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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 ...


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 ...


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 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 ...


8

The basic idea on how to establish a mode is make the tonal center of the progression and melody center the tonic of the modal scale and use harmony that signifies the mode you are in. 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 ...


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

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

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

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

From the Grove Online article on Mode by the late, noted musicologist Harold Powers: "[Johan Mattheson's Das neu-eröffnete Orchestre listed] the 24 major and minor keys, [which had been] first set out as a whole in 1711, only two years earlier, in Heinichen’s Neu erfundene und gründliche Anweisung … des General-Basses." Powers quotes Mattheson specifically ...


5

The basic point that Mr. Ewer makes is correct: a mode is not the same as a key, just as a mode is not the same as a scale. However, he then confuses things by using a different definition of “key” than the one commonly used in modern Western music. Some minor scales have a major 7th, like the harmonic minor and melodic minor ascending. Other minor scales ...


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 ...


4

For jazz in the Phrygian mode, listen to McCoy Tyner and Coltrane playing modally. C Phrygian derives from Ab major, so the notes are C, Db, Eb, F, G, Ab and Bb. This means that the scale has no major 3rd. Instead the 4th (F) is emphasised. Another feature is the b2. In C Phrygian this is Db. Here's a typical Phrygian chord: C+Db+F+Bb. When improvising, ...


4

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). ...


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

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 ...


3

No. 2. C blues. Really, that's all I wanted to say.


3

Note that in rock/pop music, not all the modes are used equally. The modes that are used most often are: ionian (major) aeolian (natural minor) dorian mixolydian So if you are just starting with modes, I would recommend you concentrate on these ones first. Generalizing to the other modes will be easy once you've understood the basics. Let me now give you ...


3

A modal chord progression would just be a chord progression in whatever mode you are in. The following explains chords in each mode where an upper case Roman numeral is a major chord, a lower case Roman numeral is a minor chord, and a lower case Roman numeral followed by a 'o' is a diminished chord. A 7 next to a chord just means it has a dominat 7th(used ...


3

A thing I noticed in 16th century music in phrygian is the heavy use of major VI harmonization -- in your case, that would be A-flat major. I have mixed feelings about this. On one hand, to the modern ear, it can very readily collapse the tonality of the piece into the relative major, losing all the nifty modality. On the other hand, it is awfully ...


3

Along with the German theorists like Lippius cited in other answers, English musicians and theorists from quite an early date also divided the keys or 'tones' into two categories based on the major or minor quality of the third above the final. At least in the seventeenth century, however, they did not use the terms 'major' and 'minor', but rather 'sharp' ...


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. Also: This is question is too wide. You should remove the bits ...


3

Finger Style I would suggest you practice right-hand patterns. Your note that the exercises you found are "useless" suggests to me that the area you truly want to improve is your right-hand finger picking technique. There are 3 fundamental patterns you should master with the right hand to begin with: 1) Ascending arpeggio: Thumb, Index, Middle, Ring. ...


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 ...


2

I miss the fundamental distinction between scale and mode in the answers here. A scale is an ordered set of notes (usually functionally repeating after an octave). A mode is the harmonic framework built from it. The difference is similar to that of floor tiles and a floor. Even if the floor contains nothing but floor tiles, it is conceptually different ...


2

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 ...


2

I'm studying music myself, but I think I've learned enough to answer your question, just in case it hasn't been cleared up for you. Okay, to simplify it as best as I can…although the Dorian mode is built on the second letter of the C major scale(D), it can begin on any note. Basically, you should only use the D Dorian as a reference to show you whole/half ...


2

A lot of people look at mode and think they need to learn every little thing they can about them for them to be useful. That will bog down most beginner guitarist who don't know their use in music. The basic ideas that everyone who learns modes should know about is why they exist and why they are useful. Like you said above the basic idea for each is a ...


2

This has to do with common practice era harmony. A minor key should consist of a minor triad on the tonic. Phrygian, Dorian and Aeolian all fit this bill. The next most important chord in common practice harmony is the V chord and if you are a common practice era composer, you would want a good triad for your V chord. Phrygian's V chord is diminished, so ...



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