Re: [Harp-L] modes (NOT Glenn Miller's opus, In the Mood)

[Robert Coble <robertpcoble@xxxxxxxxxxx>]

Rainbow Jimmy asks:

1. I can figure out sort of how to play Ionian, Dorian, and I think Phyrigian
on the harmonica --but shouldn't I be able to play 7 different modes?

Yes, there are 7 different modes, built from the same underlying diatonic scale.
The underlying scale is the "major" scale, also know as the Ionian mode. Given a 
particular "major" scale (with a pattern of intervals between notes of WWHWWWH -
W = Whole tone and H = Half tone), each mode corresponds to the same notes but
with a different tonic (starting) scale degree within that 7-note diatonic major
scale. Here are the 7 modes, the "quality" of the scale (major, minor or diminished) 
and the scale degree used as the tonic note for that mode:

IONIAN - Scale degree 1 (MAJOR)
DORIAN - Scale degree 2 (minor)
PHRYGIAN - Scale degree 3 (minor)
LYDIAN - Scale degree 4 (MAJOR)
MIXOLYDIAN - Scale degree 5 (MAJOR)
AEOLIAN - Scale degree 6 (minor - natural minor)
LOCRIAN - Scale degree 7 (DIMInished)

The usual convention in music theory is to use the C major scale as the basis for
examples of the modes. Unfortunately, this often leads to the (mis)perception that
the modes are only applicable to the C major scale; that just ain't so. Here are some 
examples, based on different major scales:

C MAJOR Scale: C-D-E-F-G-A-B-C
IONIAN     - Scale degree 1 C-D-E-F-G-A-B-C
DORIAN     - Scale degree 2 D-E-F-G-A-B-C-D
PHRYGIAN   - Scale degree 3 E-F-G-A-B-C-D-E
LYDIAN     - Scale degree 4 F-G-A-B-C-D-E-F
MIXOLYDIAN - Scale degree 5 G-A-B-C-D-E-F-G
AEOLIAN    - Scale degree 6 A-B-C-D-E-F-G-A
LOCRIAN    - Scale degree 7 B-C-D-E-F-G-A-B

G MAJOR Scale: G-A-B-C-D-E-F#-G
IONIAN     - Scale degree 1 G-A-B-C-D-E-F#-G
DORIAN     - Scale degree 2 A-B-C-D-E-F#-G-A
PHRYGIAN   - Scale degree 3 B-C-D-E-F#-G-A-B
LYDIAN     - Scale degree 4 C-D-E-F#-G-A-B-C
MIXOLYDIAN - Scale degree 5 D-E-F#-G-A-B-C-D
AEOLIAN    - Scale degree 6 E-F#-G-A-B-C-D-E
LOCRIAN    - Scale degree 7 F#-G-A-B-C-D-E-F#

F MAJOR Scale: F-G-A-Bb-C-D-E-F
IONIAN     - Scale degree 1 F-G-A-Bb-C-D-E-F
DORIAN     - Scale degree 2 G-A-Bb-C-D-E-F-G
PHRYGIAN   - Scale degree 3 A-Bb-C-D-E-F-G-A
LYDIAN     - Scale degree 4 Bb-C-D-E-F-G-A-Bb
MIXOLYDIAN - Scale degree 5 C-D-E-F-G-A-Bb-C
AEOLIAN    - Scale degree 6 D-E-F-G-A-Bb-C-D
LOCRIAN    - Scale degree 7 E-F-G-A-Bb-C-D-E

The same process can be used to recreate the modes for any MAJOR scale.

A simpler alternative, IMHO, is to use a Circle of Fifths tool to just
read the appropriate notes in a given mode from the tool. I've made such 
a tool you can put together easily, which is available for FREE by sending 
an email request to:

robertpcoble AT hotmail DOT com  (Replace the AT and DOT with the characters.)

2. Is there a specific tuning that would make that easier (like solo tuned?).

IMHO, yes, there IS a simpler tuning that allows all 7 modes to be played on
the same harmonica, with a two-octave range, with ALL notes present (no bending
or overblowing required to get "missing" notes. It also provides full 3-note 
chords on every scale degree. It is called "Spiral" or "Circular" tuning. For 
historical reasons, harmonicas are labeled by the note in hole 1 blow. Seydel
made the first off-the-shelf Circular Tuned harps that were available 
commercially, and applied that naming convention to them. An alternative 
labeling scheme is to consider that a Circular Tuned harmonica is labeled using
the Mixolydian mode, or what is commonly referred to as 2nd position. Consequently,
a "G" labeled Circular tuned harmonica has "C" as the underlying MAJOR scale.
Here are the notes of a Seydel "G" Circular Tuned harmonica:

BLOW-G-B-D-F-A-C-E-G-B-D
HOLE-1-2-3-4-5-6-7-8-9-10
DRAW-A-C-E-G-B-D-F-A-C-E

Hole 2 draw, hole 6 blow and hole 9 draw are the tonic notes. I love having the
capability to drop under the lowest tonic note to the 5th scale degree and then
"walking" back up to the tonic note with a quick run. I also love having majors
and minors available with all the notes in the particular scale/mode available.

The drawbacks (as perceived by some who do not play Circular Tuned) is a reversal
of breath direction from the lower octave up to the upper octave, and the fact 
that octaves cannot be played simultaneously because the breath directions are 
opposite. Since the breath direction changes at hole 7 on the standard Richter 
Tuned harmonica, I don't perceive that as a valid criticism. The loss of ability
to play octaves is ameliorated by the availability of full (3-note) chords on 
every scale degree. By observation, the octave "splits" provide two things: (1)
an alternative to a dominant 7th "chord" in 2nd position (which doesn't exist on
\a Richter Tuned harmonica), and (2) a "fuller" sound when playing a particular
note by using two reeds, an octave apart. That 2nd reason seems more coherent as
a complaint against Circular Tuning. 

For blues style bends, the lower octave provides the b3, b5, and b7 notes by 
using a half-tone bend. If you are ambitious, you can also either overblow 
(for missing chromatic notes) or half-valve (ala PT Gazell's Method) in order to 
play chromatically or to get the blues bends in the upper octave. In my opinion, 
it is much easier to play chromatically on a Circular Tuned harmonica than on a 
standard Richter Tuned harmonica. YMMV, of course.

Another drawback often cited is the time it takes to learn a new "muscle memory"
pattern. When I switched, it took me about two months of playing nothing but 
Circular Tuned harmonicas to switch completely. During that time, I did NOT spend
very much time per week (no more than about 3 hours) practicing. It seemed so good
to have all the notes available without having to force them via bending technique!
The chording comes in nicely for vamping on beats 2-4 (4/4 time) behind someone 
else who is taking a break. AND, if I feel the need, I can always switch back to
a standard Richter Tuned harmonica. (I don't do that normally, because I find it
"limiting".)

3. So to enter further into the Twilight Zone of music theory: if I can do
that with a standard tuned harmonica, can I play 7 different modes on a
harmonic minor harmonica?

The short answer is: Yes

One of my (many) music theory books is Arnie Beale's "Theory and Harmony for the
Contemporary Musician", 1996 Amsco Publications, ISBN 0.8256.1499.6. Mr. Beale
lays out various modes based on the harmonic minor scale for playing the II-V-I
progressions in Minor. The various modes are just referred to as the 1st, 2nd,
3rd, 4th, 5th, 6th and 7th modes, without colorful historical names associated 
with them. 

The question would be: will one of those 7 "modes" sound good for the song? If so,
then use it!

(I'm certainly glad you didn't ask about positions, which is an entirely different
bucket of theoretical worms. ;-) )

Crazy Bob