New answers tagged modes
Claude Debussy used it in some pieces, as did Richie Blackmore. Miles Davis used in Nardis. See the links hereunder for more pieces. Here at the bottom are listed a few pieces, as well as here near the top.
It has modes for the same reason that Major scale has modes. Nothing special about it. Harmonic and melodic minor scales are different scales not modes of natural minor. Here is a nice diagram of all three side by side made using guitar Chords and Scales software:
A mode is basically using scale notes, and starting the sequence on a different note from that sequence. As in D Dorian uses the same notes as found in C major. But you know that. By using a different set of notes, such as those found in the harmonic minor scale, a slightly different set of modes appear. As already answered, using, say, the chromatic scale, ...
The natural minor to any major scale is the sixth degree of any given major scale. A parallel minor scale shares the same starting tone but follows it's own natural minor scale and would have a different natural relative major. In doing the major scale itself, there are then the modes... So yes, a mode is simply playing from one note to that same exact ...
The harmonic minor, and melodic minor scales are not modes of the natural minor scale. A mode is a very specific idea in music where you would start building a scale on another note of the scale. For example, A minor consists of the notes A, B, C, D, E, F, G, A and it's built using the scale pattern W-H-W-W-H-W-W. You also may notice that C major consists ...
So if we take the Major scale and write down the modes for that: Ionian - Dorian - Phrygian - Lydian - Mixolydian - Aeolian - Locrian That is a set of modes for both the Major and Natural Minor scales. The Minor scale simply starting in a different place. Realistically you can start pulling out all sorts of scales and form modes from these. The modes for ...
First off, the A Phrygian Dominant scale consists of the notes: A - Bb - C# - D - E - F - G You got the first part of the name right as the Phrygian part of the name does come from where Phrygian is typically derived. The dominant comes from the fact that you can build a dominant 7th chord off the tonic as A, C#, E, G spell A7. There are other scales ...
I would suggest learning to play the full authentic cadence in a simple key (for instance in C). This include: T-S-D-Tp-Sp7-K6/4-D-D7-T: When you master that by memory on the piano, try to transpose it to G and F key. There is no other shortcut, the mastery of music asks for practicing.
First of all, the ii and V chord are very specific chords not all modes have for example, Phrygian does not have a ii chord (it has a II or bII depending on how you look at it) or a V chord (it has a v instead). If you are however referring to the concept of tonic, predominant, and dominant then the modes do have them in some way shape or form, just not in ...
Don't confuse a 'modal scale' with a 'Mode'! The whole song is in a 'Mode' and in Bach's times they didn't even call this aeolian or ionian anymore but simply major and minor. Of course, the scale starting from the II (G) of your tonic (F) has the same interval structure than a dorian scale would have on its root (G-dorian). But unlike in F-major the ...
Bach did write some modal music - for example, the Dorian fugue. However, Bach was at the forefront of developing the diatonic system, so in most of his work, modes do not generally apply. To identify modes in general, you need to check the range of the voices and the note that the piece ends on.
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