Separate names with a comma.
Discussion in 'Music Theory, Lessons & Techniques' started by distressed_romeo, Sep 12, 2007.
Thought some of you would find this interesting...
Whoa thats awesome dude, that'll give me something to play around with for a while
How would this look if you used diminished as base and made modes out of that scale ?
How do you make modes out of a scale, is there a certain technique/method used or ?
The diminished scale doesn't have modes, as it's symetrical. For instance, A whole-half diminished (ABCDEbFF#G#) is the same as the C whole-half diminished (CDEbFF#G#AB).
All you have to do to get a mode out of a scale is treat a different degree of the scale as the tonic note, and resolve to it as strongly as possible. Diminished scales (and other symmetrical scales such as Whole-tone and Augmented scales) don't actually have a tonic as such, and so aren't really modal in nature.
Hope that makes sense.
kudos. this should be stickied.
So let it be written, so let it be done.
I converted this to pdf because I despise Word for simple stuff
Nice work DR
Also if you want lots of scales and stuff here's something I posted awhile back.
It makes perfect sense.
Guy's, can you help me as this is way over my head.
I feel stupid not being able to understand what is probably an easy concept.
I'll start with the easiest one Major/Ionian, R,2,3,4,5,6,7.
Using virtual guitar I get C Major as C,D,E,F,G,A,B to me that is whole, whole, half, whole, whole, whole, half. I get this pattern with any note that I start with.
Can some one please tell me what I'm missing as I can't interpret this chart because I have no Idea what Root, 2, 3, 4, 5, 6, 7 means and why it translates to whole, whole, half, whole, whole, whole, half.
Thanks in advance.
OK...All the numbers represent is that note's interval from the root note. For instance, a Mixolydian mode is written as R 2 3 4 5 6 b7; the root note, the second (a whole step from the root), the third (two whole steps from the root), the perfect fourth (2.5 whole steps from the root), the perfect fifth (three and a half whole steps from the root), the sixth (four and a half whole steps from the root) and the dominant seventh (five whole steps from the root). If you bear that in mind, it should be easy to convert this chart into half-steps and whole steps.
Hope that helps!
Thanks that helps, I'm still a little vague but I'll get it.
I notice once you understand modes, you undersrand them, imo saying 'mode four of melodic minor' is almost, if not more descriptive, than saying 'lydian dominant'. But, thanks a lot, im going to wikipedia this if its alright with you, they need a list like this (perfect size, i think)
Awesome. Cheers man! Send us a link when you do.
Personally I find it even easier to just think of them in terms of the tonality; for example, the Lydian Dominant scale I would think of as just being a dominant scale incorporating the augmented fourth. I find this makes it a lot easier to incorporate these scales into your playing than memorising thousands of names and positions would.
in C ionian/major:
Root=C, 2=D, 3=E, 4=F, 5=G, 6=A, 7=G. that's it.
but i don't understand where you're stuck. please elaborate.
A lot of good stuff in this thread, thanks everyone
<- Needs to learn theory so this makes sense. Props for putting in the work though
Whoa. I have no clue how to read this.