L 11 Modes and Non-Western Scales

1. L 11Modes and Non-Western Scales

3. Modes • Ionian – Major Scale • Dorian – 2nd of Major Scale • Phrygian – 3rd of Major Scale • Lydian – 4th of Major Scale • Mixolydian – 5th of Major Scale • Aolian – 6th of Major Scale (Minor) • Locrian – 7th of Major Scale

4. Ionian • Major CDEFGABC Click to listen to Ionian Mode

5. Dorian • Starts on the 2nd of the Major Scale DEFGABCD Click to listen to Dorian Mode

6. Dorian • Eleanor Rigby, by the Beatles • Also common in Jazz Tunes and Solos

7. Phrygian • Starts on the 3rd of the Major Scale EFGABCDE Click to listen to Phrygian Mode

8. Phrygian • Flamenco Music

9. Lydian • Starts on the 4th of the Major Scale FGABCDEF Click to listen to Lydian Mode

10. Lydian • Simpson’s Theme song • Very common in Jazz Solos

11. Mixolydian • Starts on the 5th of the Major Scale GABCDEFG Click to listen to Mixolydian Mode

12. Mixolydian • Norwegian Wood, by the Beatles • Common in Jazz

13. Aolian • Starts on the 6th of the Major Scale ABCDEFGA Click to listen to Aolian Mode

14. Aolian • Typically called “minor” scale • Three forms • Natural Minor – Aolian • Harmonic Minor • Raised 7th – A B C D E F G# A • Melodic Minor • Raised 6th and 7th Ascending – A B C D E F# G# A • Natural Minor Descending – A G F E D C B A

15. Locrian • Starts on the 7th of the Major Scale BCDEFGAB Click to listen to Locrian Mode

16. Dorian Mode ExampleFreddie Hubbard’s “Little Sunflower”

17. Blue Grass Mixolydian and AeoleanModes ExampleRyan and Elliot project

18. Mixolydian Mode Instruments An exception to the Rule Presented By: Ryan & Elliot

19. The "G" Mixolydian Mode NOTE G A B C D E F G FORMULA Tonic WholeStep WholeStep HalfStep WholeStep WholeStep HalfStep WholeStep MIXOLYDIAN MODE • All bluegrass music with few exceptions is played in the Mixolydian mode • The Mixolydian Mode originally ascended from G to G'

20. The “D" Mixolydian Mode MIXOLYDIAN MODE NOTE D E F# G A B C D FORMULA Tonic WholeStep WholeStep HalfStep WholeStep WholeStep HalfStep WholeStep • The Mixolydian mode can be played in any note following it’s interval structure • For example, lets construct the D Mixolydian Mode Using this pattern • State the Tonic • Go up two whole steps • Go up a half step • Go up two more whole steps • Go up one more half step • Go up one more whole step

21. INSTRUMENTS Acoustic Bass • Tuned to E-A-D-G • Fretless • Played by Plucking or with bow Acoustic Guitar • Tuned to E-A-D-G-B-E • Played in Flat Picking • or Finger Style

22. INSTRUMENTS Mandolin • Tuned to E-A-D-G • Eight strings set in pairs • F and A style Dobro – Resonator Guitar • Tuned to G-B-D-G-B-D (Open G) • Played with slide and finger Picks • Steel resonator

23. INSTRUMENTS Fiddle • Tuned to E-A-D-G • Played with a bow • Fretless • Tuned to D-B-G-D-C (open G) • Finger picking • Fifth string mounted • halfway down neck • Resonating Chamber Similar • to Drum Head Banjo

24. AN EXEPTION TO THE RULE • “Dusty Miller” (1966) • Uses Mixolydian & Aeolian Modes • First Part in Aeolian Mode in A scale • Second Part in Mixolydian Mode in G scale • This recording is from The Bluegrass Mandolin Extravaganza album • Featuring some the best mandolin players of all time • Including: • Ricky Skaggs, Ronnie McCoury, David Grisman, Buck White, Jesse McReynolds, Bobby Osborne and Frank Wakefield

25. SOURCES • Northwest Bluegrass Mag Online • http://www.nwbn.freeserve.co.uk • BanjoLin.com • http://www.banjolin.supanet.com • Upon Request Productions • http://urp.home.cyberverse.com/mixolydian.htm • MUSIC BY : Don Reno- Cincinnati Rag • BME- Dusty Miller

26. Certain scales (in some cases modes) are linked with particular chords. Would you expect a dominant 7th chord or a major 7th chord to be associated with the Mixolydian mode?A) major 7thB) dominant 7th

27. Non-Western Scales

30. True or false:The Jewish scale is a subset of the diatonic scale.A) TB) F

31. True or false:The Arabian scale is a subset of the chromatic scale.A) TB) F