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L 11 Modes and Non-Western Scales. Modes. Ionian – Major Scale Dorian – 2 nd of Major Scale Phrygian – 3 rd of Major Scale Lydian – 4 th of Major Scale Mixolydian – 5 th of Major Scale Aolian – 6 th of Major Scale (Minor) Locrian – 7 th of Major Scale. Ionian. Major - PowerPoint PPT Presentation
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L 11Modes 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 ExampleFreddie Hubbard’s “Little
Sunflower”
Blue Grass Mixolydian and AeoleanModes 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 G A B C D E F G
FORMULA Tonic WholeStep
WholeStep
HalfStep
WholeStep
WholeStep
HalfStep
WholeStep
The “D" Mixolydian Mode
NOTE D E F# G A B C D
FORMULA Tonic WholeStep
WholeStep
HalfStep
WholeStep
WholeStep
HalfStep
WholeStep
•The Mixolydian mode can be played in any note following it’s interval structure
MIXOLYDIAN MODE
•For example, lets construct the D Mixolydian 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
INSTRUMENTSAcoustic 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 Picking or Finger Style
INSTRUMENTSMandolin
Dobro – Resonator Guitar
•Tuned to G-B-D-G-B-D (Open G) •Played with slide and finger Picks•Steel resonator
•Tuned to E-A-D-G •Eight strings set in pairs•F and A style
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 mounted halfway down neck•Resonating Chamber Similar to Drum Head
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 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 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) TB) F
True or false:The Arabian scale is a subset of the
chromatic scale.A) TB) F