[sdiy] Music

[Robert Shanks]

WOW, thanks, David!

On Feb 22, 2011, at 11:42 PM, David G. Dixon wrote:

>>> I'd call it "The Phrygian Winds" because the wind blows
>>> in a phrygian mode through the piece.
>>
>> Phrygian?  heh, I wouldn't have known if you didn't tell me.  I  
>> just did
>> what sounded right to me...  heh - Phrygian...
>
> Just run all the white keys from E to E, and voila!  The E phrygian  
> mode.
> At least I thought that's what I heard.
>
> In fact, running all the white keys from every key generates a  
> different
> mode with a different greek name (the so-called "church modes"):
>
> C-C = ionian
> D-D = dorian
> E-E = phrygian
> F-F = lydian
> G-G = mixolydian
> A-A = aeolian
> B-B = locrian
>
> Of course, these modes exist in all the other keys as well (meaning,  
> the
> ones with one ore more black keys involved).  Dorian is the basis of  
> nearly
> all "modal blues" from the late 50s and early 60s.  Phrygian is the  
> basis of
> most "Spanish" music.
>
> If you want to get really freaky, then run the scale from C to C,  
> but with
> E-flat instead of E (just the one black).  Now, if you run up the  
> keys with
> that one black key in every mode, you'll get the following:
>
> C-C = melodic minor
> D-D = sus b9
> Eb-Eb = lydian augmented
> F-F = lydian dominant
> G-G = aeolian major
> A-A = aeolian diminished
> B-B = altered
>
> The "lydian dominant" and "altered" modes are at the heart of modern  
> jazz.
> The latter is so called because, in addition to the notes required to
> construct a dominant "shell" (i.e., 1-3-b7), it also includes every  
> possible
> altered note relative to the major scale (b9, #9, b5 (or #11) and #5  
> (or
> b13).  This is the scale most post-bop jazzers blow over when they're
> sounding particularly "jazzy".
>
> _______________________________________________
> Synth-diy mailing list
> Synth-diy at dropmix.xs4all.nl
> http://dropmix.xs4all.nl/mailman/listinfo/synth-diy