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6

Preface The TL;DR version is: scroll down to the "Therefore ..." at the end. But if you want the exhaustive (exhausting?) details ... From the Department of Taking Things too Far There is general agreement that the primary pitches are D, E, F, G, A, C. So, here's a detailed look at the other pitches that occur in the song. album version, part I B: ...


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The dorian and aeolian scales differ by 6th step, which is Bb in D aeolian or B in D dorian. The chords used in the song: Dm, G, F, C all consist of notes from the D dorian scale, which suggests dorian harmony. The note Bb does not appear in the song. The vocal melody has ambitus of just a sixth (C–A), and doesn't get to B neither at the top nor at the ...


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Is there an application of [Modes of Limited Transposition in Microtonality] to produce anything meaningful musically? The TL;DR answer is (or, seems to be) no, at least not explicitly. However... Messaien's Modes of Limited Transposition are a special case of Transpositional Symmetry, a concept from Musical Set Theory, which refers to any set of pitches ...


3

A mnemnonic for which mode turns into which is numbering them 1-7 but starting from Aeolian rather than Ionian. Every mode reversed is the mode which brings the sum of the two up to 8. So Aeolian (1) is Mixolydian (7) reversed, Locrian (2) is Lydian (6), Ionian (3) is Phrygian (5), Dorian (4) is Dorian (4). As this numbering makes A the first and G the last,...


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