Harmonic Minor Relative Modes |
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Harmonic Minor Relative Modes |
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Jul 13 2009, 10:27 AM |
Great answer oxac, I can almost feel Pedja lurking here with some insane theory post!!!
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Jul 13 2009, 03:15 PM |
Oxac did some reading and learning indeed, well done!!
Regarding those names for relative modes, they pretty much point out at notes that are altered compared to scale or mode, you spotted that nicely. Now, musicians need kind a common names so they could easily talk about modes, chords etc but also there are few different systems for naming scales or chords. You probably noticed that some scales have different names depending on site where you're looking at. IMO the best thing is to know as many names as possible for each single scale or chord so you could communicate with different "types" of musicians. And finally, the goal is that YOU understand what it is about. -------------------- Youtube
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Jul 13 2009, 05:39 PM |
Ha! I KNEW he wouldnt be able to resist this post! I'll bet pedja can smell a theory post down his internet conection!!
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Jul 13 2009, 09:18 PM |
Ok, good to see you try! I hope this will help you come a little further.
That was actually quite of a complicated example but anyway. Lydian Dominant is derived from the Melodic minor scale, 1 2 b3 4 5 6 7 (8), which in C would give us C D Eb F G A B © But what we actually do is we take our major scale in F F G A Bb C D E (F) Give it the augmented fourth (#4) which provide the lydian quality. Now, F dominant 7, short - F7 have the following notes F A C Eb which means that we should lower the seventh. This yields F G A (B) C D (Eb) (F). Now, the complicated part.. how do we use this scale and the chord it builds? We have to jump back to the dominant theory again. E major is the tonic. Fifth degree of the scale would yield a nice dominant chord, B7 that is. Now, why does it have this dominant function? Because the 2nd 4th and 7th notes of the scale have this function. Pedja describes it nicely Here. B7 have the 2nd (F#) and seventh (D#) so it's a nice choice. It's time to introduce the tritone substitution. If we raise (or lower, doesn't matter) B7 to F7 we will get F A C Eb. Now, we have a more interesting sound, we have the fourth note (A) we have the 7th note (Eb) perfect. Conclusion, substituting a Dominant 7th chord with the dominant 7th chord a b5 up keeps the dominant leading quality. If we see an F7 we would almost automatically play F mixolydian over it. F mixo gives us F G A Bb C D Eb. The problem here is Bb, pretty unstable tone in relation the E. Try playing an Emaj7 and then play a Bb (not cool!). So we just raise that tone to B. Sounds much better. This gives us F G A B C D Eb. This gives us F lydian scale with dominant quality, hencethe F Lydian dominant. Sorry about this post being less structured, I haven't eaten in 8 hours and my moussaka is finished... NOW! -EDIT- disabled emoticons 'cause of B) -EDIT 2- Deleted unwanted text. -EDit 3- I'm so hungry that my fingers are shaking... I'm going to satisfy my hunger now. -Eddit 4- Going to the garden to bring some lettuce. -Edit 5- Added 3 tomatoes, those tiny ones.. yumm. gonna eat now. I'm starving. -Edit 6- Ate it, was perfectly cooked exept for the aubergins, could've been fried a bit more. Other than that... perfect. Yumm. I just wish I had someone to share it with. I guess I won't think like that tomorrow when I'll eat the rest of it. :) -Edit 7- Now I'm full, thirsty and tired. So i'm gonna drink, brush my teeth & go to sleep. Over and Out. This post has been edited by Oxac: Jul 13 2009, 10:10 PM -------------------- Olle "AJ" Svensson
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Jul 13 2009, 11:16 PM |
I have just read this whole thread and there are some amazing posts for those that like modes and theory. Oxac did a great research about this. I couldn't believe that from a very simple question this thread got this response
Harmonic minor modes 1) Aeolian #7 (Harmonic Minor) - A B C D E F G# - AmMaj7(b6) 2) Locrian #6 - B C D E F G# A - Bm7b5 3) Ionian #5 - C D E F G# A B - Cmaj7#5 4) Dorian #4 - D E F G# A B C - Dm7(#11) 5) Phrygian #3 (Phrygian Dominant) - E F G# A B C D - E7(b9,b13) 6) Lydian #2 - F G# A B C D E - Fmaj7(#9) 7) Mixolydian #1 (Diminished) - G# A B C D E F - G#dim7 the last one people also call - Altered Dominant bb7 If you want modes of Melodic Minor Scale they are as follows: (this one is used in jazz non-stop) 1. Ionian b3 (Melodic Minor) 2. Dorian b2 3. Phrygian "b1" (Lydian #5) 4. Lydian b7 5. Mixolydian b6 6. Aeolian b5 7. Locrian (Superlocrian) b4 -------------------- Check out my <a href="https://www.guitarmasterclass.net/instructor/Emir-Hot" target="_blank">Instructor profile</a>
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Jul 14 2009, 06:48 AM |
I have to bookmark this thread, cause it's late, I've had a couple of beers, and my head is about to explode reading it.
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Jul 14 2009, 10:12 AM |
I have to bookmark this thread, cause it's late, I've had a couple of beers, and my head is about to explode reading it. |
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Jul 14 2009, 08:53 PM |
Great reading from Oxac, Pedja and Emir, small little question spawned the river of theory posts!
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