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However, there are two possible keys for every key signature. For example, the key signature of one sharp (an f#) may be that of G Major or that of e minor. {emphasis mine}
I like to think of (and subsequently hear) key centers as functions of mode. It leaves a lot more sounds available to the ear than the simple "western" major-minor perspective. Dorian, keeping with the same example, which starts on an "A" but also uses only the "f#" alteration, gives a much more uplifting, focusing... almost centering effect without need for further harmonic resolution "along the way", and it acheives this with 6 out of the same 7 tone relationships. (Not withstanding "western" intervention to alter it as per the habits of the aeolian/ionian history... in essence, robbing it of it's natural beauty or at least prostituting it to enhance thier own shortcomings) .
I say, without hesitation, that the raised sixth of the dorain scale is a *force to be reckoned with, the doorway to a different aural experience I'm reminded of as I sing it to myself...
There are seven modes of the sort that musick was talking about with his comments on Dorian. One way of looking at them is to think of the white keys on a piano. The mode with the scale starting (AKA the tonic) on D is called the Dorian. The rest are:
Code:
Tonic Name
E Phrygian
F Lydian
G Mixolydian
A Aeolian
B Locrian
C Ionian
Another way of looking at them is to analyze them as major or minor keys with one (or more) notes off.
Dorian is minor with a raised 6th.
Phrygian is minor with a lowered second.
Lydian is major with a raised fourth.
Mixolydian is major with a lowered seventh.
Aeolian is the pure minor without the jiggery-pokery done to the standard harmonic or melodic minors of regular music.
Locrian is minor with a lowered second and a lowered fifth*
Ionian is the good old standard major scale.
*This lowered (or diminished, to use the technical term) fifth is what scares most people away. It was considered evil and not used in the church modes of chant. The interval of a diminished fifth, however, is not all that uncommon in later (Renaissance and newer) music, often being used to suggest some foreboding. For example, in the Schubert A-flat Mass the basses get to sing a diminished fifth in the Credo on the word Pontio when singing of the belief in the crucifixion of Jesus.
OP Musick, Faldage -- Are you music professors?
Quote:
Can you play anything on that shoe?
no, but if you hum a few bars....
Apparently, Eta's oeuvre does not include sole music.
[*running off to the witness protection program emoticon*]
Quote:
Musick, Faldage -- Are you music professors?
My mother was a music major in college and she kept all her textbooks. I read all of them. That got me started.
No, I'm not a professor and my peformance skills are all vocal and all require either lots of protective cover or a good disguise. I've gone both ways.
Quote:Quote:
Can you play anything on that shoe?
no, but if you hum a few bars....
Apparently, Eta's oeuvre does not include sole music.
[*running off to the witness protection program emoticon*]
I was going to make some clever reply laced with puns but I'll hold my tongue.
formerly known as etaoin...
At last!
TEd
That's right! Ooh, thanks for the feeling of greeting old friends. (I did not keep my textbooks.)
... he said archly.
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