Re: The Gb scale.

[Bill Long <LONGWJ@xxxxxxxxxxxxxxxxxxxxxxxxx>]

>From: 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?)
 
Almost, but for a simple mistake.  F == E# and Fb == E.  If you want to see 
a good representation of how a E# can equal an F then sit down in front of 
a piano.  Notice how each white key shares the black keys between it and 
its neighbors...except that between B natural (not sharp or flat) and C nat. 
and between E nat. and F nat. there is no black key

>>   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).

The major third interval is made up of four half-steps (the interval 
between a white key and the neighboring black key) and a minor third is 
made up of three half-steps.  When constructing a major triad (chord) you 
take a major third and stack a minor third interval on top (C to E = major 
third, E to G = minor third).  When constructing a minor triad its a minor 
third on bottom, major third on top (C to Eb = minor third, Eb to G = major 
third).  Finally, when constructing a diminished triad its a minor third 
and a minor third (C to Eb = minor third, Eb to Gb = minot third).  Want to 
guess how an augmented triad is formed?
 
>>   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)

Essentially correct.  Another couple of Harpers have already explained much 
of this mode stuff and its origins.  The point is those notes that may 
sound "off key" to your ear ARE correct in the various modes.  The only 
thing I wanted to add is that there are variations on the Aolean or 
"natural" minor mode which are used for different purposes as suggested by 
their names.  They are the "harmonic" and "melodic" minor scales.  Any key 
has what's called its "relative minor" key...that is the note to start a 
scale on which uses the original key but produces the interval spacing of a 
minor scale intsead of a major scale.  For the key of C the relative minor 
key is A.  Normally, the key of A would have three sharps, F#, C#, and G#, 
the 6th, 3rd, and 7th steps of that scale (respectively).  When played in 
the key of C those notes are made naturals (lowering them a half-step) 
hence that "minor" sound.  In the "harmonic" minor scale the 7th step is 
raised a half-step from the normal minor scale (for an A minor scale that 
would be from a G to a G#) and played that way both for both ascending and 
descending lines.  In the "melodic" minor scale both the 6th and 7th steps of
the scale are raised a half-step from their normal minor values (F to F# and G 
to G#), but only when playing an ASCENDING melodic line (notes are going 
from lower pitches to higher ones).  When playing a DESCENDING melodic line 
the note values are returned to their "natural" minor values.  Of course 
this can probably best be done on a chromatic harp but it is possible to 
play it on a diatonic harp as well though maybe a little more difficult.  
The reason Dorian mode (3rd position if you use the "circle of fifths" 
convention in naming harp positions, or scales starting from the second 
step of the scale of the key you are using, D for a C harp) sounds so good 
is that it is very close to the natural minor, except that only the 3rd and 
7th steps of the scale are lowered a half-step, the 6th note is left a 
major 6th...note that the flat 3rd and 7th are standard "blue" notes, notes 
that are not in the major key, but when played against major chord 
progressions in that key give the melody that bluesy sound (that and a 
little hardship on the part of the musician).

Having harps in all 12 keys won't mean that you'll never again have (or 
want) to play in various modes...it'll just mean that you can play any mode 
in any key.  You know, all this theory is great if you're trying to analyze 
the chord structure or melodic lines of a really complicated piece, but for 
actually playing good music nothing can replace a good ear and an active 
imagination!

Well, that's my $.20 worth.  Happy Harpin'

Bill long
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