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#1141083 - 05/20/05 10:13 AM Re: Fingerings for Dorian, Phryg, Lyd, Mix, Aeo, Loc
Rob Mullins Offline
Full Member

Registered: 02/10/04
Posts: 318
Loc: LA CA
Ack,
In reading what I posted I realized I left out the word NO in front of "choir or keyboard instrument". I meant to say "where there is NO choir or keyboard instrument."
_________________________
Rob Mullins
www.planetmullins.com
28th album on sale now.

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#1141084 - 05/22/05 04:19 PM Re: Fingerings for Dorian, Phryg, Lyd, Mix, Aeo, Loc
hgiles Offline
500 Post Club Member

Registered: 01/27/05
Posts: 736
Loc: Charlottesville Virginia
Rob, I think, again, you are right. The great artists do not think in modes when they are playing. By that time, they've practiced this stuff a million times that thinking about the theory of it all during a performance actually takes more[/b] time. I am not there yet with my playing.

Depending on the complexity of the tunes you are playing and the virtuosity of the musicians you are playing with, you may never need to know anything[/b] about modes.

I think the more important question is why not[/b] learn modes? It's never too early to start learning them. The intellectual part of learning this theory is the easy part. The more theory you know, the more you will be able to practice away from the music.

If you ever get to the point when the (C) major scale doesn't sound right over that iii (Em7) chord. You are going to need[/b] to learn something about modes.
_________________________
Haywood
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#1141085 - 05/22/05 05:58 PM Re: Fingerings for Dorian, Phryg, Lyd, Mix, Aeo, Loc
hgiles Offline
500 Post Club Member

Registered: 01/27/05
Posts: 736
Loc: Charlottesville Virginia
To speak of modes in the religious and classical choral perspective. Modes were used like 'keys'.

Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian all evoked certain (different) things.

Generally, a melody (cantus firmus) would start and end on the same note -- a tell-tale sign of what mode it was in if you had the music in front of you. Aurally -- it's all mood.

In four part choral texture the mode defines the tonality. There is no sense of tension and release. It's more of a static mood. It's no wonder that these modal pieces have a chant-like quality to them and tend to be rather short in duration.
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Haywood
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