The Perfect Mode Pitches C to Eb Or D to F Natural
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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. -
The 17-Tone Puzzle — and the Neo-Medieval Key That Unlocks It
The 17-tone Puzzle — And the Neo-medieval Key That Unlocks It by George Secor A Grave Misunderstanding The 17 division of the octave has to be one of the most misunderstood alternative tuning systems available to the microtonal experimenter. In comparison with divisions such as 19, 22, and 31, it has two major advantages: not only are its fifths better in tune, but it is also more manageable, considering its very reasonable number of tones per octave. A third advantage becomes apparent immediately upon hearing diatonic melodies played in it, one note at a time: 17 is wonderful for melody, outshining both the twelve-tone equal temperament (12-ET) and the Pythagorean tuning in this respect. The most serious problem becomes apparent when we discover that diatonic harmony in this system sounds highly dissonant, considerably more so than is the case with either 12-ET or the Pythagorean tuning, on which we were hoping to improve. Without any further thought, most experimenters thus consign the 17-tone system to the discard pile, confident in the knowledge that there are, after all, much better alternatives available. My own thinking about 17 started in exactly this way. In 1976, having been a microtonal experimenter for thirteen years, I went on record, dismissing 17-ET in only a couple of sentences: The 17-tone equal temperament is of questionable harmonic utility. If you try it, I doubt you’ll stay with it for long.1 Since that time I have become aware of some things which have caused me to change my opinion completely. -
THE MODES of ANCIENT GREECE by Elsie Hamilton
THE MODES OF ANCIENT GREECE by Elsie Hamilton * * * * P R E F A C E Owing to requests from various people I have consented with humility to write a simple booklet on the Modes of Ancient Greece. The reason for this is largely because the monumental work “The Greek Aulos” by Kathleen Schlesinger, Fellow of the Institute of Archaeology at the University of Liverpool, is now unfortunately out of print. Let me at once say that all the theoretical knowledge I possess has been imparted to me by her through our long and happy friendship over many years. All I can claim as my own contribution is the use I have made of these Modes as a basis for modern composition, of which details have been given in Appendix 3 of “The Greek Aulos”. Demonstrations of Chamber Music in the Modes were given in Steinway Hall in 1917 with the assistance of some of the Queen’s Hall players, also 3 performances in the Etlinger Hall of the musical drama “Sensa”, by Mabel Collins, in 1919. A mime “Agave” was performed in the studio of Madame Matton-Painpare in 1924, and another mime “The Scorpions of Ysit”, at the Court Theatre in 1929. In 1935 this new language of Music was introduced at Stuttgart, Germany, where a small Chamber Orchestra was trained to play in the Greek Modes. Singers have also found little difficulty in singing these intervals which are not those of our modern well-tempered system, of which fuller details will be given later on in this booklet. -
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. -
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. -
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. -
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. -
A-Beginner-Guide-To-Modes.Pdf
A BEGINNER GUIDE TO MODES Here are a few charts to help break down modes, including scale patterns, chord patterns, and the characteristic “colour note / chord” within each scale. Just like with the idea of parallel major and minor scales, you can choose to write solely within one scale (say, D dorian), OR you can borrow a chord from a parallel mode while still using chords from your original scale (i.e., writing in F minor [aeolian] and using a Db major chord, but also using a Bb major chord, borrowed from Dorian mode). The Modes by Numeric Pattern (Rose boxes indicate the scale’s ‘colour note’ or what gives it its character; blue boxes show a potential secondary colour note.) MODE 1 2 3 4 5 6 7 IONIAN 1 2 3 4 5 6 7 DORIAN 1 2 b3 4 5 6 b7 PHRYGIAN 1 b2 b3 4 5 b6 b7 LYDIAN 1 2 3 #4 5 6 7 MIXOLYDIAN 1 2 3 4 5 6 b7 AEOLIAN 1 2 b3 4 5 b6 b7 LOCRIAN 1 b2 b3 4 b5 b6 b7 IONIAN mode is the major scale, so this mode begins on the 1st degree of the major scale. DORIAN mode begins on the 2nd scale degree of the relative ionian mode (major scale) PHRYGIAN mode begins on the 3rd scale degree of the relative ionian mode (major scale) LYDIAN mode begins on the 4th scale degree of the relative ionian mode (major scale) MIXOLYDIAN mode begins on the 5th scale degree of the relative ionian mode (major scale) AEOLIAN mode (minor scale) begins on the 6th degree of the relative ionian mode (major scale). -
Improvisation Aeolian Mode
Improvisation: From Minor Pentatonic Scale to Aeolian Mode In this lesson students will explore their musical creativity through improvisation by developing ideas for melodic lines using the Aeolian mode. Students will gain an aural and theoretical understanding of the Aeolian mode through improvisation and analysis of a minor key Reggae groove in our Notation Mixer. The clip below features Berklee College of Music students as they talk about what improvisation means to them. For additional resources on improvisation, check out our Improvisation Unit in our PULSE Study Room. Access free resources to enhance this lesson by joining Berklee PULSE. Outcomes: • Students will gain an aural and theoretical understanding of the Aeolian mode through improvisation and analysis. Materials: • PULSE improvisation video • PULSE minor pentatonic and Aeolian scale material • Preferred instrument INSTRUCTIONAL ACTIVITY IDEAS Exposition of Material 1. Review Lesson 1 After watching the improvisation video above students will: o Reflect upon their composition process in Lesson 1 and discuss how their perception of improvisation and musical expression has progressed. o Review the minor pentatonic scale. 2. Review Mode What is a mode? o Modes have seven notes, and are built using a pattern of half steps and whole steps, just like the major and minor scales. Each mode has a “characteristic note,” a note that sets it apart from the other modes. Musicians often use the major scale as the starting point when talking about a mode, because each mode starts on one of the scale degrees of the major scale. We will use the C major scale (key of C) as the starting point for each mode, but you can build modes in any major scale. -
The Consecutive-Semitone Constraint on Scalar Structure: a Link Between Impressionism and Jazz1
The Consecutive-Semitone Constraint on Scalar Structure: A Link Between Impressionism and Jazz1 Dmitri Tymoczko The diatonic scale, considered as a subset of the twelve chromatic pitch classes, possesses some remarkable mathematical properties. It is, for example, a "deep scale," containing each of the six diatonic intervals a unique number of times; it represents a "maximally even" division of the octave into seven nearly-equal parts; it is capable of participating in a "maximally smooth" cycle of transpositions that differ only by the shift of a single pitch by a single semitone; and it has "Myhill's property," in the sense that every distinct two-note diatonic interval (e.g., a third) comes in exactly two distinct chromatic varieties (e.g., major and minor). Many theorists have used these properties to describe and even explain the role of the diatonic scale in traditional tonal music.2 Tonal music, however, is not exclusively diatonic, and the two nondiatonic minor scales possess none of the properties mentioned above. Thus, to the extent that we emphasize the mathematical uniqueness of the diatonic scale, we must downplay the musical significance of the other scales, for example by treating the melodic and harmonic minor scales merely as modifications of the natural minor. The difficulty is compounded when we consider the music of the late-nineteenth and twentieth centuries, in which composers expanded their musical vocabularies to include new scales (for instance, the whole-tone and the octatonic) which again shared few of the diatonic scale's interesting characteristics. This suggests that many of the features *I would like to thank David Lewin, John Thow, and Robert Wason for their assistance in preparing this article. -
Music Theory
Music Theory Advanced Level June 2005 Defining modes .................................................................................................................................... 4 Theory ................................................................................................................................................. 4 Most Important Modes ................................................................................................................ 5 Summary ........................................................................................................................................... 7 Using Modes for Improvisation ......................................................................................................... 9 Theory ............................................................................................................................................... 10 A. Recap ....................................................................................................................................... 10 B Choosing appropriate modes ............................................................................................... 11 Using Modes for Composition .......................................................................................................... 16 Usage ................................................................................................................................................ 18 The Dorian Mode ............................................................................................................................... -
THE MODES of the MAJOR SCALE -Written by David Taub
THE MODES OF THE MAJOR SCALE -written by David Taub Now that you had a basic modal overview in the previous written lesson we can discuss each mode in detail and how to go about utilizing them. In order to thoroughly understand the modes we will need to look at the interval structure that defines each mode and then match them with corresponding chords and progressions where they can be applied. Remember that the modes are all just variations of the major scale and you will be playing the modes by shifting emphasis to a different note in the parent or mother major scale. Once you know all six major scale patterns up and down the neck you know all the modes of the major scale. You wont have to learn another six shapes or scale patterns for each mode – you can get to all the modes through the major scales. Refer to the past lessons and learn all six major scales and scale links up and down the neck and practice in all keys. The illustration below shows each mode in order and its interval structure. Many of the modes are very similar, some just one interval difference. For example the only difference between Aeolian and Dorian is the Aeolian mode has a b6 while the Dorian mode has a major 6th. Mixolydian is just like the Ionian mode or major scale but with a b7 and Lydian is also like the Ionian mode but with a #4. Phrygian is just like Aeolian except it has a b2. So many of the modes are very similar but these slight differences will give you a totally different mood and totally different sounds – it’s absolutely amazing! Keep in mind that each mode has its own specific sound, texture, and mood.