>
> 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
I'm a major lurker on this list, but am a classically trained pianist
and teacher/musician. We were taught that modes were based on where the
1/2 steps appeared within the scale - taking into account harmony as
well as melody. Thus D-Dorian could not contain the ii dim, iv or VI
chord in the harmony as it employs a Bb (e dim, g minor or Bb Major) or
any other chords that would use a Bb (denoting d minor scale instead of
Dorian mode) such as a C7. Interestingly, the sitar used in Norweigan
Wood is tuned in 1/4 steps based in eastern scale music.
And in case anyone is interested, I also play the GH pipes and they are
mixolydian - or should be if they're tuned :-)
Carol Thompkins NCTM
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