to determine the key by the chord progression. A quick and simple way to do this is to find the first and/or last chord of the song. But learn I - IV - V twelve bar blues and how to solo with pentatonics first before hitting the modes. You need to understand basic theory before you get into anything beyond ...


3

Assuming everyone is oriented to what music is for most practical purposes of the "western" world (which is code for European and Caucasian), scales are groups of notes whose absence of some of the notes which leaves spaces called intervals gives the scale its identity (regardless of octave where each repeats or key). Modes are said to be scales too, but ...


3

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.


3

I am having some confusion is respects to the formal definition of what the various modes are. I know that their defined in relation to their scale, however, i've come to realise this may not be best way to define it. Modes are not defined by how they are related. Modes are defined by their interval pattern, by how they are constructed. There are ...



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