Scales and Modes

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Technique Examples for Required Technique o All Technique Level I and above must be played hands together. o Recommended fingerings are on pages 40-41. FTVE FINGERPATTERNS Introduced in Preparatorv Level Major five finger patterns and triads minor five finger patterns and triads Lower the 3rd tone a half step SCALES (Suggested fingerings are on pages 38-39.) Introduced in Prep Level Major scales one octave I 2 3 5 4321 2 RH2 3 5 (Preparatory Level only) Introduced in Level 1 Natural minor scales one octave Introduced in Level 2 Major scales, one then two octaves Harmonic Form of the minor, one octave - Raise 7th tone of the natural minor scale a half step Section 3: Technique Examples 29 MTAC Piano Syllabus 2012 Introduced in Level3 Major scales tlvo octaves Natural minor scales two octaves Hamronic minor scales two octaves Introduced in Level4 Major Scales, two tlren three octaves Chromatic scale contrary motion, one octave lntroduced in Level 5 Chromatic scale, parallel motion, one octave Section 3: Technique Examples 30 MTAC Piano Syllabus 2012 Melodic Form of the minor, two octaves - Raise the 6th and 7th tones when ascending. Use the natural form when descending. Introduced in Level 6 Major scales, three then four octaves Introduced in Level 7 Harmonic minor scales three octaves Melodic minor scales three octaves Ionian mode on C three octaves (same as Major scale) Aeolian mode onAthree octaves (same as natural minor scale) Whole tone scale on F{ Section Technique 3: Examples 31 MTAC Piano Syllabus 2012 Major scales in tenths Melodic minor scale four octaves Section 3: Technique Examples 32 MTAC Piano Syllabus 2012 Octave Scale Dorian mode on A (half steps between 2-3 and 6-7) Phrygian mode on B (half steps between 1-2 and 5-6) Lydian mode on C (half steps between 4-5 and 7-8) Introduced in Level 9 Major scale in sixths, four octaves Section 3: Technique Examples JJ MTAC Piano Syllabus 2012 Locrian mode on E (half steps between 1-2 and4-5) Whole Tone Scale on C Scale and Arpeggio Fingerings Major Scales C G D A E ADorian DMixolydian B, Ci Bbhrygian RH t23 1234 t23 1234s RH 1231234123t2345 LH 54321 321 4321 321 LH 4321432t3214321 rl GL C* DL RH 234123t234123 t2 RH 2312341231234t2 LH 4321321432132 t4 LH 321432132t43213 F C Lydian BL RH 12341231234t234 RH 4 123 1234 123 t234 LH 543213214321321 LH 321 4321 321 4321 3 Eb E Locrian A} RH 3 1234 t23 1234 r23 RH 34 123 1234 t23 123 LH 32r 4321 321 4321 3 LH 321 4321 32t 4321 3 Minor Scales (Harmonic Form) aedgc RH 123 1234 t23 12345 RH 123t2341 23 | 2345 LH 5432t 321 4321 321 LH 432r4321 32 | 4321 fl cl RH 341231234123123 RH 34 123 t234 123 123 LH 43 2t 321 43 2t 321 4 LH 32t 4321 321 4321 3 $aL f RH 34 123 1234 123 123 RH 12341231 234 1 234 LH 321 4321 321 4321 3 LH s432t321 432 I 321 dt* bL af RH 3 1234 123 t234 123 RH 4t 231 234t 231 234 LH 2 | 432t 321 4321 32 LH 21 321 4321 321 43 Whole Tone Scales Cil RH 34 t2 t23 Ft RH 2341212 CRH 12 t2341 LH 43?1214 LH 432 t2t4 LH 32 14321.

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4. Non-Heptatonic Modes
Tagg: Everyday Tonality II — 4. Non‐heptatonic modes 151 4. Non‐heptatonic modes If modes containing seven different scale degrees are heptatonic, eight‐note modes are octatonic, six‐note modes hexatonic, those with five pentatonic, while four‐ and three‐note modes are tetratonic and tritonic. Now, even though the most popular pentatonic modes are sometimes called ‘gapped’ because they contain two scale steps larger than those of the ‘church’ modes of Chapter 3 —doh ré mi sol la and la doh ré mi sol, for example— they are no more incomplete FFBk04Modes2.fm. 2014-09-14,13:57 or empty than the octatonic start to example 70 can be considered cluttered or crowded.1 Ex. 70. Vigneault/Rochon (1973): Je chante pour (octatonic opening phrase) The point is that the most widespread convention for numbering scale degrees (in Europe, the Arab world, India, Java, China, etc.) is, as we’ve seen, heptatonic. So, when expressions like ‘thirdless hexatonic’ occur in this chapter it does not imply that the mode is in any sense deficient: it’s just a matter of using a quasi‐global con‐ vention to designate a particular trait of the mode. Tritonic and tetratonic Tritonic and tetratonic tunes are common in many parts of the world, not least in traditional music from Micronesia and Poly‐ nesia, as well as among the Māori, the Inuit, the Saami and Native Americans of the great plains.2 Tetratonic modes are also found in Christian psalm and response chanting (ex. 71), while the sound of children chanting tritonic taunts can still be heard in playgrounds in many parts of the world (ex.
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Martin Pfleiderer
Online publications of the Gesellschaft für Popularmusikforschung/ German Society for Popular Music Studies e. V. Ed. by Eva Krisper and Eva Schuck w w w . gf pm- samples.de/Samples17 / pf l e i de r e r . pdf Volume 17 (2019) - Version of 25 July 2019 BEYOND MAJOR AND MINOR? THE TONALITY OF POPULAR MUSIC AFTER 19601 Martin Pfleiderer While the functional harmonic system of major and minor, with its logic of progression based on leading tones and cadences involving the dominant, has largely departed from European art music in the 20th century, popular music continues to uphold a musical idiom oriented towards major-minor tonality and its semantics. Similar to nursery rhymes and children's songs, it seems that in popular songs, a radiant major affirms plain and happy lyrics, while a darker minor key underlines thoughtful, sad, or gloomy moods. This contrast between light and dark becomes particularly tangible when both, i.e. major and minor, appear in one song. For example, in »Tanze Samba mit mir« [»Dance the Samba with Me«], a hit song composed by Franco Bracardi and sung by Tony Holiday in 1977, the verses in F minor announce a dark mood of desire (»Du bist so heiß wie ein Vulkan. Und heut' verbrenn' ich mich daran« [»You are as hot as a volcano and today I'm burning myself on it«]), which transitions into a happy or triumphant F major in the chorus (»Tanze Samba mit mir, Samba Samba die ganze Nacht« [»Dance the samba with me, samba, samba all night long«]). But can this finding also be transferred to other areas of popular music, such as rock and pop songs of American or British prove- nance, which have long been at least as popular in Germany as German pop songs and folk music? In recent decades, a broad and growing body of research on tonality and harmony in popular music has emerged.
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Development of Musical Scales in Europe
RABINDRA BHARATI UNIVERSITY VOCAL MUSIC DEPARTMENT COURSE - B.A. ( Compulsory Course ) (CBCS) 2020 Semester - II , Paper - I Teacher - Sri Partha Pratim Bhowmik History of Western Music Development of musical scales in Europe In the 8th century B.C., The musical atmosphere of ancient Greece introduced its development by the influence of then popular aristocratic music. That music was melody- based and the root of that music was rural folk-songs. In each and every country, the development of music was rooted in the folk-songs. The European Aristocratic Music of the Christian Era had been inspired by the developed Greek music. In the 5th century B.C. the renowned Greek Mathematician Pythagoras had first established a relation between science and music. Before him, the scale of Greek music was pentatonic. Pythagoras changed the scale into hexatonic pattern and later into heptatonic pattern. Greek musicians applied the alphabets to indicate the notes of their music. For the natural notes they used the alphabets in normal position and for the deformed notes, the alphabets turned upside down [deformed notes= Vikrita svaras]. The musical instruments, they had invented are – Aulos, Salpinx, pan-pipes, harp, lyre, syrinx etc. In the western music, the term ‘scale’ is derived from Latin word ‘scala’, ie, the ladder; scale means an ascent or descent formation of the musical notes. Each and every scale has a starting note, called ‘tonic note’ [‘tone - tonic’ not the Health-Tonic]. In the Ancient Greece, the musical scale had been formed with the help of lyre , a string instrument, having normally 5 or 6 or 7 strings.
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Nora-Louise Müller the Bohlen-Pierce Clarinet An
Nora-Louise Müller The Bohlen-Pierce Clarinet An Introduction to Acoustics and Playing Technique The Bohlen-Pierce scale was discovered in the 1970s and 1980s by Heinz Bohlen and John R. Pierce respectively. Due to a lack of instruments which were able to play the scale, hardly any compositions in Bohlen-Pierce could be found in the past. Just a few composers who work in electronic music used the scale – until the Canadian woodwind maker Stephen Fox created a Bohlen-Pierce clarinet, instigated by Georg Hajdu, professor of multimedia composition at Hochschule für Musik und Theater Hamburg. Hence the number of Bohlen- Pierce compositions using the new instrument is increasing constantly. This article gives a short introduction to the characteristics of the Bohlen-Pierce scale and an overview about Bohlen-Pierce clarinets and their playing technique. The Bohlen-Pierce scale Unlike the scales of most tone systems, it is not the octave that forms the repeating frame of the Bohlen-Pierce scale, but the perfect twelfth (octave plus fifth), dividing it into 13 steps, according to various mathematical considerations. The result is an alternative harmonic system that opens new possibilities to contemporary and future music. Acoustically speaking, the octave's frequency ratio 1:2 is replaced by the ratio 1:3 in the Bohlen-Pierce scale, making the perfect twelfth an analogy to the octave. This interval is defined as the point of reference to which the scale aligns. The perfect twelfth, or as Pierce named it, the tritave (due to the 1:3 ratio) is achieved with 13 tone steps.
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Chapter 26 Scales a La Mode
CHAPTER 26 SCALES A LA MODE Musical innovation is full of danger to the State, for when modes of music change, the laws of the State always change with them. PLATO WHAT IS A MODE? A mode is a type of scale. Modes are used in music like salsa, jazz, country, rock, fusion, speed metal, and more. The reason the Chapter image is of musicians jamming is that modes are important to understanding (and using) jazz theory, and helpful if you’re trying to understand improvisation. Certain modes go with certain chords. For more information about modes and their specific uses in jazz, read James Levine’s excellent book, Jazz Theory. On the Web at http://is.gd/iqufof These are also called “church modes” because they were first used in the Catholic Church back in Medieval times (remember good old Guido d’ Arezzo?). The names of the modes were taken from the Greek modes, but other than the names, they have no relation to the Greek modes. The two modes that have been used the most, and the only two most people know, are now called the Major and natural minor scales. Their original names were the Ionian mode (Major), and the Aeolian mode (natural minor). The other modes are: dorian, phrygian, lydian, mixolydian, and locrian. Modes are easy to understand. We’ll map out each mode’s series of whole and half steps and use the key of C so there aren’t any sharps or flats to bother with. THE MODES IONIAN Ionian is used in nearly all Western music, from Acid Rock to Zydeco.
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Jazz Harmony Iii
MU 3323 JAZZ HARMONY III Chord Scales US Army Element, School of Music NAB Little Creek, Norfolk, VA 23521-5170 13 Credit Hours Edition Code 8 Edition Date: March 1988 SUBCOURSE INTRODUCTION This subcourse will enable you to identify and construct chord scales. This subcourse will also enable you to apply chord scales that correspond to given chord symbols in harmonic progressions. Unless otherwise stated, the masculine gender of singular is used to refer to both men and women. Prerequisites for this course include: Chapter 2, TC 12-41, Basic Music (Fundamental Notation). A knowledge of key signatures. A knowledge of intervals. A knowledge of chord symbols. A knowledge of chord progressions. NOTE: You can take subcourses MU 1300, Scales and Key Signatures; MU 1305, Intervals and Triads; MU 3320, Jazz Harmony I (Chord Symbols/Extensions); and MU 3322, Jazz Harmony II (Chord Progression) to obtain the prerequisite knowledge to complete this subcourse. You can also read TC 12-42, Harmony to obtain knowledge about traditional chord progression. TERMINAL LEARNING OBJECTIVES MU 3323 1 ACTION: You will identify and write scales and modes, identify and write chord scales that correspond to given chord symbols in a harmonic progression, and identify and write chord scales that correspond to triads, extended chords and altered chords. CONDITION: Given the information in this subcourse, STANDARD: To demonstrate competency of this task, you must achieve a minimum of 70% on the subcourse examination. MU 3323 2 TABLE OF CONTENTS Section Subcourse Introduction Administrative Instructions Grading and Certification Instructions L esson 1: Sc ales and Modes P art A O verview P art B M ajor and Minor Scales P art C M odal Scales P art D O ther Scales Practical Exercise Answer Key and Feedback L esson 2: R elating Chord Scales to Basic Four Note Chords Practical Exercise Answer Key and Feedback L esson 3: R elating Chord Scales to Triads, Extended Chords, and Altered Chords Practical Exercise Answer Key and Feedback Examination MU 3323 3 ADMINISTRATIVE INSTRUCTIONS 1.
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I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I.
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Scales, Modes, Intervals and the Circle of Fifths
Scales, Modes, Intervals and the Circle of Fifths The word scale comes from the Latin word meaning ladder. So you can think of a scale climbing the rungs of the ladder which is represented by the stave. The degrees of a scale You have to have a note on every single line or space. Each degree of the scale has a special name: • 1st degree: the tonic • 2nd degree: the supertonic • 3rd degree: the mediant • 4th degree: the subdominant • 5th degree: the dominant • 6th degree: the submediant • 7th degree: the leading note (or leading tone) The 8th degree of the scale is actually the tonic but an octave higher. For that reason when naming the degrees of the scale you should always call it the 1st degree. MAJOR SCALES One of the more common types of scale is the major scale. Major scales are defined by their combination of semitones and tones (whole steps and half steps): Tone – Tone – Semitone – Tone – Tone – Tone – Semitone Or in whole steps and half steps it would be: Whole – Whole – Half – Whole – Whole – Whole – Half Major scale formula MINOR SCALES The second type of scale that we’re going to look at is the minor scale. Minor scales also have seven notes like the major scale but they’re defined by having a flattened third. This means that the third note of the scale is three semitones above the first note, unlike major scales where the third note of the scale is four semitones above. A MELODIC MINOR SCALE There are three different types of minor scale: • the NATURAL minor • the HARMONIC minor • the MELODIC minor Each type of minor scale uses a slightly different formula of semitones and tones but they all have that minor third.
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The Chromatic Scale
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Jazz Improvisation for the B-Flat Soprano Trumpet: an Introductory Text for Teaching Basic Theoretical and Performance Principles
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In Search of the Perfect Musical Scale
In Search of the Perfect Musical Scale J. N. Hooker Carnegie Mellon University, Pittsburgh, USA [email protected] May 2017 Abstract We analyze results of a search for alternative musical scales that share the main advantages of classical scales: pitch frequencies that bear simple ratios to each other, and multiple keys based on an un- derlying chromatic scale with tempered tuning. The search is based on combinatorics and a constraint programming model that assigns frequency ratios to intervals. We ﬁnd that certain 11-note scales on a 19-note chromatic stand out as superior to all others. These scales enjoy harmonic and structural possibilities that go signiﬁcantly beyond what is available in classical scales and therefore provide a possible medium for innovative musical composition. 1 Introduction The classical major and minor scales of Western music have two attractive characteristics: pitch frequencies that bear simple ratios to each other, and multiple keys based on an underlying chromatic scale with tempered tuning. Simple ratios allow for rich and intelligible harmonies, while multiple keys greatly expand possibilities for complex musical structure. While these tra- ditional scales have provided the basis for a fabulous outpouring of musical creativity over several centuries, one might ask whether they provide the natural or inevitable framework for music. Perhaps there are alternative scales with the same favorable characteristics|simple ratios and multiple keys|that could unleash even greater creativity. This paper summarizes the results of a recent study [8] that undertook a systematic search for musically appealing alternative scales. The search 1 restricts itself to diatonic scales, whose adjacent notes are separated by a whole tone or semitone.
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CIS 3000 Scales Tutorial
CIS 3000: Introduction to Game Design 1 CIS 3000 Scales Tutorial by Benjamin Hennessy 1. Introduction 2. The Major Scale 3. The (Natural) Minor Scale 4. The Modal Scales 5. The Other Minor Scales a. Harmonic Minor b. Melodic Minor 6. Using Scales While Composing Some graphical content courtesy of musictheory.net . CIS 3000: Introduction to Game Design 2 Introduction A scale is an ordered sequence of notes. Typical ly, a scale spans one octave (twelve half steps on the piano roll, ie from C to C) and contains seven note s (eight if we count the repeated note at the octave). Which seven notes we select out of the possible twelve in a one octave range determines what kind of scale we have. Note: there are scales which have more or less than seven notes, but we will only be focusing on those with se ven, or the heptatonic scales. The Major Scale First we’ll discuss the major scale . A major scale is made up of this sequence of whole steps (W) and half steps ( h): W W h W W W h Knowing this sequence is useful because you can create scales regardless of the starting note. Here is an example of a major scale starting on C in both traditional staff notation and Reason’s piano roll notation: You might notice how the re are no sharps or flats in the C scale, or that all of the notes correspond to the wh ite keys on the piano roll. Here’s what the major scale looks like when we start on the D instead: Notice how there a re now two sharps in the scale, corresponding to the two black keys on the piano roll.
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