#1
so for my theory homework, i was given a melody, and i had to

A. Pitch inventory
B. Diagram the scale
C. figure out either what
1. key
2. mode
3. scale
was used to to create the melody.

now, pitch inventory i get. but once i have that, im confused on what to do. if i play the melody (or at least attempt to, lol) that usually helps, but im trying to get used to working these things out without aural help.

i was able to figure out most of the examples, by rearranging the notes, and hopefully seeing a pattern.

but theres just one example im totally lost on.

B C Eb E G G# is the note inventory. now im assuming that its probably a flat key, so ive been writing the G# as Ab,

now, our choices are any of the modes, any minor, pentatonic or whole tone scales. this is obviously not a whole tone, or pentatonic. so it must be either a mode or minor, which would mean theres a note missing, right? I'm just totally lost on what to do now.
#2
Could you tell us more about the context? Or better yet, can you post the melody?

If it was a flat key, you'd have to pop a flat into that B.
Gipsy, hispano-arabic scale, phrygian dominant of B, something along those lines?
B C D# E F G Ab?
Last edited by CanCan at Feb 23, 2009,
#3
Quote by CanCan
Looks like C harmonic minor.


Eb and E


Edit: for it to be Harmonic minor the "E" would have to be F
then yeah.. the only not your missing would be D

BUT if the note is notated G# then its a G# not Ab


what are the order of the notes?
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Last edited by victoryaloy at Feb 23, 2009,
#4
Quote by victoryaloy
Eb and E


Edit: for it to be Harmonic minor the "E" would have to be F
then yeah.. the only not your missing would be D

BUT if the note is notated G# then its a G# not Ab


what are the order of the notes?

That's not even the problem. If you render that e flat as a d sharp, you can fit it into C#m.

Are we even talking about the same scale? E isn't C sharp's seventh, is it? And if it were, it wouldn't become F, it would become E#.
Last edited by CanCan at Feb 23, 2009,
#5
Quote by CanCan
That's not even the problem. If you render that e flat as a d sharp, you can fit it into C#m.


Where are you getting the C# and G# from?? lol


Anyway, if you were to make the G# Ab and the E Fb then you would have two +2 intervals and two -2 intervals.
And the mistery note between C and Eb

I'm not seeing any relation to western theory


Edit:
B is the raised 7th... in natural minor it would be Bb
I was just saying that E in the Key of C would make it major and you already have an Eb which would be the minor third so if he miss typed the E for F then that would give you your minor 3rd and P4
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Last edited by victoryaloy at Feb 23, 2009,
#6
Quote by victoryaloy
Where are you getting the C# and G# from?? lol


Anyway, if you were to make the G# Ab and the E Fb then you would have two +2 intervals and two -2 intervals.
And the mistery note between C and Eb

I'm not seeing any relation to western theory

I just re read the post, and I think the TS gave us way too little insight. I'm probably getting this upside down. He has a written melody, right? He's trying to figure this out without listening to it, just analysing the written part. If so, why is he looking at a written G sharp and turning it into a A flat?

I'm not getting C sharp. I'm boiling down the whole thing to the simplest key center I can get. I did word out this part wrongly, I can see that now. We don't have a C#, yes, but it might be something *like* it. What drew me to C# minor, though, was the presence of C. If we make that C a B#, just like the TS is turning G# into a Ab, it could be the sensitive the scale needs to be the harmonic minor.

I didn't talk about Fb. I did mention E#, but that was just to undermine your theory, which I can't understand either. I clearly stated I thought it was C#-, you didn't. I had nothing to do other than to assume you were talking about my, erm, assumption. So, I just stated that E isn't C sharp's seventh, and that even if it were, raising it wouldn't turn it into an F, but rather an E#.

Mistyping an F for an E? Pretty please.

Moving on, the TS's approach is correct, he should opt to figure out what's enharmonic to what. So, we have
B C Eb E G G#/Ab. We can turn it around to
(B) B# D# E (G) G#. That might get us, other than what I've already said, I dunno... A cross between the major and minor bebop scales?

Give us context, please, TS. This has got to have shifting harmonic centres. Reminds me of Ornithology / How High the Moon, as played in Parker's alto - in E, shifting to E-.
Last edited by CanCan at Feb 23, 2009,