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Modal Scale Keys
What makes modal scales different?
Topic Rating: 5 Topic Rating: 5 Topic Rating: 5 Topic Rating: 5 Topic Rating: 5 Topic Rating: 5 (5 votes) 
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ELCBK
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May 3, 2021 - 10:16 pm
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@GregW -

Okay, you got me!  Yes, F minor is a mode! 

Post No.3 (your "Sweet Home Alabama" video) talked about "Classic Modal Interchange".

Anyway, found another little tidbit of interesting info - maybe pertains to "Freemount ByPass"?  I can't link to openmusictheory.com because it is an unsecure site, so I've quoted about "Modal Mixture". 

My Post No.20 link touches on "Modal Borrowing" - this is more in depth.

Modal mixture

Modal mixture (also called modal borrowing) refers to the use of chords belonging to a parallel key—for example, a passage in F major incorporating one or more chords from F minor. Note that, like with the use of applied chords, this does not necessarily constitute modulation. Only a cadence can confirm a new key. Without a cadence in a new key, the non-diatonic chords are simply “borrowed.” 

Note that the use of the leading-tone in place of the subtonic, or a melodic-minor figure (sol–la–ti–do) in a minor key does not constitute modal mixture. Those are considered “native” to the minor mode. 

Roman numeral notation 

When the root of a borrowed chord belongs to the home key (e.g., using an E-minor chord instead of an E-major chord), the Roman numeral remains the same, since the Roman numeral simply represents the scale-degree of the chordal root. If chord quality is reflected in the Roman numeral, then adjustments must be made to ensure that the borrowed chord’s quality is reflected. For example, if a piece in minor ends with a Picardy third (a major tonic triad), the Roman numeral is I instead of i. (The thoroughbass will also be altered to reflect the chromatic change.)

If the root is altered relative to the home key, use a flat or sharp in front of the Roman numeral to designate the alteration: flat to designate lowered (that is, a semitone below normal), sharp to designate raised (a semitone above normal). For example, a le–do–me chord in a major key is ♭VI. (Again, alter the thoroughbass as necessary.) 

Functional bass notation

Chords borrowed from parallel keys are chromatically altered chords, and therefore their functional bass symbols should be enclosed in square brackets. For example, if an S4 chord in major is borrowed from the parallel minor (fa–le–do instead of fa–la–do), the functional bass symbol is [S4] not S4. If the bass note is not altered, this is the only change to the functional bass (but be sure to alter the thoroughbass figure as well).

If the bass note is chromatically altered, that must be reflected in the functional bass with a plus or minus before the numeral (as well as the square brackets). For example, if a passage in a major key incorporates a 5/3 chord over le (le–do–me instead of la–do–mi), the functional bass is [Tx–6].

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GregW
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May 4, 2021 - 12:07 am
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interesting stuff..

 

good video..you may have seen already.

 

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ELCBK
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@GregW -

I have seen this! 

It's GREAT for showing how chords can be used to modulate in a tune. 

Going it over again made me realize how important modulation is - and really shouldn't be lost in a Modal Keys thread. (lol) 

I edited and moved some of my posts and shared 2 of your videos over in your "Key Changing Video" thread. 

Because of the emotional effect Modulation can have in music, this subject deserves more attention. 😊 

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GregW
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so this shows some quick simple ways in presonus to experiment with the idea of chord/key changes.   worth a watch...

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ELCBK
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@GregW -

THIS IS SO COOL!  

...my Medicare paperwork may not get finished. (lol)

Do I need to expedite my plans of a better laptop before I start playing around with this software?

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GregW
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ELCBK said
@GregW -

THIS IS SO COOL!  

...my Medicare paperwork may not get finished. (lol)

Do I need to expedite my plans of a better laptop before I start playing around with this software?

 

***edit***

rrread question..

no need to EXPEDITE anything about this

But id make sure youve got your computer squared away first

***end edit***

just chatting.  it seems related to what youre interested in and have avilable already.  

violin practice before any software stuff

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ELCBK
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May 9, 2021 - 5:03 pm
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I'm definitely drawn to music in the Dorian mode. 

Here's a great table/chart & info from pianoscales.org for "Harmonizing Dorian Scales into Chords"! 

https://www.pianoscales.org/do.....ing.html 

 

giphy.gif

 

 

...I better start using this stuff. (lol) 

- Emily

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ELCBK
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I don't know why I didn't see this before - I knew there where some different scales/modes in other parts of the World... but THIS MANY? 

Exotic Scales and Altered Scales! 

Here's a great list with a bunch of info on each from pianoscales.org.  I first learned about a few of these at the Fiddle Hell Festival. 

https://www.pianoscales.org/ex.....tic.html 

https://www.pianoscales.org/al.....red.html 

 

giphy.gif

 

...awful lot of rabbit holes to explore. 😵 

- Emily

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GregW
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ELCBK said
I'm definitely drawn to music in the Dorian mode. 

Here's a great table/chart & info from pianoscales.org for "Harmonizing Dorian Scales into Chords"! 

https://www.pianoscales.org/do.....ing.html 

 

giphy.gif

 

 

...I better start using this stuff. (lol) 

- Emily

  

the 2 desi serna books and this one are excellent choices for chordal type instruction for backing.  

https://www.melbay.com/Product.....lists.aspx

i like this one alot..focuses on celtic

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ELCBK
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May 9, 2021 - 6:09 pm
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@GregW -

Thanx!  I'll have to get that. 

Not just for backing, I'm always interested in how people add chords directly into tunes, also - even though I've barely started using double stops and some larger chords.

giphy.gif 

 

...I'll get there, eventually. (lol) 

- Emily

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GregW
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ELCBK said
@GregW -

Thanx!  I'll have to get that. 

Not just for backing, I'm always interested in how people add chords directly into tunes, also - even though I've barely started using double stops and some larger chords.

giphy.gif 

 

...I'll get there, eventually. (lol) 

- Emily

  

"...get there eventually"  

i know what you mean.  It seems like theres always more..more..more to try and digest.  The title for the celtic baacking book is a little narrow in my opinion.  it covers that well and is what its aimed at, but theres plenty in there that from a melody player point of view is useful.  My problem with books is that i read them when i cant grab a fiddle or guitar...and then when i can grab an instrument im practicing whatever it is im needing to work on for lessons...  so i have this book stuff vs technique or practical application of the information deficiency.   For instance on guitar i need to work on chord substitution and a more appropriate strumming for the celtic type backing.  really want to jump off into dadgad but theres only so much time..lol..

anyway...its not a long book and is a step by step to get up to speed on backing.   theres alot in there on the 4 modes common to celtic.  building the scales, chords,  how to determine what mode somethings in by ear..that kinda stuff.  a little on suggested strumming patterns...some good examples.  and its not overly lengthy.  

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