pinguinpanic

Concidering you want the scales to be 7 note scales that include the chord tones of Am there are 1*1*1*9*8*7*6=3024 possible scales. I don't really see any reason to name all scales you could use.

__________________
Guitasr:
Cort KX-Custom
ESP LTD M-200FM
Amp:
Engl Powerball
Misc:
Phonic Helixboard 18 MKII
Reaper
Loads of cheap crap I should have never bought.

20Tigers

The fact that you link that and don't understand it's relevance (or lack thereof) should disgust you more.

Did you know the word "Evil" once meant nothing more sinister than "uppity". But of course now most people agree that it means something much worse.. In a similar vein the world "gay" once meant "happy, merry, festive" now most people agree it means something completely different (and as a direct result - it does).

There are some arguments for which popular interpretation is a completely relevant factor - particularly with the meaning of words and methods of communication. In fact any kind of "truth" that is culturally relative depends almost entirely on popular opinion. Music theory is, for the most part, culturally relative. Of course there is still room for debate, discussion, and argument to foster new ideas and cultural change.

---------


It's not a shortcut. It's understanding what those terms mean and what they communicate to other musicians. So there is no point at which you would no longer "need" to categorize intervals that way. Once you know what they are and how they sound you know them. You can use them as a basis for musical composition if you want or as a way of analyzing music, or to understand and quickly relay specific information to other musicians.

Mode, in the widest sense of the word denotes the selection of tones, arranged in a scale, that form the basic tonal substance of a composition. As a result each mode has it's own unique sonority.

A key defines the tonal centre and by extension the relationship of all the notes in a composition to that tonal centre. In any given key a large number of modes are possible. Typically we refer to a key as being major or minor but those are not the only two options (as noted by Bernstein in one of my previous posts).

In a narrower sense of the term "modes" refers to the church modes (as described in the link in my sig) each of which is one possible mode within a given key.

The question comes down to what are we saying when we say something is in a specific key.

What does it mean to say something is in the key of A minor. Well according to the above this would mean that the key is A and the mode is minor. Specifically the minor scale* forms the basic tonal substance of the composition (note not necessarily the complete tonal substance of the composition). If it is in the key of A major then the key is A the mode is major which is the major scale.

This is not to say that the composition is limited to the use of the notes of those scales. The key of course defines the tonal centre and the relationships between it and the entire spectre of possible notes. What it says is that those are the notes that provide the piece with it's core sonic character.

Major and minor are by far the most common "modes". The church modes rarely come into play really, I can accept that. But they are out there and they do have something to offer, even if the most you get out of learning about them is being able to understand what someone is talking about when they use the terms**.

*the minor scale referring to the complete minor scale including the harmonic and melodic minor alterations

**At least when they use them correctly - i.e. not in reference to one of seven fretboard patterns of the same major scale

__________________
Si
Explaining Modes part 1
Explaining Modes part 2 (continued)

Hail

i really wish you'd addressed this one instead of "no guize, trust me, i'm right on this one, trust me guize, lemme define stuff you already know then add this is 100% my opinion and that it's based on something you already said was right to a very limited extent but i really really really really need the last word guize"

__________________

20Tigers

__________________
Si
Explaining Modes part 1
Explaining Modes part 2 (continued)

Hail

bro have you even been homeless

__________________

griffRG7321

I lold.






Minor 6ths can be used to avoid a tritone skip or outline and raised 7ths at cadences though.

/trolling

__________________

bouttimeijoined

It takes beginner musicians time to know the sound of every chord relative to the tonic. The same beginners who need to learn to differentiate between the sounds offered by the different modes.

it's all well and good that from a formal theory standpoint every song with tonic D and tonic chord minor is in D minor, but for learning it helps to use the mode names to describe the musical variation on the natural major and natural minor scales that results from a different set of notes.

One more example, you can learn to like the sounds of an augmented fourth over a major chord, and connect that to the fourth degree of the harmonic scale, or you can learn to like the lydian sound and immediately understand how that corresponds to the harmonic scale. It just helps tie together a basic understanding of music.

AeolianWolf

exactly why i said they should spend more time practicing.



that's absolutely ridiculous. or you could listen to a simple 90-second mozart minuet in C major and hear the F# tonicize the dominant. boom, you've got the sound. nothing even remotely lydian involved.

it only helps to use the modes names if that's the way you've learned it. there are ways to get results much faster and with just as much accuracy, and the best is by listening to (and analyzing) tonal music.

you can get the damn miles.be ear trainer - it'll train your ear much more efficiently and without ever using a single modal reference.

modes are not (and should not be) material to be learned before an understanding of tonal music is acquired.

there's a reason why what you call "formal theory" exists. it's not so that we can play one thing and say "well it's something, but technically it's this other thing". that's pretentious. it exists because it's more efficient. it exists because it can take anything the modal theory system can throw at it. and the reverse simply is not true.

__________________

| Facebook (personal) | Facebook (music) | SoundCloud | Instagram |