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post #1 of 8 (permalink) Old 09-01-2001, 11:14 PM Thread Starter
 
Join Date: Jan 2001
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uhauls and modes - when the modes come to you

The way it's usually explained:

Pick a chord progression with roots in 1 major key.

Now, play the notes of that major key starting

*with note X.

Finally, use the following table to find which mode

*corresponds with the X you used.



Another way to look at it is:

The above can be accomplished by keeping X constant

*no matter which mode you want.

In order to do it,

*if in key C major:

* C D E F G A B C (ionian, major)

* F G A B C D E F (F lydian, but does not 'start' on C)

The intervalic relationships going from C to C

*would need to equal those going from F to F.

These relationships before any adjustment are:

*

* 1 *1 *.5 1 *1 *1 *.5

*C *D *E *F *G *A *B *C



* * *1 *1 *1 .5 *1 *1 *.5

*F *G *A *B *C *D *E *F *



By adjusting the C..C sequence the intervalic relationships of F..F sequence can be satisfied.

An incorrect move would be: increase E to F thereby

making 1 1 1 in the 1st four notes; but this increase

makes the relationship between D and E 1.5 and

1 1 1.5 is not 1 1 1. The correct adjustment is to

augment F, which gives:



*1 *1 *1 * .5 1 *1 *.5

C *D *E *F# *G *A *B *C



*1 *1 *1 * .5 1 *1 *.5

F *G *A *B * C *D *E *F



A perfect match. The formula for operation on any

ionian: 1 2 3 #4 5 6 7



Another example, * mixolydian * *



1 *1 *.5 *1 *1 *1 *.5

C *D *E *F *G *A *B *C

*1 *1 *.5 *1 *1 .5 *1

G *A *B *C *D *E *F *G



By diminshing B of C..C sequence a half step,

1 1 .5 1 1 .5 1 can be formed. That adjustment

yields:

mixolydian 1 2 3 4 5 6 b7 1



The others are developed the same way, Locrian

ranking the most adjustments (5). *



In finale, this table

would be:

ionian * * 1 * *2 * *3 * *4 * *5 * *6 * *7

dorian * * 1 * *2 * b3 * *4 * *5 * *6 * b7

phrygian * 1 * b2 * b3 * *4 * *5 * b6 * b7

lydian * * 1 * *2 * *3 * #4 * *5 * *6 * *7

mixolydian 1 * *2 * *3 * *4 * *5 * *6 * b7

aeolian * *1 * *2 * b3 * *4 * *5 * b6 * b7

locrian * *1 * b2 * b3 * *4 * b5 * b6 * b7



A mixed mode would be a combination of mode halves.

e.g.:

phrygian/mixolydian: 1 b2 b3 4 5 6 b7


References:

1/1 *

W.A. Mathieu, "Harmonic Experience"

(post edited to include reference)






(Edited by 1 1 Dragon 2 2 2 at 12:06 am on Sep. 3, 2001)
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post #2 of 8 (permalink) Old 09-02-2001, 05:45 PM
 
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uhauls and modes

Hi-
*
* * Your last statement is iffy; what you've got there is the second mode of a melodic minor scale. *Invariably when you "fuse" more than one scale with another or two others, what you create is a derivative mode.

-Devin
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post #3 of 8 (permalink) Old 09-02-2001, 08:27 PM Thread Starter
 
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uhauls and modes

first off, thanks for any and all correctness awarenesss.
i believe the part to which you refer is accurate as is. i with support of the reference listed believe the concatenation of 2 mode halves or tetrachords may be called a mixed mode, e.g phyr/mix. in the reference he actually deals with all combinations and cancellations etc. as to whether there are other equally accurate names or aliases for the Result i can't be too comprehensive. the author does not play electric guitar as far as i know.
i want to Note that the removal of that 'iffy' part as you called it (as you told me what i've 'got') could be removed entirely and the purport and belly of the material would remain completely intact and hopefully eye opening for some.
i think or would hope it is severely obvious from the snippet it is to be 'practical' and not pedagogical. mainly i took Energy to put it here for those who Need it. in light of this i do wish i'd given it a better subject heading and description possibly maintaining the proper audience. hopefully for some it will be an eye opener and they will see new interesting possibilities and mutations. *i know i would have liked the info sooner. i would like to point out that ibanez high end machines are Not solely for a certain type of musician and like to think of this as diversity.
i would do a captain beefheart cover or black sabbath cover sooner than even a zappa cover. and when i'm doing a little analysis of some trout mask replica material it might be as simple as, he goes to c there which is a major third switch. how it all goes from there is so irrelevant to me because it's the masterpiece that was fantastic not the way i organize my polymorphs.
1 simple ingredient on that side, used to convey things on another both music, the gap being merely human navigational tools, perhaps often well aliased practical.
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post #4 of 8 (permalink) Old 09-02-2001, 09:57 PM
 
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uhauls and modes

"Pedagogical"? *The hell does that mean?!? *L* You're too smart for me...I'd prefer you stay away from me. hehe

(Edited by J ackson at 9:58 pm on Sep. 2, 2001)
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post #5 of 8 (permalink) Old 09-03-2001, 12:33 AM Thread Starter
 
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uhauls and modes

yeah right - i'm so smart when i jump out of a window i go up. lol

something like that - anyway, i do think the W.A. Mathieu, "Harmonic Experience" is a fantastic book.
no offense intended but: isn't the omnipotent scale thing somewhat like the muay thai champ toothache ?
i hear muay thai (http://martialarts.about.com/cs/artsmr/index.htm)
is one of the most brutal martial arts (extensive use of knees and elbows.) but 1 toothache (similar to the one i've had this weekend ha ha) could knockout a muay thai champion in world record time.
so what happens when you change tuning? or need to do 12 notes per octave work? for anyone not currently working with / into *the omnipotent methods - there is the spreadsheet. in my
computer system i can enter a formula and see it across the fretboard instantly. also works for chords. these can be used as atomics to do *many much more interesting/ powerful things. it's not necessarily instrument dependent and the best factor is it's computer objects so the work can be integrated into other systems allowing you develop a massive reservoir to be tapped at the touch of a button.

ok i'm done, thread virtually closed on this end. best regards.

(Edited by 1 1 Dragon 2 2 2 at 12:36 am on Sep. 3, 2001)
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post #6 of 8 (permalink) Old 09-03-2001, 08:03 PM
 
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uhauls and modes

It should also be noted that these "derivative" scales can be useful too. *There's been an ongoing column in Guitar World about this. *When you combine two scales and keep the common notes, this is called a "Hexatonic" scale. *For instance E/F#
E F# G# A B C# D# E
F# G# A# B C# D# F F#

E/F# = E F# G# B C# D#
notice that only 6 notes remain, since the 4th degrees didn't match.
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post #7 of 8 (permalink) Old 09-08-2001, 08:24 PM
 
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uhauls and modes

Hexatonic? *Wow, the name sounds sinister. *I'm gonna go play it and see if notes sound sinister.
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post #8 of 8 (permalink) Old 09-08-2001, 09:08 PM
 
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uhauls and modes

hey Balche7...

just an FYI

Hexa means six

Penta means five

PENTAtonic scales have five notes (as you probably know), HEXAtonic scales have 6 notes. *

Some hextonic scales may sound 'sinister' while others may not.
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