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  • So from this pool of notes we're now going to look

  • at more scales beyond just the scale of C major.

  • >> So let's take a different tonic this time.

  • Let's take A as our tonic instead of C.

  • If we start now and play all the notes that we know and all the notes

  • that we now know belong to C-major, we get A-B-C-D-E-F-G-A.

  • So by taking A, as our new tonic what we see is that we actually still

  • use all the same notes, but now we've

  • got a different pattern of tones and semitones.

  • We get A to B is a tone.

  • B to C is a semitone.

  • C to D is a tone.

  • D to E is a tone.

  • E to F is a semitone.

  • F to G is a tone.

  • G to A is a tone.

  • Now this is called the Natural minor scale and we'll talk more about this next week.

  • Or also the Aeolian mode.

  • It's still a diatonic scale because it still

  • has seven notes with five tones and two semitones

  • but they have a different sequence of tones

  • and semitones now as opposed to the major scale.

  • Now, many of you may have heard of modes,

  • especially if you visit a lot of rock guitar websites.

  • So we'll briefly look at those now.

  • See, one of the amazing things about music is that, simply by reorientating ourselves

  • around these notes in C-major, we can

  • create different patterns and different kinds of melodies.

  • So for instance.

  • This may be the wrong time of year for you, but.

  • [MUSIC]

  • So, that's God Rest Ye Merry Gentlemen and Merry Christmas, if it is Christmas.

  • I think you can hear that, that is different from the Auld Lang Syne,

  • or Twinkle Twinkle Little Star, or God

  • Save the Queen, or something else like that.

  • That is because I was orientating that melody around the A,

  • around that aeolian mode that we just saw up on the stave.

  • >> So the relationship of the tones and the semi-tones between the tonics changed

  • and this is how we get a different flavor, we get a different quality.

  • >> Well, we already know that starting on C, we have a C Major scale.

  • If we go up to D, this is the second note

  • of C Major, we get a mode called the Dorian mode.

  • It's made up of the notes D, E, F, G, A, B, C back to D.

  • This gives us a different pattern and a different sound.

  • >> Okay, again if we move up to the E, that's the third degree of C Major.

  • So if we build a mode on the third degree.

  • It's called the Phrygian mode.

  • In this case, we have E, F, G, A, B, C, D, E, and again, that

  • obviously gives us a different pattern of tones and semitones and

  • again, that changes the flavor, or the quality of the mode.

  • >> Starting on F.

  • We get F, G, A, B, C, D, E, F, which is now called the Lydian mode.

  • Then onto G, which is the fifth degree.

  • If we start this process on the fifth

  • degree, we get something called the Mixolydian mode.

  • We get G, A, B, C, D, E, F, G.

  • This has got a very similar pattern of tones and

  • semitones to the major scale, but it is slightly different.

  • So again we get a different sound, a

  • different flavor, what we'd describe as a different quality.

  • >> We've already looked at A, which we know is called the aeolian mode.

  • Moving on to B.

  • We get the notes B, C, D, E, F, G, A, back to B.

  • This one is now known as the Locrian mode.

  • That's all seven modes.

  • >> There's a lot of information to take in, but we have

  • given you some exercises and some

  • additional information in the supplementary material.

  • For this lecture.

  • So there you have the modes.

  • The names we just gave you are the 20th century names for them and they are

  • often described as the church modes and indeed

  • many of them were used in ancient church music.

  • You will also find them around the world they

  • were popular in jazz from the late 50's onward.

  • Often used in popular music.

  • >> we've used the kind of names that you'll find listed for

  • them, in things like guitar websites, or guitar player magazines.

  • Or jazz theory textbooks.

  • But what's really important, is, if you can find a

  • keyboard, or you have your own instrument, or you sing.

  • What would be really is if you could just take

  • the major scale, and start this pool of notes on each.

  • "Tonic", so C to C, B to B, E to E.

  • And get used to the sound and the, the quality of these different modes.

  • >> And we've heard when I did that God

  • Rest Ye Merry Gentlemen, that was a different sound.

  • Just to show you that it really does make a

  • difference, we're going to now do a little piece of modal music.

  • This one is going to be orientated around G, which makes it the Mixoydian mode.

  • >> The fifth degree.

  • [MUSIC]

  • >> Which is our slightly jazzy version of She Moved

  • Through the Fair which is built on the G Mixolydian.

  • >> Mixolydian is built on the first degree of the major scale.

So from this pool of notes we're now going to look

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