Re: The Gb scale.

[Rajendra Singh <singh@xxxxxxxxxxx>]

>>> Norbert Brunhuber <brun@xxxxxxxxxxxxxxxxxxxxxxxx> says
> According to the circle you get:
> 
>   Gb Ab Bb B C# D# F
> 
>   However I believe theory dictates that each progression should have one
> of each note (ABCDEFG) just with sharps or flats to make the intervals
> correct.  The Gb scale as written doubles the B note and is missing an E
> note.  What is the correct progression?

It's still the same progression, just named a bit differently.
Make all the sharps into equivalent flats (or flats into sharps).
so
   Gb Ab Bb Cb Db Eb F       (also uses the fact that B == Cb)
and
   F# G# A# B  C# D# E#      (also uses the fact that F == Eb)

(did that make sense?)

> 
>   Next point.  The same message described how to build diminished and
> augmented chords.  I know that major chords follow a I III V pattern (C E
> G).  The question is are minor chords made with a I IIIb V progression?
> (C Eb G)

Yep, minor chords just lower the III (to a minor 3rd interval).

>   Finally what does it mean to play a harp in let's say Lydian mode?  I
> realize that you are playing a C harp in a song written in the key of F,
> but what does that mean in practice?  Do you just pick out the notes on
> the C harp that fit in the F key and play them exclusively?  If so
> could you eliminate all other positions simply by having a harp in every
> possible key?  Thanks.

I don't know much about modes, but as long as I'm here ...
You actually use all the notes, even the "out-of-key" notes.
These "out-of-key" notes give the mode their individual mood/sound.
Minor keys are an example (eg blues w/ Im IVm Vm sounds different)

Hope that helps,
 -raj