modes

[ag070@xxxxxxxxxxxxxxxxxxx (Bradford C. Powell)]

To correct and expand upon some of what was said about modes:
 
  the modes, as given on a diatonic C harp are as follows:
      C to C -- ionian (major)
      D to D -- dorian
      E to E -- phrygian
      F to F -- lydian
      G to G -- mixolydian (cross harp)
      A to A -- aolean (natural minor)
      B to B -- locrian
 
    (Don't trust the spelling.)
 
Modes come to us from the old days, the _really_ old days, like 
Middle Ages.  At the time there were no sharps and flats, so when 
one used a different tonal center, one used a different scale 
pattern.  They are sometimes refered to as "church modes", which 
leads to the line, "You must practice your church modes 
religiously."
 
Some of the modes are more useful (or perhaps just more easy to 
use) than others.  Ionian and aolean are obvious, and mixolydian 
for us harp players.  Mixolydian has a flat seventh, which is 
quite convienent.  I myself realy like dorian.  Locrian is tough 
to deal with because its chord is neither major or minor, it is 
diminished (the interval between the first and fifth notes is a 
diminished fifth).  Still, a good player can put this dissonance 
to his or her advantage.
 
 
hope this wasn't too wrong,
bradford 


--
**   Bradford C. Powell   --   ag070@xxxxxxxxxxxxxxxxxxx       **
**   Savannah, Georgia               "silver seventy"          **
**     "The players tried to take the field, but the marching  **
**          band refused to yield" - Don McClean               **