L 11 Modes and Non-Western Scales
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8/15/2019 understanding modes and non western scales.pdf
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L 11
Modes and Non-WesternScales
8/15/2019 understanding modes and non western scales.pdf
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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
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Ionian
• Major
CDEFGABC
Click to listen to Ionian Mode
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Dorian
• Starts on the 2nd of the Major Scale
DEFGABCD
Click to listen to Dorian Mode
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Dorian
• Eleanor Rigby, by the Beatles
•
Also common in Jazz Tunes and Solos
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Phrygian
• Starts on the 3rd of the Major Scale
EFGABCDE
Click to listen to Phrygian Mode
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Phrygian
• Flamenco Music
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Lydian
• Starts on the 4th of the Major Scale
FGABCDEF
Click to listen to Lydian Mode
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Lydian
• Simpson’s Theme song
•
Very common in Jazz Solos
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Mixolydian
• Starts on the 5th of the Major Scale
GABCDEFG
Click to listen to Mixolydian Mode
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Mixolydian
• Norwegian Wood, by the Beatles
•
Common in Jazz
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Aolian
• Starts on the 6th of the Major Scale
ABCDEFGA
Click to listen to Aolian Mode
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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
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Locrian
• Starts on the 7th of the Major Scale
BCDEFGAB
Click to listen to Locrian Mode
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Dorian Mode Example
Freddie Hubbard’s “LittleSunflower”
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Blue Grass Mixolydian and Aeolean
Modes Example
Ryan and Elliot project
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Mixolydian Mode
Instruments
An exception tothe Rule
Presented By:
Ryan & Elliot
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MIXOLYDIAN MODE
•All bluegrass music with few exceptions isplayed in the Mixolydian mode
•The Mixolydian Mode originally ascendedfrom G to G'
The "G" Mixolydian Mode
NOTE G A B C D E F G
FORMULA TonicWholeStep
WholeStep
HalfStep
WholeStep
WholeStep
HalfStep
WholeStep
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The “D" Mixolydian Mode
NOTE D E F# G A B C D
FORMULA TonicWholeStep
WholeStep
HalfStep
WholeStep
WholeStep
HalfStep
WholeStep
•The Mixolydian mode can be played in anynote following it’s interval structure
MIXOLYDIAN MODE
•For example, lets construct the DMixolydian Mode Using this pattern
•State the Tonic•Go up two whole steps•Go up a half step•Go up two more whole steps•Go up one more half step
•Go up one more whole step
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INSTRUMENTS
Acoustic Bass
Acoustic Guitar
•Tuned to E-A-D-G•Fretless•Played by Plucking or with bow
•Tuned to E-A-D-G-B-E•Played in Flat Pickingor Finger Style
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INSTRUMENTS
Mandolin
Dobro – Resonator Guitar
•Tuned to G-B-D-G-B-D(Open G)•Played with slide andfinger Picks
•Steel resonator
•Tuned to E-A-D-G•Eight strings set in pairs
•F and A style
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Fiddle
Banjo
INSTRUMENTS
•Tuned to E-A-D-G•Played with a bow•Fretless
•Tuned to D-B-G-D-C (open G)•Finger picking•Fifth string mountedhalfway down neck•Resonating Chamber Similar
to Drum Head
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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 BluegrassMandolin Extravaganza album
Featuring some the best mandolinplayers of all time
Including:Ricky Skaggs, Ronnie McCoury, David
Grisman, Buck White, Jesse McReynolds,
Bobby Osborne and Frank Wakefield
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SOURCES
•Northwest Bluegrass Mag Onlinehttp://www.nwbn.freeserve.co.uk
•BanjoLin.comhttp://www.banjolin.supanet.com
•Upon Request Productionshttp://urp.home.cyberverse.com/mixolydian.htm
MUSIC BY : Don Reno- Cincinnati RagBME- Dusty Miller
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Certain scales (in some cases
modes) are linked with particularchords.
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
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Non-Western Scales
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True or false:
The Jewish scale is a subset of the
diatonic scale.A) T
B) F
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http://www.youtube.com/watch?v
=MNtYYuWILNE&feature=related
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True or false:
The Arabian scale is a subset of the
chromatic scale.A) T
B) F
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