Re: The Gb scale

[03-Jan-1994 1451 <rost@xxxxxxxxxxxxxxxxxxx>]

>> According to the circle you get:
>>   Gb Ab Bb B C# D# F
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)

This is correct (sort of).  The rule: in a key with flats, *all* accidentals
are flats; in a key with sharps, all accidentals are sharps.

>>   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)

Wrong....modes are built off a major scale; I'll use C for simplicity:

	C D E F G A B 	Ionian mode (major scale)

	D E F G A B C   

	E F G A B C D

	F G A B C D E   Lydian mode

	G A B C D E F   Mixolydian mode

	A B C D E F G   (natural minor scale)

	B C D E F G A   Phrygian mode

I forget the names of the others, but...

Notice that all contain the notes of the C major scale, but start on some note
other than C. So in that sense there are no "out-of-key" notes, because G
mixolydian mode implies a key of C major, not G, so we use F, not F#.

Try playing some B Phrygian licks over a Cmaj7 and you'll hear something pretty
bizarre. The notes match the scale of the chord but the playing sounds
"outside".

						Brian Rost
						rost@xxxxxxxxxxxxxxxxxxx
						508-568-6115
						DEC, Hudson, MA

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