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19

The difference is all about what is the tonic and how a tone become perceived as the tonic. In C major C is the tonic. In E Phrygian E is the tonic. Unless you're talking about Gregorian chant (no chords) I think the most practical way of understanding the tonic is through harmony. Let's look at the group of tones D E F and melodically target E... ...at ...


8

You can play pretty much anything, depending on context and what has been established both melodically and harmonically. All modes derived from the mayor scale are commonly used: Lydian easily fits any mayor chord Locrian can be played over V (VII m7b5 as diatonic substitution of V7) Phrygian can easily fit any minor chord (using that b2 as leading tone ...


7

There have been similar questions on here already. Yes, it does involve using exactly the same notes, but they're focussed differently. Playing in E Phrygian will involve E F G A B C D, but 'home' will be E. Not the C in C Ionian. Playing in the latter, C will feel like it's the root, or home. E Phrygian may well start on that E note, and return to it ...


5

If you are following the standard mode-chord mapping you should use Dorian over the ii Mixolydian over the V7 Ionian over I as your question alludes to. However this is not a useful approach to true improve. If you want to play "out" I find the blues (more specifically the minor blues) can be forced onto almost anything. You have the b5, b3, and b7. ...


5

The modes have different root tones and also different "tenor tones" this means like music in a major key (ionic) has the 5th as dominant all modes have different recitation tones (fifth or sixth). This makes a melody quite different regarding the finalis (final tone) which usually is the root tone and its leading tone. It was Glarean who added to the ...


4

Others gave good answers, but I'll try to be more to the point. You must feel the tonic, the home note. If you don't feel the tonic, you can't understand modes. You think mode means scale. Wrong! It's a scale around a tonic. Edit: to demonstrate what the change of home note means, I'll add the same videos I've been using in other "what are modes" questions. ...


3

Dorian-Myxolydian-Ionian If I understood correctly, you'd play dorian on the ii, mixolydian on the V and ionian on the I? No wonder you want variety, because that's practically like playing the same scale all the time, because you don't have even a single out-of-scale note anywhere. :) In modal playing, things stay in the same harmonic posture for a long ...


1

Given all the music theory treatises from the time period they were not just winging it and had a refined sense of technique. It may be helpful to read up on the church modes (as apposed to modes/scales as used in jazz and rock) to get a sense of how tonality was conceived back then. I'm still learning about Medieval music so I can't summarize much, but it ...


1

...antecedent and consequent phrase in minor scale? I think you are asking about minor key music, so let's skip over modal music (Dorian, etc.) Antecedent and consequent phrases are essentially defined by cadence types. The typical thing is an antecedent phrase ending with a half cadence on the dominant chord and a consequent phrase ending on the tonic. ...


1

Melodic phrasing is different than tonal characteristics. The guidelines for melodic phrasing are the same regardless of tonality. I encourage you to research parallel answers and contrasting answers. Antecedents can be thought of like questions. Consequents can be thought of as one of the two types of answers above. How long they are / their shape / ...


1

What are modes in the real world? A common description of the modes is they are the permutations of the major scale. Ex. the C major scale is CDEFGABCDE..., Dorian modes uses that sequence of tones, but starting on D as DEFGABCDEF..., Phrydian starts on E as EFGABCDEFG.... Historically that is partly true. In old Church music the system used the gamut of ...


1

What Richard said there could be challenged by conceptualizing dominant as function, not a scale degree. Dominant chord V7 has a tritone that largely defines the tonality in major scale at least in contemporary harmony. Tonal harmony functions mostly inside major scale, and dominant functions in such way that it has a tritone that resolves upwards through ...


1

Different modes of the pentatonic scale A Minor Pentatonic (aeolian) C Major Pentatonic (ionian) D Sus2 Pentatonic (dorian) E Minor Pentatonic (phrygian) G Sus2 Pentatonic (mixolydian) In relation to the diatonic scale, the modes of the minor pentatonic scale in order would be - Aeolian Pentatonic (missing 2 and 6) Ionian Pentatonic (missing 4 and ...


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