Simon Furey wrote:
> 
> > I'm not sure about those, but "Norwegian Wood", certainly makes the most
> of
> > being mixolydian.
> >
> > Dorothy
> 
> Certainly it's modal, but I make it Dorian. But who am I to carp, having
> just made a fool of myself with my own previous examples??  ;oD
> 
> I think (and someone correct me please if I'm wrong) that if we play these
> various tunes on the white notes of a piano we determine the mode from where
> we end up. So, we end up finishing on D with Norwegian Wood (hence Dorian).
> If we do the same with "Please Please Me" we end up on G (hence Mixolydian).
> However, with "Yellow Submarine" we have a gapped scale, so we have two
> possible start (and end) points. We can start on B and end on G (Mixolydian)
> or start on E and end on C (Ionian - or the ordinary major key). Carrying on
> with this we find that "Yesterday" ends on E and is thus Phrygian.
> 
> I was originally working out the tunes on a guitar and misreading the
> frets...:o(
> - Well, that's my excuse!
> 
> Whatever, my point is that there are modal tunes to be found in the Beatles'
> music, which I think addresses the original topic of this thread!
> 
> Simon

End notes/Finals can be tricky. There are a fair number of
circular tunes that don't end on the final. "The White Cockade"
looks like it's Phrygian if you just go by the end note. [ABC of
copy as 1st tune in Vol. 1 of Aird's 'Airs' on Jack Campin's
website. Key sig. of 1 sharp, ending on B looks Phrygian, but
it's G major circular.] If you see a tune that seems to come out
Locrian (and there are several) that's a good indication you've
found a circular tune where the end note isn't the keynote.

Bertrand Bronson pointed out that the white notes isn't a very
good way of explaining modes. Because the starting note is
different, you're never comparing differences directly. If you
want a direct comparison you have to transpose to a common
keynote (where you need the black keys). In the Modes file on my
website I noted Ann Geddes Gilchrist's article on modes in JFSS,
1911. What I didn't point out there is that her scheme isn't
totally consistent. Because she didn't transpose to a common
keynote she has different names for some of her modes that are
the same as another mode if transposed to a common keynote.

Bruce Olson     
-- 
My website: www.erols.com/olsonw <A
href="http://www.erols.com/olsonw"> Click </a>


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