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Old 09-13-2012, 05:40 PM   #21
mdc
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Quote:
Originally Posted by Hail
if it's in the key of C, it's in the key of C the scale does nothing but suggest a key. if it resolves on C, it resolves on C.

if those chords move to modulate, sure, but you don't change to a "modal" key.

That's right, but what m.. scales are those chords coming from?
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Old 09-13-2012, 05:45 PM   #22
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Quote:
Originally Posted by mdc
That's right, but what m.. scales are those chords coming from?


None.

V/V Vb vb IVb ivb ic V.

The V/V isn't 'coming from the lydian mode'.
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Old 09-13-2012, 05:50 PM   #23
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Quote:
Originally Posted by mdc
That's right, but what m.. scales are those chords coming from?




minor, lydian, and mixolydian, but who cares what the name is. there's an accidental. we know what it does and can hear the chord in a progression and know the difference, so at what point do we have to know what scale something is borrowed from?

it's not like there's a different "flavor" for each different scale, and each usage of the series of intervals is based on the context. please tell me we're not back on suggesting that

e: nvm griff got it without having to humor the mode names

Last edited by Hail : 09-13-2012 at 05:52 PM.
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Old 09-13-2012, 05:55 PM   #24
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Quote:
Originally Posted by mdc
That's right, but what m.. scales are those chords coming from?

Chords don't come from scales
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Old 09-13-2012, 06:06 PM   #25
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Quote:
Originally Posted by Hail
so at what point do we have to know what scale something is borrowed from?

From a listener's point of view, they couldn't care less I'm sure. But for the composer, if one scale is all they have for their chordal and melodic palette, their missing out on quite a lot of possibilities.

So...
Quote:
it's not like there's a different "flavor" for each different scale

... of course they have different flavors, cuz they generate different chords.

I just want to clear one thing up in general, I'm not talking about modulation here.
Quote:
Originally Posted by Xiaoxi
Chords don't come from scales

If you're going back to Renaissance and medieval periods. Can we please keep this confined to the Common Practice Period.

E: The point I'm making, is that modal interchange does exist. What 20T wrote about parallel scales and modes is 100% valid.

Last edited by mdc : 09-13-2012 at 06:17 PM.
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Old 09-13-2012, 06:20 PM   #26
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The 'mode' in modal interchange refers to a major or minor key, not the greek modes.
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Old 09-13-2012, 06:28 PM   #27
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^
also
Quote:
Originally Posted by mdc
From a listener's point of view, they couldn't care less I'm sure. But for the composer, if one scale is all they have for their chordal and melodic palette, their missing out on quite a lot of possibilities.


hahahaha what you can use more than 7 notes at a time
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Old 09-13-2012, 06:30 PM   #28
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Originally Posted by mdc
If you're going back to Renaissance and medieval periods. Can we please keep this confined to the Common Practice Period.
I never even had anything else in mind...

Quote:
The point I'm making, is that modal interchange does exist. What 20T wrote about parallel scales and modes is 100% valid.
Sure, it exists if that's how you want to perceive it. It exists for me too...as a giant prohibition and waste of time.
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Old 09-13-2012, 06:40 PM   #29
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Quote:
Originally Posted by mdc
From a listener's point of view, they couldn't care less I'm sure. But for the composer, if one scale is all they have for their chordal and melodic palette, their missing out on quite a lot of possibilities.


Composers don't think in terms of 20 different scales though, they understand that a dissonance can be resolved to a consonance by step, much simpler, and not at all limiting like the scale method.
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Old 09-13-2012, 06:41 PM   #30
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Quote:
Originally Posted by griffRG7321
The 'mode' in modal interchange refers to a major or minor key, not the greek modes.

Cuz the chords are borrowed from the parallel, so regardless of what chord from which mode you choose, it will have some sense of resolving to the tonal centre. They can be mixed and matched, within the confines of good taste.
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hahahaha what you can use more than 7 notes at a time

You can use all 12 if you want.
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Old 09-13-2012, 06:48 PM   #31
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holy ****

is this going to occur again
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Old 09-13-2012, 06:49 PM   #32
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holy ****

it's occurred again

Fixed
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Old 09-13-2012, 07:00 PM   #33
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Old 09-13-2012, 07:18 PM   #34
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You can use all 12 if you want.


i honestly don't know what you're disagreeing with then nigga
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Old 09-13-2012, 08:04 PM   #35
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Old 09-13-2012, 08:54 PM   #36
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i remember learning to string skip on a d major 9 arpeggio


nostalgia

e: why the heck is she using the trem arm for all her vibrato, what in the world

Last edited by Hail : 09-13-2012 at 08:55 PM.
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Old 09-13-2012, 08:57 PM   #37
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That ain't yo wife. Bitch. Keep dreaming.
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Old 09-13-2012, 08:58 PM   #38
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maj7 chords are the greatest things ever

if you don't think so, prepare for me to jump through your screen and curbstomp you at the nearest street corner

you've been warned
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Old 09-13-2012, 09:04 PM   #39
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m7 4 lyf yo
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Old 09-13-2012, 09:07 PM   #40
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