Transcript Lecture File 11

L 11
Modes and Non-Western
Scales
Modes
•
•
•
•
•
•
•
Ionian – Major Scale
Dorian – 2nd of Major Scale
Phrygian – 3rd of Major Scale
Lydian – 4th of Major Scale
Mixolydian – 5th of Major Scale
Aolian – 6th of Major Scale (Minor)
Locrian – 7th of Major Scale
Ionian
• Major
CDEFGABC
Click to listen to Ionian Mode
Dorian
• Starts on the 2nd of the Major Scale
DEFGABCD
Click to listen to Dorian Mode
Dorian
• Eleanor Rigby, by the Beatles
• Also common in Jazz Tunes and Solos
Phrygian
• Starts on the 3rd of the Major Scale
EFGABCDE
Click to listen to Phrygian Mode
Phrygian
• Flamenco Music
Lydian
• Starts on the 4th of the Major Scale
FGABCDEF
Click to listen to Lydian Mode
Lydian
• Simpson’s Theme song
• Very common in Jazz Solos
Mixolydian
• Starts on the 5th of the Major Scale
GABCDEFG
Click to listen to Mixolydian Mode
Mixolydian
• Norwegian Wood, by the Beatles
• Common in Jazz
Aolian
• Starts on the 6th of the Major Scale
ABCDEFGA
Click to listen to Aolian Mode
Aolian
• Typically called “minor” scale
• Three forms
– Natural Minor – Aolian
– Harmonic Minor
• Raised 7th – A B C D E F G# A
– Melodic Minor
• Raised 6th and 7th Ascending – A B C D E F# G# A
• Natural Minor Descending – A G F E D C B A
Locrian
• Starts on the 7th of the Major Scale
BCDEFGAB
Click to listen to Locrian Mode
Dorian Mode Example
Freddie Hubbard’s “Little
Sunflower”
Blue Grass Mixolydian and Aeolean
Modes Example
Ryan and Elliot project
Mixolydian Mode
Instruments
An exception to
the Rule
Presented By:
Ryan & Elliot
MIXOLYDIAN MODE
•All bluegrass music with few exceptions is
played in the Mixolydian mode
•The Mixolydian Mode originally ascended
from G to G'
The "G" Mixolydian Mode
NOTE
FORMULA
G
Tonic
A
B
C
D
E
F
G
Whole
Step
Whole
Step
Half
Step
Whole
Step
Whole
Step
Half
Step
Whole
Step
MIXOLYDIAN MODE
•The Mixolydian mode can be played in any
note following it’s interval structure
•For example, lets construct the D
Mixolydian Mode Using this pattern
•State
•Go up
•Go up
•Go up
•Go up
•Go up
the Tonic
two whole steps
a half step
two more whole steps
one more half step
one more whole step
The “D" Mixolydian Mode
NOTE
FORMULA
D
Tonic
E
F#
G
A
B
C
D
Whole
Step
Whole
Step
Half
Step
Whole
Step
Whole
Step
Half
Step
Whole
Step
INSTRUMENTS
Acoustic Bass
•Tuned to E-A-D-G
•Fretless
•Played by Plucking or with bow
Acoustic Guitar
•Tuned to E-A-D-G-B-E
•Played in Flat Picking
or Finger Style
INSTRUMENTS
Mandolin
•Tuned to E-A-D-G
•Eight strings set in pairs
•F and A style
Dobro – Resonator Guitar
•Tuned to G-B-D-G-B-D
(Open G)
•Played with slide and
finger Picks
•Steel resonator
INSTRUMENTS
Fiddle
•Tuned to E-A-D-G
•Played with a bow
•Fretless
•Tuned to D-B-G-D-C (open G)
•Finger picking
•Fifth string mounted
halfway down neck
•Resonating Chamber Similar
to Drum Head
Banjo
AN EXEPTION TO THE RULE
•“Dusty Miller” (1966)
•Uses Mixolydian & Aeolian Modes
•First Part in Aeolian Mode in A scale
•Second Part in Mixolydian Mode in G scale
This recording is from The Bluegrass
Mandolin Extravaganza album
Featuring some the best mandolin
players of all time
Including:
Ricky Skaggs, Ronnie McCoury, David
Grisman, Buck White, Jesse McReynolds,
Bobby Osborne and Frank Wakefield
SOURCES
•Northwest Bluegrass Mag Online
http://www.nwbn.freeserve.co.uk
•BanjoLin.com
http://www.banjolin.supanet.com
•Upon Request Productions
http://urp.home.cyberverse.com/mixolydian.htm
MUSIC BY : Don Reno- Cincinnati Rag
BME- Dusty Miller
Certain scales (in some cases
modes) are linked with particular
chords.
Would you expect a dominant 7th
chord or a major 7th chord to be
associated with the Mixolydian
mode?
A) major 7th
B) dominant 7th
Non-Western Scales
True or false:
The Jewish scale is a subset of the
diatonic scale.
A) T
B) F
True or false:
The Arabian scale is a subset of the
chromatic scale.
A) T
B) F